terms are breached. 17 The mistakes of the past have allowed effective organisation of film crews at heritage sites but have also emphasised the flexibility that must be involved. 18 Conservators must accommodate last-minute requests dependant on what is appropriate for the site. 19 Poldark (2015-19) requested the use of foreign
toads for one scene at Great Chalfield Manor. The National Trust therefore protected
the natural wildlife through strict parameters of their use at the site, whilst supporting this creative endeavour. 20
Another consideration is the ‘loss of normal use’ and how to account for this. 21 The income filming derives is predominantly unstable and many sites depend on standard visitation to maintain costs. 22 Therefore, continuing regular functions –
either during or once filming has ended – is a priority. Changes to the site must be
explained and any way to acknowledge the filming is encouraged to prevent an unstable visitor experience and reduction in footfall. 23 Featured sites, however, have the opportunity for marketing to maximise any benefits from associations with productions. 24 Basildon Park, featured in Pride & Prejudice (1995) utilised their connection effectively through marketing, despite featuring less prominently than other sites. 25 The upturn in visitation at multiple locations due to their recent productions can produce needed income for conservation purposes or even the sites self-sufficiency. 26 Large production companies or adaptions of literature with pre- existing fan-bases can predict success in this regard. 27 However, its ultimately
unreliable nature and potential for visitor overflow, forces management to consider
new strategies for accommodating the physical upturn in interest. Or on the other
03/Bath%20FO%20film%20agreement%20updated%20March%2019.pdf> [accessed 15 July 2023] (np). 17 Bath Film Office, Terms and Conditions (c. 8.3), np. See also Reynolds, p. 56. 18 Fry, p. 585. 19 Fry, p. 577. See also p. 579. 20 Harvey Edgington and Lauren Taylor, National Trust on Screen: Discover the Locations That Made Film and TV Magic (London: Batsford Books, 2020), p. 67-9. See also Fry, p. 577. 21 Reynolds, p. 55-6. 22 Reynolds, p. 50. See also Olsberg SPI , Quantