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A
Good
morning
and
welcome
to
the
ninth
meeting
of
the
committee
in
2020,
I'd
like
to
remind
members
and
the
public
to
turn
off
mobile
phones
and
any
members
using
electronic
devices
to
access
committee
papers
should
please
ensure
that
they
are
turned
to
silent,
and
we
have
received
apologies
today
from
Beatrice
for
short
MSP.
The
first
item
on
the
agenda
is
consideration
of
the
UEFA
European
Championship
Scotland
act,
2020,
remedial
order,
2020
and
I.
A
Welcome
to
the
meeting
Ben
Macpherson
Minister
for
public
finance
migration,
Lucy
Carmichael,
the
bill
team
leader,
Ninian
Christie
solicitor
and
Keith
white
lawyer
with
the
Scottish
Government
members
should
note
that
the
remedial
order
proposes
to
change
the
exception
to
the
ticket
toting
offense
contained
within
the
UEFA
European
Championship
Scotland
Act.
The
proposed
draft
order
is
made
under
a
pile
in
section
12
of
the
convention
rates,
compliance
Scotland,
Act
2001,
and
this
power
allows
Scottish
Ministers
to
make
changes
to
legislation
in
order
to
remedy
an
incompatibility
with
rights
protected
by
echr.
A
B
You
convener
and
thank
you
for
the
opportunity
to
speak
to
the
committee
committee
today
about
the
remedial
order.
Most
committee
members
will
be
familiar
with
the
discussion
about
charity
auctions
of
match
tickets
that
took
place
during
the
parliamentary
process
of
the
UEFA
European
Championship
Scotland
Act
2020,
but
there
have
been
some
changes
to
membership
since
then.
So
I
will
briefly
set
out
the
background
at
stage
1.
This
committee
supported
the
creation
of
an
exception
to
the
ticket
toting
offence
for
auctions
of
Euro
2020
match
tickets,
where
the
proceeds
are
given
to
a
charity.
B
The
Scottish
Government
give
effect
to
this
through
an
amendment
at
stage
2,
and
this
amendment
was
unanimously
supported
by
committee
members
and
is
now
section
3
of
the
Act
section.
Three
currently
provides
that
the
exception
only
a
place
where
the
proceeds
of
an
option
are
given
to
a
charity
established
in
the
UK
or
EU
following
further
consideration.
The
Scottish
Government
now
believes
that
this
section
is
discriminatory
and
so
I
have
taken
swift
action
to
lea
proposed
draft
remedial
order
which
broadens
the
exception
to
include
charities
established
in
any
territory.
B
The
author
makes
a
second
consequential
change
to
ensure
that
the
charities,
which
have
the
benefit
of
the
exception
to
the
targeting
offense
well,
if
not
registered
in
a
charity
register
similar
to
the
Scottish
charity
register,
required
to
have
charitable
purposes
and
provide
public
benefit
in
ways
that
mirror
those
standards,
as
provided
for
in
Scots
law.
These
changes
will
ensure
that
there
are
equivalent
criteria
for
Scottish
and
non
Scottish
charities
alike,
removing
any
scope
for
discrimination
based
on
the
grounds
of
the
national
origin
or
other
status
of
the
charity.
B
I
wrote
to
the
presiding
officer
when
the
order
was
laid
to
set
out
the
reasons.
I
believed
it
was
necessary.
My
officials
have
updated
key
stakeholders
on
this
matter
so
that
they
have
an
opportunity
to
submit
any
views.
A
public
notice
has
also
been
published
on
the
scottish
government
website
inviting
comments
on
the
order.
The
period
for
written
representations
will
end
on
the
28th
of
April
2020.
To
date,
no
comments
have
been
received.
I
expect
to
lay
the
draft
order
as
soon
as
possible
after
the
period
for
comments
ends
happy
to
take
any
questions.
Thanks.
A
B
Following
further
consideration
of
the
Act
convener,
as
as
passed,
we
concluded
that
there
is
insufficient
justification
to
limit
the
charities
to
the
exception
applies
to
comply
with
article
14
of
the
ECHR,
with
the
prohibition
on
discrimination
read
with
article
1
of
the
first
protocol
to
the
convention,
the
protection
of
property.
Ok,.
C
Corning
administer
an
am
I,
just
it's
a
general
question
if
I
may,
which
is
given
the
the
this
order
today,
and
indeed
we'll
get
on
to
the
next
SSI,
relate
to
the
underlying
legislation
that
the
Parliament
passed,
okay,
which
provided
for
a
special
regime
to
facilitate
the
holding
of
the
UEFA
matches
in
Glasgow.
What
if
the
matches
are
postponed
or
don't
go
ahead
at
all?
Presumably
then,
the
legislation,
the
underlying
principle
legislation,
is
not
triggered,
which
would
mean
this
order.
B
Important
question
in
terms
of
implementation
of
both
the
primary
and
the
secondary
legislation
intended
to
say
something
more
on
the
coronavirus
in
in
my
opening
statement
on
the
next
regulations.
So
I
will
say
that
in
due
course,
however,
I
would
I
would
say
that
if,
if
there
were
to
be
a
cancellation-
and
there
is
no
decision
made
in
that
vein-
a
present-
we
are
proceeding
on
the
basis
that
the
tournament
will
go
ahead
and
and
a
Glasgow
will
host
a
match
he's
allocated.
B
D
As
you
see,
I
think
it
would
depend
what
the
possession
was
so
I
think
if
the
event
were
severely
and
really
enjoyed
Efrain
date.
That
would
have
implications
in
terms
of
the
championship
period
which,
as
you've
said,
is
specified
in
the
act
and
I
think
it
would
still
be
helpful
to
have
the
jacket
tying
offense
and
force
and
because,
after
the
championship
was
being
arranged,
that
could
still
be
ticket
toting
of
match
tickets
happening
during
that
time
period.
But
it's
certainly
something
we
would
need
to
consider
further.
A
E
You
know
just
it
say
on
the
issue
of
the
the
ticket
shouting,
so
they
can
be
nasty
question
the
garden
the
relevant
you
CH
are,
but
you
stated
earlier,
manna
stole
the
garden
and
you
quoted
the
fall
and
fall
of
consideration.
It
can.
What
was
the
trigger
point?
What
was
the
thing
that
heart
and
the
happened,
or
was
highlighted
to
the
government?
To
actually
then
instigate
this
forum?
Consolidation
has
changed
so.
B
I
said,
as
a
committee
will
be
aware,
there's
a
process
after
Parliament
passes
legislation
when
the
Lord
Advocate
considers
the
legislation
passed,
and
at
that
point
it
became
clear
to
to
us
that
a
from
that
further
consideration
that
the
decision
section
3
of
the
Act
was
wasn't
not
compatible
with
ECHR
and
we
know
and
that
swift
action
was
required
and
I
I
and
my
officials
took
the
action
as
as
quickly
as
possible.
So.
E
A
F
F
D
G
F
F
G
I
mean
I
think
the
purpose
of
that
is
so
that
when
I,
when
primary
legislation
is
introduced
to
the
Parliament
polymers
an
opportunity
to
debate
the
the
champion
which
is
introduced
and
consider
whether
those
there
are
there
any
issues
of
human
rights
or
other
issues
of
competence
with
it.
And
then
it
there's
a
separate
stage
at
the
end
of
a
bill
for
it
to
be
considered.
A
H
A
convener
I
just
wondered
that
I
accept
this.
Amendment
was
unanimously
supported
and
it
had
very
good
intentions.
I
just
wondered
on
just
a
point
of
practice
before
the
Scottish
government
supports
amendments
I'm,
you
know
it
does.
Does
someone
look
from
a
legal
point
of
view
and
and
decide
whether
or
not
they're
compatible
so.
B
Of
course,
we
do
and
our
legal
division
have
over
say
over
all
amendments
that
the
Scottish
common
brains-
this
was
a
Scottish
government
amendment
that
was
brought
to
this
committee
to
reflect
the
position
raised
by
the
committee
which
the
Scottish
Government
was.
It
was
agreed
on
that
an
exception
should
be
made
for
for
charity
auctions
from
ticket
tithing
offence.
B
B
H
A
H
A
I
B
I
You
clear
and
thank
you,
convener
offices,
degree
of
uncertainty
about
the
championship
at
the
moment
and
I
do
appreciate.
Lemon
also
describes
as
swift
action,
but
the
60-day
period
for
consultation,
followed
by
forty
days
for
an
for
affirmative
procedure.
Does
that
mean
the
legislation?
The
remedial
order
won't
be
effective
until
around
mid-june
and
do
you
expect
any
impact
from
that
either
for
Scottish
charities
or
the
other
countries
charities
which
I
brought
under
the
media
ordered?
Would
that
have
an
impact
on
the
Scottish
Charles
since
you
want
to
auction
tickets
before,
let
you
know
the.
B
The
the
ticket
tote,
an
offense,
will
not
be
brought
in
until
this.
This
has
been
corrected,
so
the
the
period
for
comments
as
I
said
ends
on
the
20th
of
April,
and
then
we
realistically
expect
to
bring
the
the
both
the
offense
and
with
the
or
the
order
in
in
in
met
me,
which
is
the
time
when
you
fr,
are
anticip
issuing
the
tickets.
So
we're
seeking
to
to
make
sure
that
the
both
the
correction
and
an
effective
offense
are
in
place
for
that.
For
that
point,
the
suit
you
want
to
come
on.
D
So
absolutely
I
said
a
standard
affirmative
procedure
would
be
a
further
40
days.
I
think
what
we
have.
What
we
begin
to
do
is
work
with
Parliament
to
see
whether
it
is
possible
to
expedite
that
process
and
so
that
the
offense
can
come
in
sooner,
but
obviously
that
would
be
subject
to
working
with
Parliament
on
that
and
you'd
want
to
bring
no.
I
D
D
But
of
course
we
are
also
working
to
put
out
messaging
there,
people
that,
if
people
where
to
buy
tickets,
although
the
offence
as
an
enforce,
they
wouldn't
be
committing
an
offense,
but
it
wouldn't
be
wise
to
do
so
because
they
would
be
likely
to
be
refused
the
entry
at
the
stadium.
So
we
think
that
that
old
discourage,
hopefully
people
from
buying
tickets
and
the
interim
period
before
the
offence
is
enforced.
But
as
I
say,
the
tickets
are
not
available
yet
UEFA
hasn't
says
it
wouldn't
distribute
them.
Until
the
end
of
me.
E
Clementa,
thank
you.
Just
listen
just
mentioned
there
about
working
with
the
Parliament
to
try
to
introduce
this
quicker,
better
sitting
there
for
that
discussions
are
underway
with
a
bit
of
setting
officers,
office
and
others,
and
to
teach
item
it
has
happened
is
a
Marcin
equation
is
also
certainly
delegated
powers
in
a
committee.
A
loss
of
us,
although
that
come
to
our
committee
a
couple
weeks
ago
and
and
this
particular
issue
wasn't
raised
as
a
as
an
ad
of
conceal.
D
A
B
A
B
But
we
have
made
clear
in
the
messaging
that
we
have
been
saying
it
to
stakeholders
that
tickets
are
non-transferable
and
therefore
people
buying,
30
tickets
may
be
refused
entry
and
I
think
this
will
help
deter
people
from
buying
30
tickets.
But,
as
I
said
also,
we
are
through
this
order.
Seeking
to
remedy
the
issue
with
echr
in
terms
of
section
3
is
as
quickly
as
possible
in
order
and
working
with
the
parliament
in
order
to
be
able
to
bring
the
offense
in
as
close
to
and
seeking
to.
A
I
I
J
B
D
A
Right:
okay,
thank
you
very
much
and
we
now
move
to
agenda
item
2
and
agenda
item.
2
is
consideration
of
the
draft
year
for
European
Championship
trading,
an
advertising
Scotland
regulations,
2020
the
Minister
for
public
finance
and
migration
answers.
Officials
are
also
in
attendance
for
this
item.
Members
should
note
that
the
regulations
are
lead
under
the
affirmative
procedure,
which
means
the
Parliament
must
have
proved
them
before
the
provisions
can
come
into
force.
A
B
You
can
be
nervous
just
on
the
first
instance
in
terms
of
the
impact
on
Euro
2020.
With
regard
to
the
coronavirus
just
like
to
state
to
the
committee
that
invite
advice
in
relation
to
major
sporting
and
cultural
events,
another
massive
mass
gatherings
will
continue
to
be
guided
by
expert
scientific
advice
event.
Partners
for
UEFA
Euro
2020
in
Scotland
are
in
regular
dialogue
with
us
in
the
Scottish,
Government
and
others.
B
The
official
statement
from
UEFA
at
the
moment
is
that
UEFA
is
in
touch
with
the
relevant
international
local
authorities
regarding
coronavirus
and
its
development,
and
for
the
moment
there's
no
need
to
change
anything
in
the
planned
timetable.
The
issue
will
be
kept
under
constant
scrutiny
and
in
the
Scottish
Government.
Of
course,
we
continue
to
evaluate
the
situation
and
the
cabinet
secretary
for
health
and
sport
role
of
the
Parliament
again
later.
Today.
B
All
of
that
considered,
we
are
continuing
to
to
proceed
on
the
basis
that
UEFA
Euro
2020
all
going
ahead,
promises
to
be
a
unique
and
spectacular
event
with
12
cities
and
countries
co-hosting
the
championship
for
the
first
time
in
its
60-year
history
and
the
benefits
of
bringing
the
third
biggest
sporting
tournament
in
the
world
to
Scotland
will
be
significant,
not
just
for
our
economy,
but
for
our
international
reputation
subject
to
parliamentary
approval.
The
trading
and
advertising
regulations
will
help
ensure
successful
delivery
of
the
championship
by
meeting
ufs
requirement
for
the
protection
of
commercial
rates.
B
These
regulations
provide
of
the
trading
and
advertising
offences
and
provide
details
of
the
trading
and
advertising
offenses
and
importantly,
exceptions
to
these
offences.
Maps
and
dates
of
the
operation
of
the
event
zones
are
also
included
in
the
regulations
when
considered
in
these
regulations,
a
proportionate
approach
was
taken
to
ensure
the
right
balance
between
minimizing
any
negative
impacts
on
local
businesses
and
allowing
them
to
take
advantage
of
the
economic
opportunity
the
championship
represents,
while
protecting
rates
of
UEFA
and
event
sponsors
who
have
often
invested
significant
funds,
the
rate
to
be
associated
with
the
tournament.
B
This
balance
has
been
achieved,
for
example,
by
limiting
the
number
of
events,
owns
the
three
minimizing
the
size
of
these
zones
and
creating
a
number
of
exceptions
to
the
advertising
entry
trading
restrictions.
The
regulations
are,
in
the
main,
consistent
with
illustrative
regulations
that
I
shared
with
the
committee
in
October,
which
were
in
turn
based
on
the
equivalent
Glasgow
Commonwealth
Games
regulations.
B
The
illustrative
regulations
were
also
shared
with
our
event:
partner
squad
for
city
council,
police,
Scotland,
the
Scottish,
FA
and
UEFA,
as
well
as
a
number
of
other
key
stakeholders,
including
the
advertising
Association
at
the
Police
Federation
football
supporters
and
community
groups.
We're
grateful
to
these
partners
who
have
helped
shape
the
draft
regulations
and
periods
of
restriction.
Indeed,
suggestions
from
this
committee
to
include
exceptions
for
busking
and
charity
collections
have
been
welcomed
and
incorporated.
B
I
believe
that
the
UEFA
European
Championship
trading
and
advertising
score
on
regulations
2020
strike
an
appropriate
balance
between
allowing
normal
business
activity
can
to
continue
as
far
as
possible,
while
protecting
the
rates
of
UEFA
and
event
sponsors
subject
to
parliamentary
approval.
Confirmation
of
the
regulations
will
allow
Glasgow
City
Council
to
proceed
with
publication
of
guidance.
Another
key
milestone
and
raising
awareness
of
restrictions
among
businesses
and
traders
ahead
of
the
championship
and
ensuring
a
successful
event,
delivery.
I
look
forward
to
answering
any
questions
that
the
committee
may
have
on
these
regulations.
Thank.
A
You
very
much
for
that
and
I've
got
a
couple
questions
to
open
with
and
if
you
could
maybe
say
anything
more
about
any
feedback
you
might
have
had
from
businesses
or
the
illustrative
regulations
that
were
published
during
the
passage
of
the
Act
and
I'd,
also
like
to
reiterate
in
the
committee's
welcome
for
the
exemption
for
busking,
which
was
highlighted
during
the
parliamentary
process.
The
exemption
for
charity
workers
is
not
as
clear-cut
as
the
exemption
for
bhaskar's
regulation
for
and
goods.
A
This
is
a
treating
activity
which
is
to
be
restricted
and
the
policy
notes
and
policy
note
states
that
is
expected
that
certain
charity
collectors
will
be
permitted
to
collectin
event
zones
in
a
controlled
way
to
manage
numbers
and
I
just
wondered
whether
you
could
tell
us
who
will
determine
which
charity
workers
are
permitted
to
operate
and
how
they
will
decide
for
what
constitutes
operating
in
a
controlled
way.
Thank.
B
You
convener,
so,
yes,
there
has
been
a
feedback.
We
received
feedback
about,
for
example,
how
much
advertising
and
trading
would
be
affected
by
the
restrictions
and
potential
costs
to
businesses.
However,
we
also
heard
from
some
businesses
that
the
impact
of
the
charges
was
likely
to
be
minimal.
The
changes,
rather,
the
changes
was
likely
to
be
minimal,
for
example,
hotels,
and
we
received
feedback
from
the
advertising
Association
who
leased.
B
Considerable
correspondence
with
officials
who
shared
a
few
manor
comments
from
its
members,
but
nothing
too
extensive.
Overall,
the
feedback
has
been
that
the
exceptions
are
welcomed,
that
the
impact
will
be
proportionate
and
that
there's
been
lots.
Lots
of
engagement
with
a
variety
of
stakeholders,
as
I
mentioned
in
my
opening
statements,
who
received
good
feedback
and
that
has
been
considered
as
as
these
regulations
have
been
refined
in
terms
of
the
charity
workers.
B
Any
charity
collector
who
has
been
granted
permission
by
Glasgow
City
Council
under
the
Civic
government,
Scott
on
that
1982
will
be
allowed
to
collect
within
the
three
zones.
Glasgow
City
Council
will
manage
the
number
of
charity
collectors
in
all
zones
through
this
permission
process,
and
we
understand
from
the
council
that
some
charities
have
begun
to
make
contact
about
collections
during
Euro
2020
already.
Okay,.
C
You
know
I'm
turning
to
the
the
three
zones,
so
Marin
City
Hampton,
Park,
George
Square
I
am
I
just
wondered
following
the
act
itself
receiving
rather
sent.
What
engagement
has
there
been
on
the
part
of
the
Scottish
government
or,
if
you're
aware
of
Cosmos
it
accounts
for
classical
life
with
which
was
situated
within
these
three
zones
has
have
been
further
engagement
with
these
businesses,
like.
B
To
thank
you
important
question
when
we
discussed
in
in
the
process
of
the
bill
as
well
about
making
sure
that
we
we
spoke
to
those
who'd
be
affected.
There
was
significant
engagement
has
taken
place
over
over
several
months.
There
have
been
two
drop-in
sessions
held
earlier
this
week
on
the
10th
and
the
11th
of
March
at
Hampden
Park
Glasgow
City
Chambers,
to
seek
views
on
Glasgow,
City
Council's
draft
guidance
which
is
being
drafted
to
provide
details
of
the
regulations
to
businesses,
traders
and
advertising
associations.
B
This
also
provided
an
opportunity
to
ask
questions
about
the
restrictions
invitations
to
attend.
These
sessions
were
sent
to
elected
members
in
the
understand
city,
York,
Co
and
lying
side
wards,
Marin,
City
and
raangi,
and
my
florida
community
councils
selected
publications,
make
clubs
selected
media
inventory,
owners,
businesses
in
your
square
emergency
and
London
Park
vicinities
and
75
Street
traders
as
well.
B
Both
static
and
move-out
license
holders,
so
significant
engagement,
a
contact
point
was
provided
for
these
businesses
that
could
not
for
these
businesses
and
for
businesses
that
could
not
attend
so
there
any
further
questions
can
be
considered
and
the
Scottish
Government
also
updated.
Stakeholders
such
as
the
advertising,
Association
and
football
fan
groups
when
the
trading
and
advertising
regulations
were
laid
to
ensure
that
they
were
kept
informed
of
the
process.
So
significant
engagement
and
absolutely.
C
A
very
significant
deed,
I,
just
wonder
if
you're
in
a
position
to
update
us
on
the
alternative
arrangements
for
the
street
traders
who
would
normally
operate
within
those
zones
and
indeed
time
any
payments
will
be
available.
And
if
you
don't
have
that
information
to
hand,
it
would
be
helpful
if
you
could
know
in
writing
the.
B
So
there
has
been
in
engagement,
including
the
this
week,
so
and
some
traders
only
operate
within
the
Hampton
Park
campus
and
there
is
no
permitted
trading
within
George
Square
and
on
Marin,
City
and
so
Glasgow
Council
has
updated
us
on
the
number
of
current
licenses
in
the
Hampden
Park
zone.
There
are
currently
75
g
CC
license
holders
in
this
area.
B
The
council
previously
indicated
113
licenses
in
august
2019
and
in
addition,
police
Scotland
has
indicated
that
there
are
around
23
peddlers
licenses
which
allowed
traders
to
operate
in
this
area,
so
it,
but
it
is
for
a
Glasgow
City
Council
to
make
the
offer
to
the
affected
traders.
That
was
what
we
put
in
the
premier
legislation
and
we
passed
together.
So
we
look
forward
to
Glasgow
City
Council
doing
that
in
due
course.
Okay.
I
I
B
Donate
sits.
We
were
had
absurd,
significant
discussion
on
this
I'll
bring
officials
and
in
a
moment,
but
the
of
course
one
of
the
things
we
were
very
determined
to
do
is
make
sure
that
we
had
exceptions
as
possible
within
Ness
that
would,
with
regard
to
product
categories,
so
that
product
categories
that
are
are
not
included
are
not
affected
by
by
by
the
director
by
the
offenses.
So
we've
tried
to
that's
part
of
our
proportionate
response.
Lucy,
do
you
want
to
see
any
more.
D
Not
a
huge
amount,
just
that
yes,
I
said
the
minister
says,
and
these
are
the
product
categories
that
were
suggested
by
UEFA
and
we've
obviously
engaged
with
ue4
just
to
make
sure
that
we're
clear
about
what
falls
under
them
and
that
there
are
as
clear
as
they
can
be
to
be
ported
in
them.
But
yes,
they
are
you
EFA's
categories,
cuz.
I
There
are
quite
odd
some
of
them
fridges
and
freezers
and
associated
parts
for
motor
vehicles,
and
that's
fine.
If
that's
the
other
thing
I
was
gonna,
ask
about
was
when
we
took
evidence
on
the
bail
at
the
time
when
we
talked
about
ticket
toting
and
then
a
degree
of
frustration
that
we
can
only
give
a
limited
period
of
the
legislation.
We
can't
produce
a
comprehensive
ticket,
toting
legislation
and
part
of
that
is
because
some
extras
deserved
and
devolved
responsibilities.
I
B
There
hasn't
been
further
consideration
of
that
at
this
point,
but
of
but
of
course,
I
did
commit
to
that
within
the
process
and
I
think
it's
something
that
we
should
consider
in
terms
of
future
events
and
and
seeking
if
we
can
to
do
things
and
if
it's
right
to
do
things
in
a
more
comprehensive
manner,
a
responsibility
for
this
at
ministerial
level,
a
sits
with
the
cabinet
secretary
for
the
economy,
fair
work
and
culture.
She
leads
for
the
government.
B
A
Thank
you,
okay.
Thank
you
very
much.
Any
other
members
wish
to
ask
a
question.
Okay,
we
now
move
to
agenda
item
3,
which
is
the
formal
consideration
of
motion
s
5
a.m.
to
1
1
1
8,
calling
for
the
culture,
tourism,
europe
and
external
affairs
committee
to
recommend
approval
of
the
draft
UEFA
European,
Championship
trading
and
advertising
Scotland
regulations,
2020
and
I
would
remain
members.
The
only
the
minister
and
members
may
speak
in
this
debate
and
I
invite
the
minister
to
speak
and
to
move
this
motion
formally.
A
A
K
At
the
hip
now,
thank
you
very
much
good
morning.
Everyone,
it's
lovely
to
be
here
and
first
I'm,
very
much
like
to
thank
the
committee
for
inviting
us
to
give
evidence
this
morning.
David
and
I
are
really
ambitious
for
Scotland
and
are
working
at
production
speed
to
ensure
that
we
seize
the
opportunities.
The
committee
will
be
aware
that
this
is
a
boom
time
for
global
production,
fueled
by
the
rise
of
the
streaming
platforms
and
an
insatiable
appetite
for
high-quality
content,
whether
on
TV
or
cinema
screens.
K
Now
is
indeed
the
time
to
be
developing
Scottish
companies,
writers,
directors,
producers
and
crew
in
order
to
participate
in
this
boom
and
ensuring
that
Scottish,
led
content
has
its
place
on
those
screens.
Working
as
a
partnership
allows
us
to
do
more
and
faster
screen.
Scotland
draws
upon
the
valuable
expertise
within
Scottish
Enterprise,
Highlands
and
Islands
Enterprise
Scottish
funding,
capsule
and
skills
development
Scotland
based
at
creative
Scotland.
We
benefit
from
the
organisation
wide
support
services,
the
complementary
expertise
from
our
colleagues
in
the
arts
and
creative
industry
teams,
as
well
as
stellar
strategic
leadership
from
Ian
Monroe.
K
We
operate
through
continual
engagement
with
a
sector
and
the
wider
markets,
and
our
support
and
interventions
respond
to
current
needs.
We
are
conscious
that
as
a
young
developing
organization,
we
have
been
building
our
own
expertise
and
skills
within
the
new
team
evolving.
The
way
we
are
organized
with
more
specialist
roles,
we
are
growing
to
become
a
well
resourced
expert,
LED,
specialist
screen
development
body,
augmented
by
the
expertise
and
specialist
advice
available
through
our
partner
agencies
and
supported
by
the
expertise
and
leadership
of
creative
Scotland.
K
We're
looking
forward
to
telling
you
about
the
many
achievements
towards
our
objectives.
Since
we
last
met
and
to
be
able
to
report
strong
progress
on
the
studio
in
the
port
of
Leith,
we
were
delighted
to
be
able
to
announce
the
appointment
of
first-date
Studios
to
run
the
studio
which
is
now
available
and
functioning
as
a
production
facility.
This
is
a
hugely
significant
milestone.
Growing
capacity
beyond
that
of
our
existing
exists
to
do
facilities
and
infrastructure
across
Scotland.
K
A
You
very
much
as
well
and
can
can
I
say
that
the
committee
also
welcomes
the
progress
in
terms
of
the
announcement
this
week
about
the
studio
in
in
the
port
of
leases,
as
we
called
for
the
studio
in
a
report.
So
we're
very
pleased
that
that
announcement
has
been
made.
Can
you
tell
us
a
little
bit
more
about
the
background
to
the
site
selection
process
and
the
rationale
for
picking
Paramus
as
the
national
Scottish
studios,
and
can
you
also
tell
us
why
the
announcement
was
made
this
week?
Certainly.
K
And
so
indeed,
the
committee
called
for
the
studio
and
I
think
it's
fair
to
say
that
everyone
has
recognized
that
the
metre
grow
capacity
was
going
to
be
a
priority
for
Scotland
in
building
growth
and
the
site
was
selected
after
frankly,
a
fingertip
search
of
Scotland
to
find
a
facility
that
met
the
requirements
of
studios.
And
there
are
a
number
of
factors
involved
in
that
and
it's
to
do
with
a
spec.
K
The
specification
of
the
building
itself,
needing
as
it
does
to
respond
to
the
size
and
height
of
particular
buildings
that
required
for
those
large
scale
productions
that
we
know
that
we
need
to
attract,
and
it's
also
to
do
with
the
proximity
to
rail
and
transport
links
and
and
indeed
to
location
sites
which
tend
to
complement
this
kind
of
a
large
scale.
Film
studio
and
high-end
TV
series
that
once
one
sees
a
day
on
on
many
of
those
channels,
our
team
at
the
screen
Commission
looked
across
Scotland.
K
They
looked
on
the
west
coast
on
the
east
coast
and,
frankly,
on
discovery
of
the
site
in
leaf,
and
it
was
clear
that
this
was
a
real
gift
to
Scotland
and
that
the
building
is
so
much
more
than
your
average
distribution
warehouse,
which
have
been
the
backbone
of
many
conversions
across
the
UK.
This
is
a
very
exceptionally
robust
structure
and
it
has
incredible
dimensions
and
it's
in
a
site
that
not
only
responds
to
all
those
other
requirements
around
proximity
to
travel
and
transport
links
with
the
proximity
of
crew,
but
it
also
has
around
it.
K
The
space
for
further
development
and
I
think
it's
fair
to
say
that
we're
all
very
excited
about
the
further
possibilities
of
creating
our
creative
cluster
or
hub
to
respond
to
that
additional
great
that
the
studio
will
bring,
and
we
are
certainly
mindful
and
if
indeed
the
search
continues
for
further
sites.
We're
aware
that
high-end,
TV
and
film,
you
know,
there's
large-scale
productions,
aren't
the
only
type
of
production.
K
And
but
we
certainly
felt
that
this
was
the
site
and
it
came
out
of
a
report
that
did
an
option
appraisal
on
a
number
of
sites
bought
down
onto,
and
there
was
a
five
stage
process
of
five
stage
business
case
that
looked
at
all
the
economic
and
strategic
factors
that,
in
the
end,
made
it
a
clear
winner.
Thank.
A
You
very
much
and
you'll
be
aware
that
we
took
evidence
from
stakeholders
in
the
industry
last
week
and
one
of
the
things
that
they
were
seeing
was
that
the
location
in
Leith
was
an
optimal
in
terms
of
getting
crews,
because
most
of
the
crews
were
based
in
Glasgow.
Would
you
like
to
specifically
respond
to
that
point?.
K
Excuse
it's
good
to
have
an
opportunity
to
respond
to
that.
I
mean
it's
certainly
true,
that
65%
of
the
crew
bases
on
the
west
coast,
which
leaves
35%
on
the
East,
Coast
and
I,
think
it's
fair
to
say
that
we
as
screen
Scotland,
are
here
as
a
Scottish
agency,
and
we
know
very
well
that
the
ability
of
Scotland
to
take
advantage
of
that
space
is
also
going
to
be
reliant
upon
our
ability
to
grow
our
skills
base.
K
K
Looking
at
the
way
in
which
we
were
able
to
build
skills
programs
across
the
last
five
in
our
sixth
series
of
outlander
to
grow
skills
through
the
production
process
itself,
we
know
that
that's
the
way
in
which
crews
will
develop
and
progress
is
through
doing,
and
that
really
is
the
most
effective
way
of
growing
our
skills
base.
In
addition,
we
do
believe
that
there
are
very
strong
transport
links,
so
that's
another
reason
why
we
feel
that
it
won't
be
impossible
for
many
crews
to
come
and
work
from
the
west
coast.
K
We
know
that
we
have
World
Cross,
Plus
crews,
heads
of
department,
directors
and
writers,
they're,
not
all
living
in
Scotland
right
now,
because
they
haven't
been
able
to
build
as
a
single
career
here
they
are
very
excited
about
the
possibilities
of
bringing
more
production
into
Scotland
that
will
allow
them
to
come
home
and
we're
aware
that
35
percent
of
the
crew
on
Game
of
Thrones
came
from
Scotland.
Let's
have
them
back.
K
Yes,
indeed,
and
so
the
studio
is
a
fully
functioning
production
facility
right
now
and
productions
are
looking
at
it,
as
is
the
screen.
Scotland
has
put
a
million
pounds
towards
the
initial
refurbishment
of
the
building
and
the
setup
and
running
costs
of
that
building
and,
as
I
mentioned,
it's
a
very
robust
structure,
but
it
has
been
left
empty
for
15
years.
K
We
think
indeed,
I
mean
I
speak
for
the
operators,
but
it'd
be
very
nice
to
hand
over
to
the
operators
now
that
they
will
be
looking
at
what
those
clients
require
and
we'll
work
with
the
grain
of
those
that
client
needs
as
and
market
forces
as
those
projects
progress
and
there
will
be
private
money
coming
into
it
and
we
stand
ready.
We
have
a
plan,
if
necessary,
to
put
further
public
support
into
that
alongside
private
funding.
Okay,.
K
Yes,
I
mean
deed.
The
the
eventual
plan
for
now
is
that
there
will
be
five
sound
stages.
There
are
certainly
discreet
spaces
right
now,
so
it's
certainly
true
that
and
dependent
on
the
scale
of
the
productions.
Many
productions,
many
a
handful
or
a
small
number-
could
could
use
it
and
cohabit
at
any
given
time
and
in
addition
to
the
stage
space
itself,
we
have
twenty-seven
thousand
square
feet
of
office
space
and
production
workshop
space
as
well,
so
it's
possible
that
something
could
be
shooting
while
something
else
is
constructing.
Yes,
it's
that's
I'm.
K
I'm
sorry
I
can't
for
now,
because
we
we
have
a
number
of
clients,
who've
expressed
a
strong
interest,
but
we
would
always
be
beholden
to
the
confidentiality
around
these
productions,
but
we're
very
excited
about
what
we
will
be
able
to
announce.
I
think
we
all
know
that
that's
going
to
be
the
next
major
milestone,
that's
and
it's
to
see
a
large
production
in
that
building.
When.
K
K
A
J
Thanks
very
much
convener
and
good
morning
panel.
It's
just
a
bit.
That's
the
issue
of
this
studio
because
they
actually
pointed
out
yourself
65%
of
the
career
in
the
westerns,
already
a
strong
economic
focus
on
Aidan,
but
as
I
push
the
west
of
scorn.
So
of
course
increase
that.
But
it
will
only
increase
the
kind
of
same
the
kind
of
em
the
focus
on
Aidan.
J
It
seems
to
me
your
petrol
and
us,
and
these
big
once
once
a
lifetime
tape,
productions
or
once
a
year
productions
whatever
rather
than
indigenous
companies,
because
what
we
have
very
strongly
in
evidence
last
week
was
a
real
difficulty
and
small
indigenous
Scottish
companies
getting
started.
So
how
will
skin
Scott,
given
the
decisions
already
made
and
leaf
em
support?
Scottish
indigenous
companies
from
the
West
and
elsewhere
to
be
able
to
make
full
use
of
that
leaf?
J
Should
you're,
given
the
cost
of
crew
from
the
West,
because
I
don't
Patel,
they
want
all
the
crew
to
move
to
the
east
and
I.
Don't
think
many
Macaulay's
well
either
and
and
address
issues
such
as
that
the
team
actually
takes
to
travel
through
oh
yeah
holy
square
that
economic
circle,
because
that's
a
real
issue,
I
think.
L
There's
a
couple
of
things
some
packing
off:
that
one
is
the
fact
that
this
is
a
an
opportunity
in
Leith,
but
it's
not
an
opportunity
opportunity.
Just
read:
Indra
attaches
the
borders
that
eluvians
to
Fife
and
there
is
a
substantial
crew
base
across
those
areas.
They
do
travel
to
Glasgow
regularly
for
work
currently
and
won't
require
to
do
that.
L
At
the
same
point,
they
there
has
been
some
discussion
about
the
need
for
overnight
payments
to
be
made
for
people
coming
from
the
west
coast
to
the
east
coast,
as
evidenced
it
was
presented
last
week
that
doesn't
happen
in
Reverse,
the
crew
travelling
from
Edinburgh
and
the
Lothians
and
the
borders
to
Glasgow.
Do
you
know,
get
overnights
for
travelling
to
their
work
base
in
Glasgow?
Currently
so
there
is,
there
is
a
mobile,
a
work
more
workforce
across
Scotland.
You
also
the
currently
kind
of
companies
that
you
correct
and
point
out.
L
The
kind
of
companies
that
will
access
Leith
generally
are
gonna,
be
larger,
but
not
exclusively.
There
are
potentially
five
stages
there
there's
a
radiation
of
Sighs,
so
different
companies,
different
productions
can
access.
At
the
same
time.
We
also
have
you
know
a
range
of
a
studio
facilities
across
Scotland
I
joined
skinned
Scotland
in
November
from
industry.
This
is
the
my
third
month
on
the
job.
L
I
was
really
fortunate
in
the
first
week
to
kind
of
have
a
tour
with
visitors
from
the
states
to
Ward
Park
to
the
pyramids
in
Bathgate
and
to
bath
roads
and
password
was
exponentially
better
bigger
than
the
other
facilities,
because
it's
it
just
as
a
unique
shed.
It's
not
replicated
for
whenever
do
it
anywhere
else,
and
if
we
want
to
track
those
productions,
those
bigger
large-scale
productions
into
Scotland,
that's
the
best
building
for
those.
But
it's
not
the
only
option.
L
War
park
is
fully
occupied
at
the
moment
by
sony,
and
we
expect
that
will
continue,
but
there's
a
facility
there
are
other
facilities
were
looking
at
within
Glasgow
and
the
surrounding
area.
I
have
meetings
next
week
with
potentially
meetings
next
week
with
people
coming
from
outside
of
Scotland
to
view
different
sites
across
Glasgow
for
different
sizes
and
shapes
of
productions.
Shiny
floors
shows,
as
we
call
them.
L
Entertainment
shows
don't
require
something
as
big
as
Leith
and
there
are
spaces
across
Scotland
that
could
be
utilized,
so
we're
looking
at
that
we're
looking
at
different
solutions
for
different
productions
and
different
levels
of
company.
It's
also
not
I.
Think
part
of
your
question
from
memory
was
about
the
do.
We
support
smaller
companies
and
we
support
every
size
of
company
and
I
was
really
intrigued
by
some
of
the
evidence
last
week
talking
about
the
the
high
growth
and
we
go
for
high
growth
and-
and
that's
just
simply
not
the
case.
L
High
growth
is
part
of
our
strategy,
but
it's
not
all
of
our
strategy.
I'm.
Actually,
production
is
part
of
a
strategy,
but
it's
not
all
of
our
strategy
and
if
you
look
at
the
it
can
have
range
of
companies
even
support
through
sometimes
broadcast
content
fund,
which
is
a
fund
erected
as
a
strategic
aim
to
double
the
turnover
for
the
sector
and
in
Scotland.
L
If
you
look
at
the
range
of
companies,
I
can
list
them
haffley
a
source
productions,
sorbet
hallo,
hallo
glazing,
Griffin,
hopscotch,
two
rivers,
happy
north
Caledonian,
TV,
STV,
mera
media,
Montrose
pictures,
truth,
TV
and
film
run
by
Barbara
Tanvir
from
last
week
and
Arabella,
a
page
Croft
referenced
formally
in
fan
commission
that
she'd
recently
secured
that
was
supported
by
us
through
development.
We
helped
them
get
that
commission
and
we
were
supported
through
production.
I
mean.
J
kiler
said
it
would
could
cost
near
maybe
able
connectors
unless,
but
he
said
it
would
probably
cost
five
times
more
to
use
the
shared
use,
this
sort
of
user
for
the
studio
and
Leith,
and
it
may
be
to
just
a
high
and
I
shared
before
so
improve
walls
somewhere
else
in
Scotland.
So
I
think
that,
if
is
the
case,
then
that
clearly
will
mean
that
some
productions,
unless
they
have
financial
support
to
do
so,
will
not
be
able
to
use
the
leaf
that
Studios
us.
Perhaps
they
could
have
been
a
foremost
issue.
I.
K
Mean
if
I
may
respond
to
that
I
think
it's
just
simply
isn't
within
the
creative
process
of
most
indigenous
indigenous
productions,
by
which
I
mean
UK
productions
to
use
a
very
large
studio
facility.
Many
of
those
projects
will
prefer
to
use
smaller
spaces
that
are
closer
to
locations.
Indeed,
some
of
the
interiors
will
be
shot
on
location
because
it's
a
preference
of
those
productions.
So
it's
just
a
different
model
of
financing
and
I.
K
Don't
know
that
some
of
the
productions
that
indeed,
if
you
could
use
them
an
alternative
space,
that's
actually
sometimes
the
creative
choice
as
much
as
it's
a
budgetary
choice
as
well,
so
I
think
it's
horses
for
courses
honestly
and
I
think
this
David
has
outlined.
We
know
that
there
are
a
number
of
facilities.
We
know,
there's
more
great,
that's
needed,
I,
think
you're,
absolutely
right,
I
mean
I
I'm
very
struck
by
the
very
low
percentage
that
Scotland
represents
of
that
enormous
boom
right
now.
K
Their
figures
from
2019
across
the
UK
show
that
across
3.6
billion,
which
is
16
percent
growth
across
the
UK,
that's
an
in
know.
We
need
to
have
a
greater
market
share
of
that,
but
I
think
what
we're
talking
about
there
is
those
very
high
budget
productions.
Meanwhile,
the
number
behind
that
is
that
across
the
UK
independent
film
production
went
down
by
45%.
K
However,
in
Scotland
it
grew
so
we're
seeing
other
trends
come
through
at
the
same
time,
including
that
the
broadcaster's
are
making
good
their
commitment
to
their
quota,
so
that
8
percent
from
the
BBC
channel
for
having
a
50%
commitment
to
outside
of
London
is
translating
into
growth
in
the
indigenous
sector
in
Scotland.
We're
bucking
a
trend
in
that
which
I
think
is
really
interesting.
It's.
J
Only
0.7
percent
of
the
UK's
quotient
engines,
production,
which
is
given
with
eight
point
three
percent
Yuki's
populations.
Finally,
lastly,
because
I
know
those
are
people,
what
can
I
give
you?
Well
that's
well,
this
same
look
exactly.
Will
this
say
well
this
well,
this
lease:
should
you
will
it
be
able
to
be
fully
utilized
all
year
round
and
I
was,
do
you
have
not
the
capacity
in
the
studio,
but
do
you
have
the
productions
that
we'll
be
able
to
use
that
will?
J
L
Back
to
that
point,
I
want
to
respond
briefly
to
your
previous
comment.
I
spent
the
last
20
years
working
in
production,
I
think
I
was
in
Studios
twice
in
those
20
years
and
once
was
in
Beijing,
you
know
should
use,
are
not
the
be-all
and
end-all
of
production
within
Scotland.
There's
a
mass
of
factual,
say
a
sector
across
Scotland
there's
some
very
strong
documentary,
entertainment,
a
sector
that
has
grown
really
healthily
across
the
last
10
years,
so
studios
are
not
the
be-all
and
end-all.
There's
also
a
question
around
how
you
you're
right.
L
You
know
the
southeast
has
has
benefited
disproportionately
from
the
current
boom,
but
that's
because
they
have
the
sheds.
They
have
the
big
spaces.
That's
what
attracts
those
those
high-value
projects.
So
this
is
our
opportunity
to
capture
some
more
of
that
market.
That's
what
we
you
know
Isabel
in
particular,
it's
been
working
tirelessly
on
for
the
last
18
months,
so
it
we
are
aware
of
that
concern
this.
These
are
moves
to
address
that
concern,
but
you
also
have
to
then
think
about
the
figures
that
are
reported.
Currently,
you
know
I
think
I'd
mentioned
this.
L
Last
time
in
front
I
appeared
in
front
this
committee
with
a
different
hand,
you
know
the
figures
that
are
published
for
production
are
calculated
in
a
way
which
you
know
I
think
we
all
recognize
is
not
complete.
You
know
there
are
ways
of
looking
at
that.
The
value
of
screened
Scotland
that
I
haven't
been
currently
considered.
You
know
we
report
a
figure
of
between,
let's
say,
60
and
90
million
a
year
for
production
spend
that's
an
accurate
figure.
It
reflects
the
methods
being
the
the
methodology.
L
That's
been
adopted
up
tonight,
but
it
doesn't
reflect
off
the
screen
screen
activity
in
Scotland.
If
you
aggregate
all
the
public
service
broadcaster
activity
report
and
annual
reports
with
the
activity
we
record
through
the
film
Commission's
with
the
exhibition
sector,
for
which
we're
also
responsible,
you
quickly
get
a
figure,
that's
closer
to
well,
certainly
about
300
million,
potentially
heading
towards
half
a
billion.
So
there
are.
There
are
different
ways
of
looking
at
this.
We
one
of
the
the
workflows
that
we've
set
in
motion
since
just
before
I
joined,
is
what
is
the
methodology?
I
Thank
you,
convener
just
one
final
question
fossil
in
the
studio
and
the
announcement
was,
was
very
welcome.
It's
just
a
Viper
just
antonov,
so
the
operator
has
been
appointed
this
studio
or
the
space
was
already
used
for
Avengers
infinity
war.
It's
been
used
as
a
studio.
What
does
the
and
you're
putting
1
million
end,
which
I
think
will
pay
for
sanctify?
And
you
said
compliance
issues
so
I'm
trying
to
attend
to
what
the
added
value
of
bringing
in
operators,
governance
of
space
that's
already
been
used,
and
one
thing
I
think
we
discovered
from
a
did.
I
K
So
having
having
an
operator
who
can
move
forward
with
the
full
refurbishment,
so
in
fact
that
1
million
is
for
the
initial
refurbish
running,
cost
remedial
works
per
building
compliance,
etc.
It's
not
going
to
touch
soundproofing
as
yet.
The
building
itself
is
is
very
robust.
So,
as
you
say,
there
are
a
number
of
productions
that
are
looking
to
use
it
to
film
in
without
that
large-scale
refurbishment
that
we
fully
anticipate
will
come
further
down
the
line
but
tailor
to
the
client
demand,
as
that
demand
comes
in
and
having
the
expertise
of
the
commercial
sector.
K
So
Bob
last
producer
of
many
award-winning
films
and
indeed
has
a
wider
experience
in
the
creative
industries
and
notably
in
the
music
production
alongside
Jason
Connery,
he
was
a
filmmaker
himself
and
will
be
able
to
attract
that
private
investment.
They
know
how
to
talk
to
clients.
They
are
able
to
negotiate
rates
and
to
operate
as
an
actual
facility
as
opposed
to
a
build
space
on
a
one-off
basis.
I
K
Well,
well,
certainly,
you
know
they
will
be
in
the
driving
seat.
Absolutely
you
know.
This
is
something
that
has
been
facilitated
by
his
screen
Scotland,
but
it
was
always
the
intention,
of
course,
through
the
tender
process,
to
find
a
private
sector
opera
like
all
studios
in
the
end,
this
is,
it
will
be
driven
by
the
private
sector,
and
so
you
know
going
forward
I'm
sure
that
that
would
be
the
the
way
in
which
you
know
they'll
be
able
to
come
forward
and.
L
I
Thank
you,
the
paper
that
you
provided
to
us.
It
does
talk
about
total
production
spend
and
there
was
a
zobelle.
You
talked
about
it
being
a
boom
time,
but
it
does
report
that
production
is
burned
in
2018-19
as
estimated
at
67
million,
which
is
a
decline
on
the
previous
year's
estimate.
Why
has
yes.
K
Indeed,
so
one
way:
well,
let
me
say
this
films,
a
really
lumpy
business.
It's
one
or
two
productions
can
make
a
really
big
difference
and
I.
Think
what
we
see
in
the
previous
year
is
two
locally
driven
films
that
had
to
be
made
in
Scotland,
so
that
was
transporting
to
and
out
looking
both
with
very
high
budgets
that
were
made
in
Scotland.
They
both
used
alternative
space
because
there
wasn't
a
studio
because
they
really
had
to
be
sited
in
Scotland,
and
we
also
had
adventures
in
that
year
as
well.
K
I
Strategy
and
there's
been
some
talk
about
availability
and
we're
curious
base
and
the
fact
a
lot
of
crew
leaves
Scotland
to
work
elsewhere,
and
how
do
you
read
weird?
It
will
be
out
with
a
skill
strategy.
There's
obviously
I
need
to
build
capacity
within
the
sector.
When
are
we
going
to
see
the
skill
strategy
so.
L
I
joined
three
months
ago
across
that
that
period
I
would
have
met,
estimate
that
roughly
40%
of
my
work
has
been
dedicated
in
skills,
development
programs
and
we
work
continuously
with
our
partners,
both
our
enterprise
partners,
Highlands
lands
and
Enterprise
and
Scottish
enterprises,
but
also
skills
development
Scotland
to
develop
the
strategy,
and
it
is
in
a
state
where
I
would
hope
that
we
will
publish
it
with
summer
at
the
same
point.
That
has
not
stopped
the
work
from
progressing,
so
you
know,
while
we
we
refine
the
strategy.
L
While
we
publish
various
papers,
we
are
constantly
kind
of
dealing
with
a
requests
both
of
them
under
the
EMA
used
with
the
BBC,
but
also
independent
of
that
so
I
good
example.
I
think
is
the
Outlander
training
program,
so
I
want
to
began
filming
in
Scotland
in
2014
and
Scott
a
screen
Scotland,
Islander
and
screen
skills,
which
is
the
national
body
for
skills,
have
co-funded
a
traineeship
program
across
all
departments,
including
camera
costume
design,
assistant
director,
art
department
effects
in
production.
Approximately
20
trainees
a
year
goes
through
that
program.
L
The
impacts
are
wider
than
that,
though,
that
the
interviewer
roughly
a
hundred
people
a
year
so
off
those
that
don't
go
into
the
training
program.
Many
are
offered
a
contracts
and
some
are
offered
larger,
larger
scale
contracts.
Almost
everybody
or
the
majority
of
applicants
are
also
offered
access
to
the
training
courses.
L
They
don't
mess
it
in
them,
but
they're
able
to
attend
lectures
and
hear
what's
going
on
we're
currently
advertising
for
a
range
of
rules
for
the
upcoming
seasons
within
a
islander,
so
we're
looking
for
production,
design
concept,
art,
plastering,
painting,
costume
locations
and
it's
those
practical
skills
that
we're
gonna
have
to
look
to
develop
it
within
the
East
Coast
as
well.
As
you
know,
across
all
of
Scotland
for
Leith.
That's
one
example
of
many.
If
you
look
outside
that,
the
descripted
area
and
unscripted,
we
work
with
TRC,
which
was
a
former.
L
It's
at
a
charity
previously
originally
formed
by
channel
4,
with
a
focus
on
kind
of
professional
development
across
the
TV
sector
and
their
rad
program
can
help
to
bring
diverse
entrants,
new
entrants
into
the
the
factual
TV
space
or
the
the
unscripted
TV
space.
This
year,
eight
people
were
put
through
a
process.
Seven
have
found
roles
within
the
sector,
we're
looking
to
expand
that
next
year,
a
more
senior
level
we're
working
on
screen,
skills
and
series
producer
programme.
L
I
The
school
stretch
include
any
work
with
an
education
sector,
pretend
schools
or
worse
and
colleges
or
so
how'd
you.
When
you
talk
about
transferable
skills,
with
its
plastered
in
arts
and
other
areas,
how
do
you
encourage
people
to
come
in
to
see
it
as
a
career
option
in
film
and
television?
We
do
need
to
bring
a
younger
generation
and
I'm,
not
sure
they
see
it
as
a
viable
opportunity.
K
So
it's
it's
a
really
key
part
of
it.
We
have
a
clear
line
of
sight
through
our
film
education
team
and
our
skills
team.
In
fact,
I
had
a
film
education
overseas
skills,
so
there's
an
I
would
say,
and
at
creative
Scotland's,
a
very,
very
clear
line
there
and
I
think
just
to
accentuate
a
point
that
David's
probably
already
made,
but
that
we,
you
know
having
that
screen.
K
Scotland
partnership
with
Scottish
funding,
caps
and
skills
development
Scotland
around
the
table
is
our
opportunity
to
really
you
know,
put
some
muscle
behind
our
skills
strategy
going
forward
that
we
we
do
absolutely
need
to
look
at
this
as
a
concerted
efforts
across
all
of
those
agencies
and
across
the
education
system
as
well.
You
know
this
is
a
growing
sector.
Scotland
knows
it
wants
to
be
part
of
the
creative
industries
boom.
These
are
jobs
that
are
to
sentient
future
proofs.
L
A
H
Convener
just
to
to
follow
up
on
that
I
I
accept,
there's
lots
of
good
work
going
on,
but
it
does
fuel
your
sort
of
some
of
it's
a
bit
so
sporadic
and
scattergun.
You
talked
about
30
projects
across
Scotland,
but
that's
entirely
dependent
upon
local
authorities
and
schools.
Engaging
with
that
program,
as
that
is
that
right.
K
Well
I
mean
our
our
head
of
film
education
has
been
in
place
for
20
years.
He
has
incredibly
deep
connections
across
Scotland
and
so
in
terms
of
I
mean
well
the
appetite
from
local
authorities,
those
that
see
the
value
and
individual
school
teachers
I'm
sure.
That's
true,
that
you'll
have
something
that
are
more
passionately
others,
but
from
our
perspective,
I
think
it
feels
pretty
coherent.
There's
always
more.
L
L
Looking
at
we're,
gonna
have
you
and
protect
the
infrastructure
or
strengthened
infrastructure
for
a
cinema,
an
exhibition
across
the
whole
of
Scotland
in
the
non-commercial
in
the
local,
so
not
looking
at
the
nestle,
the
audience
or
the
views,
but
looking
at
our
old
local
cinemas,
local
film
clubs,
local
film
societies
and
film
festivals,
its
1.6
million
front
pound
fund
called
the
cinema
equipment
fund,
it's
at
currently
in
its
third
and
final
round.
We
are
oversubscribed,
we
fed
to
lots
of
requests
from
across
:
belt.
L
If
you
don't
mind,
I'm
gonna
list,
some
of
the
the
kind
of
work
that
we've
done
in
a
very
cohesive
way
and
I
think
that
that's
something
also
worth
missing.
I
joined
scream
Scotland
from
industry,
I
joined
a
team
that
I'm,
you
know
genuinely
very
impressed
by
there
at
a
diligent,
proactive,
informed,
engaged
II
who
know
the
sector
and
know
their
elements
within
the
sector
will
come
on
to
talk,
I'm
sure
about
how
we're
changing
and
developing
our
team
shortly,
but
that
he
designed
the
cinema
quipment
fund
and
that's
delivered.
L
The
future
proofing
of
CCA
cinema
in
Glasgow
improvement
to
cinema
facilities
across
Shetland,
including
the
replacement
of
an
updating,
projectors,
projectors
and
Laura,
which
Muriel
venue,
through
upgrade
of
silicon
in
the
Eastgate
centrum
people's
installation
of
forked,
laser
projector
and
sign
system
in
McRoberts
in
in
Starling
and
the
kits
in
my
project
around
the
infra
Kip
Community
Initiative
in
in
replied,
with
an
upgrade
of
their
existing
light,
an
outdated
cinema
equipment
to
provide
an
inclusive,
accessible,
affordable
and
family-friendly
cinema
venue.
So
we
take
a
whole
Scotland
view
and
we
take
a
quite
coherent
view.
So.
L
There
are
lots
of
it.
There
are
applications
which
we
may
not
be
able
to
support
in
the
shrine.
We
will
consider
you
know
if
we,
if
we
renew
that
fund,
if
there
is
sufficient
demand,
we
will
look
at
that,
but
there
also
applications
that
potentially
don't
fall
within
the
remit.
So
at
the
moment
we
have
applications
to
greater
value
than
the
fund.
That
remains,
but
we
will.
We
will
look
at
that
at
the
end
of
the
process
to
see
if
we
need
to
renew
okay.
G
H
Okay,
that's
fine
in
terms
of
I
working
with
agencies,
you've
mentioned
ions
and
Iowans,
and
Scottish
Enterprise,
but
I'm.
Looking
from
my
own
constituency
interest,
the
size
of
Scotland
Enterprise
Agency
will
be
operational
from
April.
Will
you
be
engaging
with
them
on
the
skills
strategy
to
make
sure
they.
L
M
You
and
framework
questions
around
the
business
plan
that
you
publish
this
time
last
year
for
the
2019-20
pun,
but
just
to
start
off
with
a
be
useful.
If
you
could
confirm,
and
is
that
as
an
annual
plan
going
to
be
replicated
again
this
year,
is
there
going
to
be
a
twenty
three?
Twenty
twenty
twenty
three
one
one
and,
as
there
are
end
of
year,
update
on
the
plan
that
was
published
last
time
last
year
and.
K
M
M
Thanks
and
it's
just
to
drill
them,
some
of
the
specifics
in
it
and
come
back
to
the
pointer
in
the
studio
when
you
were
last
with
us,
and
we
just
had
this
plan
aster
and
the
KPI,
our
own
studio
capacity
was
to
get
this
new
studio
operational.
So
that's
now
and
by
April.
That's
now
been
achieved.
Congratulations,
but
when
asked
around
additional
studio
capacity
and
what
suite
screams
got
on
strategic
role
as
in
overall
capacity
growth,
you
said
that
there
were
other
performance
indicators
setting
underneath
that
sing
your
KPI
or
and
and
used
to
do.
M
L
Detail
and
what
the
KPIs
are
under
that
particular
heading
in
front
of
me.
The
moment
very
happy
I
could
write
to
you
confirm
that
after
the
fact,
but
my
understanding
of
how
we're
developing
this
you
just
sector
is,
as
we
I
learned
earlier,
there
are
different
requirements
across
different
genres
and
different
levels
of
production,
so
we're
we're
taking
a
can
a
whole
scotland
view.
Looking
at
the
spaces
that
already
exists
us
think
I've
already
mentioned
the
facilities
in
Stornoway
in
sky.
There's
the
department
facility
there's
also
PQ
within
Glasgow
yeah.
L
So
that's
a
that's
is
actually
quite
an
useful
space
to
think
about,
because
it's
an
entertainment
space.
It's
also
fully
occupied
because
the
BBC
is
very
busy.
So
you
know
how
we
expand
the
capacity
for
entertainment
spaces
across
Scotland
which
have
different
requirements.
They
have
an
audience.
Often
you
know
which
a
film
studio
doesn't
require,
so
you
carry
parking
for
an
audience
as
well
as
the
production
itself.
L
There
are
potentially
security
implications
as
a
result
of
having
an
audience
there,
so
we're
engaging
actively
with
the
industry
with
stakeholders
both
across
the
UK
with
and
within
Scotland,
but
also
really
strongly
with
Glasgow
a
City
Council
who
I
think
you'll.
Remember
the
g4c
for
campaign
that
really
a
formed
where
strong,
connective
tissue
between
Glasgow
in
the
sector,
and
that's
we
continue
to
build
upon
that.
M
E
M
And
the
production
spend
KPI
specifically
around
doubling
spend
I
was
wondering.
Is
there
an
equivalent
KPI
there,
specifically
for
spend
by
indigenous
Scottish
production
companies
I'm
aware
of
the
there's
a
separate
M
indicator
around
moving
from
to
two
Scottish
companies
in
the
top
50
was
turnover
over
10
million,
but
is
there
a
KPI
for
the
overall
production
spend
for
indigenous
companies?
There
is
and.
L
As
you
know,
you
know
from
our
previous
engagements
my
previous
engagements
with
this
committee
I
came
from
working
with
impact
within
the
inhibited
production
sector
and
across
the
last
10
years.
My
mantra
has
been
from
not
in
Ofcom's
current
rules,
the
you
know
the
Revised
Rules
lived
to
production
from
Scott
in
Scotland,
which
doesn't
require
to
be
indigenous.
You
know,
I've
constantly
campaigned
for
production
from
Scotland
about
representation
about
IP
in
value
been
held
within
our
production
sector
in
Scotland.
L
There
were
recent
changes
on
that,
so
you
know
they
have
been
helpful,
there's
also
a
new
authenticity
in
approach
from
the
public
service
broadcasters.
So
while
we
do
have
a
key
P
I'd,
specifically
attached
to
that,
that
is
where
a
lot
of
our
where
it
goes,
and
if
you
look
at
the
we
restructure
of
funds,
10%
of
our
funding
is
targeted
towards
productions
that
come
into
Scotland.
The
rest
is
targeted
to
work
within
your
from
within
the
Scottish
put
a
production
community
production
growth
funds.
L
M
Production
spend
section
and
the
training
team
plan
mentions
when
you're
talking
about
these
targets.
This
one
could
developing
the
methodology
to
identify
production,
spend
and
fail
FM
and
televisions
to
touch
on
the
points
that
have
been
made
a
number
of
times
previous
era
and
data
availability.
Here,
and
could
you
just
give
us
a
quick
update
on
your
progress
towards
developing
and
having
an
agreed
methodology
there
on.
L
This
earlier
is
it's
a
it's
a
complicated
not
to
crack.
It
was
at
an
recently
they
were
70
to
me,
burns
is
worth
20
million
a
year
to
the
Scottish
economy,
and
you
know
I'd
love
to
know
how
that
was
calculated,
we're
working
with
the
BBC
we're
working
with
the
National
Audit
Office,
we're
working
with
various
bodies
to
come
up
with
it.
What
we
think
is
a
robust
methodology
for
the
value
scheme
to
Scotland
as
I,
say,
I
think
it's
somewhere
between
the
300
million
and
500
million
figure,
depending
on
on
how
you
cut
it.
L
That
has
to
be
something
that
we
agree.
We
agree
on
as
a
partnership,
but
also
with
the
sector
so
that
we'd
have
a
team
within
a
screens:
cotton,
creative
cost,
Scotland
called
knowledge
and
research
and
they're
working
on
this
right
now
it
says
it's
an
active
topic.
It's
been
personally
a
bugbear
of
mine
for
a
number
of
years
and
I
think
it
is
really
important
that
that
we
as
a
nation
that
government
at
Parliament-
and
we
know
that
Scotland
is
worth
at
the
screen-
is
bought
screens
worth
to
Scotland.
L
The
point
made
earlier,
Pat
Glasgow
and
the
importance
of
the
setting
in
Glasgow
isn't
lost
upon
me.
It's
not
lost
in
Glasgow,
so
you
can
still
either.
If
you
look
at
that
figure,
however,
you
divide
that
the
majority
of
the
value
currently
attaches
to
the
Glasgow
City
economy
or
the
Greater
Glasgow
area
economy.
We
wrap
and
Scottish
agency.
We
have
to
look
at
developing
opera
opportunities
across
the
whole
of
Scotland
I've,
been
very
active
in
the
middle
of
London
campaign.
You
know
for
within
the
dependent
sector.
M
Again,
just
looking
at
time
skills
as
a
time
skill
for
your
team
having
something
agreed
again
understand
that
then
he's
taken
it
to
the
sector,
to
other
stakeholders,
agencies,
etc.
What
timescale
are
you
working
to
here
to
get
that
methodology
Greek
as
that's
that's
incredibly
important,
long
term,
even
beyond
what
the
stuff
takes
us
up
to
22
23
the
methodology
like
that.
That's
got
much
longer-term
implications.
Having
something
agreed
as
soon
as
possible
is
good,
but
we
need
to
make
sure
that
whatever
is
agreed
is
something
that
has
absolute
buy-in
across
every
circle.
But.
L
K
K
Important
point
to
make
that
we
do
have
to
get
this
right
and
the
reason
why
we
have
a
benchmark
and
for
2016
is
you
I?
Don't
think
anyone
would
appreciate
his
change
change
of
the
goalposts
for
our
own
targets
and
that's
certainly
not
the
point
of
this
exercise,
but
certainly
getting
it
right
and
for
for
many
years
to
come,
it
has
got
to
be
absolutely
key.
Thanks.
M
K
I
think
I
think
what
you'll
see
now
reflects
the
aspirations
that
were
put
forward
by
the
SS
LG
and
by
yourselves
in
terms
of
that
specialization
that
requirement
for
industry
expertise,
so
the
the
the
key
part
of
the
the
restructure
reshaping,
if
you
like,
because
as
David
says
we're.
Actually
we
love
our
team.
You
know
the
people
who
work
at
screen
Scotland's.
He
was
formerly
at
the
screen
unit,
incredibly
diligent,
intelligent
people
who
understand
and
really
care
about
the
sector
and
work
tirelessly
to
support
it.
K
And
but
the
structure
of
the
team
was
such
that
we
had
rather
a
generalist
approach,
if
you
will,
which
meant
to
my
mind
when
we've
you've
done
the
work
here,
you
know
looking
at
those
key
areas
such
as
business
development,
support
talent,
development,
audience
development,
and
how
do
we
best
support
those
when
we
have
a
team
of
people
who
are
working
across
all
of
those
areas?
To
my
mind,
the
way
in
which
we
build
deeper,
stronger
connections
with
industry,
the
way
in
which
we
formulate
much
more
nuanced
approaches.
K
A
strategy
was
through
reshaping
those
teams
and
indeed
where
we
felt
that
there
were
need
to
bring
in
additional
expertise
that
we
had
the
freedom
to
do
so,
and
we
have
the
resource
to
do
so.
So
it's
allowing
these
changes,
I
mean
I,
think
we
don't
sort
of
repeat.
What's
what's
in
the
submission
but
and
we've
already
appointed
a
head
of
audience
development
he'll
start
towards
the
end
of
April
that
somebody
who's
extremely
well
known
to
the
sector.
K
He
can
allow
us
to
really
shape
and
bear
down
and
prioritize
audience
development,
and
we
have
a
business
and
market
development
person
coming
in
now.
That's
something
that
wouldn't
have
put
in
place
in
2016,
because
it's
come
directly
out
of
the
work
that
we've
done
with
the
course
with
Scottish
Enterprise.
To
look
at
how
do
we
best
serve
the
needs
of
the
sector
through
business
development,
support
and
we're
currently
in
the
live
recruitment
for
a
head
of
scripted
and
ahead
of
unscripted?
K
Who
will
be
able
to
provide
a
clear
line
of
sight
through
the
talent
development
pathways
on
both
of
those
whether
they
you
know,
rather
than
having
some
film
and
TV?
The
way
that
we
see
things
are
that
unscripted
scripted
for
Scotland
as
a
country
of
our
size
there'll
be
many
more
commonalities
between
those
those
two
pathways
and
then
there
are
between,
let's
say
film
and
TV.
K
We
know
that
we
want
to
see
some
convergence
there
and
finally,
a
post
for
head
of
production,
which
will
allow
us
to
be
much
more
hands-on
and
robust
and
helpful,
and
supportive
for
productions
through
budgeting
and
scheduling
correctly
and
it'll.
Allow
us
to,
among
other
things
in
to
be
much
more
early
on
with
productions
in
that
first
feature.
Space
thanks.
M
And
just
to
brief
final
questions,
I
went
along
some
conscious
time
and
on
that
point
on
head
of
production,
and
that
seems
like
quite
a
significant
rule
to
still
be
recruiting
for
now.
So
as
one
if
we
could
just
clarify
why.
Why
was
a
rule
like
that
which,
to
you
know
and
women's
temperature
forecast
seems
pretty
critical?
Why
was
that
not
something
was
prioritized
far
earlier.
Why
we're
just
getting
someone
important,
no
and
but
on
this,
the
overall
recruitment
staff
structuring
and
to
us
it
looks
like
understanding.
Is
the
the
staff
team
will
total
32?
M
K
K
They
go
through
that
process
and
I
think
in
particular,
if
I
look
at
how
we
are
able
to
respond
to
what
industry
has
told
us
very
strongly
and
I
agree
with
them
that
we
need
to
be
more
confident
about
coming
on
board
earlier
on
in
the
financing
of
productions,
rather
than
letting
the
market
decide
and
I
think
in
order
to
be
confident
in
our
own
decisions
and
allowing
more
due
diligence,
we
need
somebody
who
is
full-time
on
scrutinizing
the
production
decisions
that
we
make.
Secondly,
we
are
building
in
a
number
more
Moorhead's.
K
There
can
be
very
hands-on,
I
mean
this
is
not
a
sort
of
you
know.
Layer
of
management
that
are
going
to
be
sort
of
you
know.
Bossing
around
are
very,
you
know,
diminishing
number
of
Indians.
This
is
really
a
team
that
will
be
very
closely
knitted
together
and
will
be
experts
themselves
and
will
have
in
most
cases,
small
numbers,
one
or
two
officers
working
beneath
them,
and
but
at
the
moment
I
would
I
would
say
we
have
a
rather
a
flat
structure
and
that's
not
really
working
either.
L
The
plan
is,
we
moved
to
six
heads
across
across
the
the
unit
with
myself,
invisible
as
director
and
executive
director.
Of
those
there
are
there's
a
number
of
rules
underneath,
but
obviously
the
32
headcount
in
total
we
draw
from
within
expertise,
was
building
creative
Scotland
for
HR
for
comms
for
IT
and
your
very
evilly
support
in
all
of
those
areas.
I
have
to
say,
but
we
also
draw
expertise
from
our
partner
agencies
and
and
that's
like
that
is
genuine
nations
ad
in
the
air
process.
So
trying
to.
C
K
I'd
say
it
is
so
so
we
have
our
budget,
I
mean
I,
think
perhaps
the
the
in
addition
to
our
and
our
budget
allocation,
there
are
a
number
of
regularly
funded
organisations
which
sit
within
the
creative
Scotland
portfolio.
However,
where
those
are
film
or
and
I'm,
not
sure
that
they're
only
TV
and
because
regularly
funded
organizations,
but
but
those
have
lead,
officers
are
drawn
from
the
screen.
Scotland
team
later.
C
Scotland
has
the
money
and
for
the
screen
industry
in
Scotland.
It
goes
via
yourselves
at
screen
Scotland
and
you
then
disperse
that
through
various
funding
streams
will
that
disbursement
information
be
published
and
when
so
you
get
money,
you
then
disperse.
So
is
that
level
will
that
information
be
made
properly
yeah.
K
I
mean
the
the
allocations
directly
funded
organisations
or
anything
we
about
to
go
into
year.
Three
of
those
regular
funded
organisations
so,
and
that
will
be
part
of
the
annual
review.
Those
amounts
are
set
and
there's
most
disbursement
I
mean
the
physical
act
of
handing
over
the
money
will
happen
essentially
through
the
financial
team
at
creative
Scotland,
as
it
does
for
all
of
our
awards.
But
the
the
engagement
with
those
are
fos
happens
through
the
you
know,
the
respective
officer
at
screen
Scotland,
if
I'm
not.
C
K
G
K
C
K
L
C
Okay,
turning
to
the
issue
of
the
indigenous
producer,
when
we
met
with
various
stakeholders
last
week
and
you'll
probably
have
seen
the
evidence
taken,
it
seemed
that
there
was
support
for
the
the
Canadian
model,
whereby
I
understand.
Support
for
incoming
productions
is
contingent
on
partnering
with
an
indigenous
producer.
I
also
understand
that
may
be
the
case
in
France.
So
is
there
something
that
screen
Scotland
is
considering
and
well.
K
The
Canadian
model
is
interesting,
I
mean
I.
Think
Canada
has
a
very
particular
situation
being
as
it
is
next
to
the
largest
producer
of
content
in
the
world.
The
US
and
and
has
to
sort
of
you
know
a
you
know,
shape
itself
in
in
response
to
that
that
particular
market
condition
and
the
Canadian
system
there.
Obviously
there
a
number
of
funding
streams
there.
K
At
the
federal
level,
there
are
two
separate
tax
credits:
actually
it's
even
built
into
their
taxes
and
where
you
have
a
production
service,
credit
and
an
indigenous
credit,
and
so
Canada
will
always
have
a
production
service
company
attached
to
that
federal
tax
credit.
We
don't
in
Scotland
at
the
current
point,
have
a
network
of
production
service
companies,
so
I'm,
given
the
scale
of
our
company.
I.
K
L
You
know
if
you
leave
all
the
funds
that
we
operate
in
our
totality,
so
the
production
growth
fund
is
separate
its
it's
a
it's
a
way
that
we
can
Pete
globally.
That's
one
of
the
levers
we
have
to
pull
in
that
global
market,
so
we
win
Fast
and
Furious
9.
It
comes
to
Edinburgh.
That
is,
then.
You
can
watch
the
trailer
currently
on
YouTube
and
it
features
lovely
shots
of
the
city,
and
there
are
other
projects
currently
filming
the
west
coast,
which
I
mentioned
because
there
they've
not
been
a
publicly
announced.
L
But
you
know
they've
been
in
the
press.
That
again
is
a
great
advert
for
Scotland,
but
that's
a
competitive
process,
and
if
we
we
cannot
say
we
it's
not
really
competent
for
any
smaller
nation
to
say
to
the
likes
of
Universal.
You
know
you
can
come
make
fast
and
furious.
9
here
will
help
you
with
production
support.
L
You
must
return
a
certain
a
multiplier
into
the
Scottish
economy,
but
you
must
also
work
with
a
Scottish
production
company
because
they
will
work
with
line
producers
that
work
with
heads
of
department
to
work
with
teams
from
within
Scotland,
but
the
universe
will
not
co-produced
our
project
with
somebody
else.
So
we
impose
that
we
wouldn't
win
that
business,
that's
what
it
boils
down
to
and
you
also,
then,
if
you
look
at
our
other
funds
like
the
broadcast
content
fund-
and
we
recently
well
everything
it's
in
a
written
submission.
L
But
we
that
fund
is
is
targeted
towards
Scottish
production
companies
with
you
know,
that's
a
capitalized
phrase:
it's
defined
within
the
criteria.
It's
also
opened
to
companies
ruth
in
the
ue
area,
because
that's
how
you
know
the
current
rules,
but
they
have
to
be
involved
in
a
meaningful
co-production
with
a
scottish
company,
and
we've
said
what
a
meaningful
co-production
is
all
of
the
outputs
have
to
qualify
as
scottish
content
under
the
Ofcom
criteria.
So
the
majority
of
our
funding
does
require
is
targeted
towards
indigenous
companies
or
requires
a
co-production
with
a
scottish
company.
L
C
I,
thank
you
for
that
comprehensive
answer.
I
guess:
I
understand
that
the
the
competing
interests
here
but
I'm
just
thinking
back
on
the
evidence
session
last
week.
It's
perhaps
then
there's
a
lack
of
confidence,
perhaps
that
the
indigenous
sector
will
be
duly
taken
into
account
to
the
widest
extent
possible.
The
message
we
seem
to
be
getting
last
weeks
or
is
that
the
confidence
in
your
processes
that
they
will
end
up
work,
and
that
seems
to
me
to
be
a
short-sighted
approach,
because
we've
got
to
build
up.
Surely
the
indigenous
it
there.
L
Are
some
interested
in
emissions
in
some
of
the
evidence?
Last
week,
I
ran
an
indigenous
production
company
until
October
last
year,
and
I
was
the
the
National
Director
for
a
pack,
the
producers
Alliance
for
cinnamon
television
in
Scotland,
the
the
rep
the
body
that
represents
producers
across
the
whole
of
UK.
You
know,
as
I
mentioned
at
the
start,
and
there
was
one
project
reference
about
one
of
you,
the
panel
members
last
week,
a
formal
impound
production.
That's
recently
been
won
by
them.
It's
actually
a
co-production
between
three
Scottish
companies.
L
We
facilitated
that
project
through
development
that
wasn't
mentioned
by
the
panelists.
We
are
funding
part
funding,
the
production
that
wasn't
mentioned
by
the
panelists,
so
there
I
could
lead
you
back
to
various
other
examples.
In
terms
of
the
evidence
last
weekend
where
there
were
emissions
which
could
could
easily
be
challenged.
Okay,.
C
L
C
E
You
just
like
anaphors
want
to
be
a
bit
from
Annabelle's
questions
on
the
issue
of
productions
and
producers,
their
husband,
their
surgeries
before
and
also
last
week,
one
the
issue
of
commissioning
power
and
and
that,
let
me
turn
to
another
couple
of
issues.
But
but
what
are
you
doing
to
what?
With
their
broadcasters
in
Scotland
that
increases
the
reductions
and
Scotland
and
also
have
a
greater
output
for
Scotland?
My.
L
Work
again
for
a
long
period
and
and
and
pair
of
threes
might
be
brought
in
to
a
screen.
Scotland
is
my
knowledge
and
kind
of
expertise
within
the
TV
sector
and
the
BBC
that
was
seen
in
difficult
position
at
the
moment,
but
I
think
we
would
all
recognize
that
in
this
we've
discussed
in
this
this
room
before
levels
of
license
fee.
We
investment
by
the
BBC
across
the
UK
are
not
equal.
There's
a
disparity
in
you
know
and
Heather
license
fees
we
invest
within
Scotland.
L
In
particular,
it's
changed
that
the
the
sums
have
generally
risen
that
the
gap
is
remain
consistent.
We
would
like
to
see
more
money
spent
on
the
beauteous
cotton
channel,
we'd
like
more
money
to
be
spent
on
BBC
on
odd
content
from
Scotland
for
all
of
the
networks
for
the
BBC
channel
for
ITV
channel
512.
Five
interest
me
are
actually
very
good.
You
know
the
the
over
the
over
deliver
on
their
non-existent
courts.
They
have
no
specific
Scottish
quota,
but
they
regularly
were
Scottish
production
companies.
L
It's
something
that's
noted
within
the
sector
and
we
recently
there's
a
forum
called
the
TV
working
group,
which
is
Oh
a
good
space
for
the
sector
to
meet
with
the
Scottish
government
and
its
its
agencies,
a
Scottish,
Enterprise,
skinned,
Scotland
and
others.
One
of
the
points
raised
there
most
recently
was
that
there
were.
There
were
no
factual
commissioners
within
Scotland
there'd
been
a
few
people
had
moved
jobs,
some
had
joined
STV,
someone
gone
elsewhere
and
that
that
left
a
vacancy.
We
picked
that
out
within
40
hours.
L
We
did
responses
back
from
both
the
BBC
and
China
for
about
how
they
were
addressing
this,
and
so
there
is
an
authenticity
of
approach
with
by
the
broadcasters
that
wasn't
there
a
year
ago,
two
years
ago,
it
has
changed.
They
do
you
want
to
address
the
concerns.
I'm
actively
involved
negotiating
the
MoU
with
channel
4
that
we
hope
to
launch
later
this
summer.
L
E
That's
interesting
what
you're
saying
I
think
it's
something
that
committing
to
work
out,
because
we've
helped
in
the
past
from
BBC,
certainly
a
year
ago
and
beyond,
but
it's
an
area
that
they
have
been
working
on
to
try
to
improve
antenna
in
that
organization.
But
what
you
just
said
they
are
seems
to
can
I
could
foot
some.
What
I
thought
I
said.
L
Doesn't
conflict
it
builds
upon
I
think
that
they
are.
They
are
genuinely
engaged
in
the
process
of
trying
to
alter
the
way
the
Commission
content
across
the
UK,
and
there
is
an
authenticity
in
that
approach
that
wasn't
there
previously,
but
it's
a
journey
and
actually
some
of
those
individual
jobs
are
quite
hard
to
replace.
I,
won't
name
individuals,
because
it's
not
appropriate,
but
you
can't
just
pick
a
commissioner
off
a
shelf
and
pop
them
at
their
job,
especially
if
you
want
that
person
to
be
based
in
Scotland.
Historically,
they
haven't
been
here.
L
Look
interestingly,
we
now
have
because
of
the
channel
4
hub,
which
is
the
work
of
the
BBC.
We
have
an
internal
competitive
marker
for
the
Machine
post
within
Scotland.
That's
a
slight
delay
into
the
process
and
type
in
turn
in
terms
of
how
you
recruit
them.
But
the
aim
is
that
definitely
to
draw
more
people
up
here.
It's.
E
L
And
I
think
that's
a
concern.
That
applies
not
just
to
casting
agencies,
but
you
know
to
all
levels
in
grades
within
within
can
productions.
You
know,
as
a
former
producer
you'd
often
win
the
commissioner
and
then
the
next
conversation
would
be.
Could
you
work
with
x,
y&z
they're,
all
based
in
South
East?
So
you
know
that's
for
the
production
companies
in
Scotland
to
kind
of
win
those
arguments
we
help
them
wherever
we
can.
C
K
Something
the
work
of
the
screen
Commission
when
we
are,
and
very
regularly
bringing
production
companies
up
to
Scotland,
to
do
location
Ricky's,
for
example,
to
look
at
whether
they
can
base
in
Scotland
and
one
of
the
first
pieces
of
ice
that
they
will
have
is
to
engage
a
Scottish
line
producer
because
it's
from
that
line
producer
that
all
of
those
other
conversations
can
flow
and
so
on.
Quite
a
strategic
level.
Where
we
build
that
in
we
build
the
Scottish
Nassim.
You
know
with
that
Scottish
expertise
and
that's
really
where
you
want
to
start.
L
E
E
Loafing
around
at
the
Glasgow
area,
it's
a
potential
to
gain
a
potential,
important
name
and
sort
of
event
could
increase
costs
because
the
others
are
as
you've
already
indicated
and
I
think
if
they
now
use
the
what
incites
a
fledgling
industry.
So
until
we
get
more
people
into
the
sector
and
then
as
a
potential
at
cost,
then
increase
and
election
officials
apply
and.
K
K
That
that's
not
something
that
we
would
see
isn't
is
an
as
an
outcome
of
this.
At
all,
I
mean
it
should
be
said
that
the
Glasgow
based
crews
are
working
really
hard
right.
Now
they
have
a
lot
of
activity,
a
lot
of
production,
we're
actually
looking
at
a
very
active
sector
right
now
and
I
think
that
the
reality
is
the
productions
that
will
come
in.
You
know,
we've
seen
those
numbers
we've
seen
what
the
production
spend
looks
like
with
like
for
like
with
production.
K
Even
if
we
know
there's,
you
know
further
to
our
methodology,
you
know
more
to
come
and
we
know
that
there
is
going
to
be
as
there
was.
An
outlander
came
in
and
needs
us
to
crew
up
in
Scotland,
and
we
know
that
part
of
that
will
come
through
more
people
coming
back
to
Scotland,
and
we
know
it's
going
to
involve
a
concerted
effort
to
build
more
skills
and
but
I
think
again,
I
mean
it's
a
colloquial
term,
but
if
I
can
say
horses
for
courses,
we
will
you
know
that
production?
K
What
will
will
take
what
it
needs
and
we
will
grow.
We
will
grow
with
that
production
and
I
think
in
a
way,
coming
back
to
the
stills
skills
question,
there's
only
so
much
you
can
do
unless
you
have
a
production
to
base
things
around.
You
know
that'sthat's
really
what
what
we've
been
waiting
for
as
well.
L
Consideration
there
as
well,
you
know
cruise
crews
work
within
industry
guidelines
within
industry
agreements.
You
know
the
bacteria,
you
know
there
are
various
structures
with
with
with
nervously.
Let's
work,
there
was
a
commercial
negotiation,
but
there's
also,
you
know,
there's
the
potential
to
draw
in
people
from
across
the
whole
of
the
UK
to
Scotland.
Some
of
those
people
will
potentially
end
up
working
here
long
term
potentially
staying
here.
That
will
augment
our
capacity.
Okay,.
A
Can
just
yeah
I've
got
some
supplementary
Stuart
question
actually
in
terms
of
the
BBC
spend
and
specifically
for
you,
David
and
the
BBC
repeatedly
say
that
when
the
evaluate
was
a
Scottish
production,
they
are
extremely
robust.
Obviously,
people
in
the
sector
and
dispute
that
do
you
think
that
extremely
robust
are.
L
Increasingly
robust,
that's
probably
the
way
I
would
put
it.
You
know.
We've
discussed
this
previously.
There
were
I
certainly
had
questions
for
all
of
the
PSP's,
not
just
the
BBC.
The
BBC
tends
to
be
that
the
focus
of
all
of
this
discussion,
but
it's
not
just
then
the
there's
been
a
sea
change.
I
think
Ofcom's
rules
didn't
go
as
far
as
I
would
have
liked
them
to
go.
You
know
we
did
see.
A
tightening
up
report
isn't
is
not
a
substantive
base.
What
is
and
is
not
a
senior
person.
L
Yesterday,
I
met
a
producer,
I
won't
say
who
were
where
they
had
just
won
exactly
the
kind
of
project
we
would
like
them
to
win
from
one
of
the
one
of
the
PS
PS
and
trying
to
work
out
what
I
can
and
can't
say
as
I
say
this
and
we
weren't
returning
for
formats
from
from
Scotland
across
genres,
so
that
could
be
returning
drama
series.
Returning
factual
series
returning
an
entertainment
series,
the
one
that
from
Scotland
is
not
just
in
Scotland.
A
L
One
of
my
first
actions
when
I
came
into
the
post
was
to
go
out
and
and
meet
some
of
the
companies
that
I
think
in
my
previous
role,
I
mean
if
a
question
marks
over
as
to
how
secure
their
Scottish
spaces
are
I'm
happy
to
report
that
you
know.
A
lot
of
them
are
here,
for
the
duration
have
been
here
for
a
few
years,
have
put
down
roots
and
employed
kind
of
senior
editorial
people
from
within
the
Scottish
community.
If.
K
I
may
add
to
that
I
think
it's
a
pits,
our
role
at
screen
Scotland
to
be
building
up
the
the
talent
set.
So
you
know
where
these
ideas
are
coming
from
and
share
that
intelligence
with
the
commissioning
teams
at
the
PSP's
as
well
building
strong
relationships
across
the
head
of
scripted
unscripted
as
well
to
to
build
that
confidence.
We.
L
J
Much
share
convener
I
mean
I
could
cut
without
some
of
these
recent
equations
hang
every
year
we
express
our
concern
that
you
know
a
lot
more
money
to
reason,
Scott
on
from
license
fees
and
has
actually
spent
in
Scotland,
even
if
we
account
for
networks
been,
but
there's
just
two
brief
questions.
I
was
wanting
to
ask
one
was
him?
J
Basically,
we
heard
last
week
from
one
of
our
panelists
about
the
need
to
have
a
market
and
broadcasting
brokerage
to
improve
access
to
keep
people
and
organizations
ranging
from
Netflix
to
the
BBC
and
and
as
well
as
you
mentioned,
their
market
intelligence
earlier
on
so
I'm
just
wondering
what
assistance
actually
has
provided
to
allow
people
to
get
through
that
door.
They're
just
companies
in
potato
yeah.
K
So
we
have
a
markets
and
festivals,
funders
I,
think
it's
fair
to
say
not
sure
about
Eric,
but
I.
Think
the
other
three
is
certainly
available,
that
markets
fun
to
go
to
international
markets
and
those
physical
markets,
such
as
on
film
side,
can
Toronto
Berlin
on
the
TV
side,
MIPCOM
a
big
key
example
of
that.
We
also
support
a
number
of
documentary
festivals
that
is
entirely
up
to
the
indigenous
producer,
decide
where
their
strategy
goes
and
they
apply
for
some
money
and
we
will
disburse
that
to
them.
K
We've
also
run
other
programs,
such
as
market
leaders
in
the
past,
which
is
driven
to
build
strategic
support,
and
that's
something
that
we
will
I
think
look
to
sharpen
up
quite
considerably
when
we
have
our
head
of
business
and
market
development
in
post
next
month.
So
in
terms
of
the
travel
grants,
absolutely
it's
there
and
then
in
terms
of
the
relationships
that
we
hold.
The
fact
that
we
are
working
actively
across
the
development
of
projects.
We
are
able
to
introduce
directly
those
companies
and
to
provide
that
market
insight
and
support,
because.
M
L
Think
obviously
prevent
during
the
Glasgow
Film
Festival.
Just
last
week
we
had
the
senior
team,
the
head
of
production
had
a
physical
production
for
Netflix
in
the
UK
and
colleagues.
So
two
senior
people
across
across
the
Netflix
team
within
the
UK
came
to
blows:
go
met
with
50-plus
members
of
the
production
community,
heads
of
departments
generally,
it
was
in
part
to
make
sure
they
knew
each
other.
It
was
in
part
to
demonstrate
the
strength
and
depth
of
our
talent,
okay,
that
worked
really
well.
We
also
had
last
they.
L
Last
month
in
Edinburgh,
we
had
the
move
summit,
which
animation
AVX
a
VFX
special-effects
a
focused
event
that
drew
in
people
from
Pixar
unreal,
Disney's,
animation,
studios,
netflix
and
austria,
latin
mag
magic.
Again,
we
supported
that
event
that
allowed
interaction
directly
with
those
organizations.
Excellent.
Okay,
if.
K
So
that's
also
a
really
key
part
of
our
role.
Then
it's
also
with
regard
to
our
funding
balancing
the
need
for
indigenous
stories
to
be
told
with
that
of
co-production.
So
we've
had
it
were
through
the
film
development
and
production
fund
to
productions.
This
year
one
was
a
UK
Australian
co-production
made
by
black
camel
films,
Arabella
Paige
Croft
and
the
other
being
a
Scottish
Belgian
French
production
called
wise
blood,
which
is
barry
carrera
a
production
company
based
in
Glasgow.
H
K
L
J
And
lastly,
just
stay
on
the
issue
of
finance,
and
that
was
mentioned.
Is
that
a
possibility
that
businesses
can
get
soft
loans
because
often
there's
a
real
difficulty
and
actually
having
the
finance
to
actually
go?
You
know
get
even
to
first
base
and
so,
for
example,
we
were
also
told
last
week
that
it's
that
it's
very
difficult
for
people
to
get
the
first
film.
You
know
obviously
companies
who
are
commissioning
once
someone
has
get
experience.
J
But
if
you
don't
actually
get
your
phospho
meet,
they
don't
have
any
experience,
particularly
it
was
pointed
out
for
a
woman
director.
So
is
there
any
emphasis
going
to
be
on
foster
film
producers,
particularly
a
women?
Will
there
be
soft
loans
and
how
generally
does
do?
Do
you
help
companies,
indigenous
companies,
access,
for
example,
Private
Finance,
so
that
they
can
actually
put
that
together
because
I
make?
We
are
an
excellent,
a
film
maker,
but
that
doesn't
mean
handle?
Who
really,
you
know,
deal
with
the
finance
aspect
of
us.
J
K
You
actually
actually,
okay,
it's
just
an
easy
there,
quite
and
and
I
think
the
the
issue
of
that.
That
key
first
feature.
Film
is
something
that
we've
been
deliberating
on
with
the
sector
over
the
last
few
months,
and
it's
certainly
something
that
a
new
structure
is
there
to
help
us
support
better.
And
the
other
thing
we
mentioned
in
our
submission
is
that
we
have
well
we're
in
the
process
of
recruiting
a
partner
to
re-energize.
The
pre
first
feature
part
of
our
talent
development
pipeline.
K
What's
then
available
at
screen,
Scotland
to
support
and
the
people
who
emerge
from
that
program,
ready
to
make
their
first
feature
and
that
we're
able
to
support
that
fully
and
indeed
to
be
on
the
front
foot
with
supporting
you
know
coming
in
first
as
a
financier,
we
we
are
never
going
to
be
able
to
fully
fund
anything.
We
are
that
that
state
aid
rules
for
you,
you
know-
and
in
any
case
you
know,
this
is
a
mass
media
project.
K
Even
when
our
low
budget,
that's
still
a
lot
of
money
compared
with
any
other
type
of
artistic
endeavor.
We
want
to
work
with
the
grain
of
audiences
and
with
the
market,
and
we
think
our
filmmakers
should
as
well
so
and
we
that
the
the
process
of
standing
behind
our
very
strong
talent
supporting
them,
giving
them
the
tools
that
they
need.
J
K
Lens,
then
so,
and
the
money
that
we
have
effectively
is
a
soft
line,
so
equity
that
comes
through
through
development,
so
the
developing
process,
being
everything
from
that
initial
idea:
optioning
the
material
through
to
late
stage,
development,
which
is
the
budgeting
financing
casting
elements
of
the
project
before
you
get
to
the
production
financing
stage.
That
is
the
funding
that
you
get
already
from
screen,
Scotland
and
which
takes
a
form
of
equity.
In
the
case
of
the
broadcast
content
fund
and
the
film
development
and
production
fund,
of
which
the
production
company
will
have
an
equity
corridor.
K
If
the
money
recoups
so
I,
think
you
know,
we
also
look
to
other
types
of
finance.
You
know
there
are
financial
transactions
are
available
from
Scottish
government.
There
are
banks
who
are
looking
around
the
space
in
the
end.
What
I
think
we
know
from
the
sector
is
that
loans
I
mean
actual
lanes.
You
know
which
are
so
hard
and
fast
loans
that
have
to
be
repaid
back
by
somebody
in
the
case
of
financial
transactions,
and
that
would
be
screened
Scotland
if
the
loan
is
defaulted
upon.
K
So
not
that
soft
in
the
end,
and
we
we're
aware
that
you
know
you
do-
need
risk
money
and
that's
always
the
most
tricky
money
to
have,
and
certainly
within
the
expertise
that
david
holds
for
TV
and
I
hold
for
film
within
the
team.
We
are
already
in
a
position
to
help
advise
on
financing.
I
certainly
have
the
relationships
to
you
know
approach
those
producers
if
they
need,
if
they
need
to
talk
to
the
sales,
companies
or
distributors,
the
other
types
of
finance
years
in
the
market
who
could
come,
and
indeed
Netflix.
G
A
Are
really
critical
area
that
we
haven't
I
feel
that
we
haven't
really
explored
in
the
team
because
apology
we
we're
running
behind
because
of
our
previous
session
was
the
relationship
with
Scottish
Enterprise,
which
our
committee
recommended
should
be
cut
out
and
you
guys
should
get
the
money
and
that's
obviously
something
that
people
in
the
sector
repeatedly
reads
and
they
repeat
the
stakeholders
raised
it
last
week
and
there
are
specific
issues
around.
You
know
what
replaces
the
focus
fund
and
so
on
and
I.
A
Think
I'll
write
to
you
and
from
the
committee
to
put
some
of
those
questions
and
certainly
questions,
but
we're
easing
with
the
cabinet
secretary
know
that
she
also
has
responsibility
for
Scottish
Enterprise,
so
we're
hopeful
as
a
committee
that
perhaps
we
might
ability
yeah
take
forward
some
of
the
difficulties
that
have
been
highlighted
in
the
past.
But
I'll
put
that
to
you
in
writing.
If
that's
okay,
so
thank
you
very
much
for
coming
in
to
see
us
today
and
we'll
now
move
into
private
session.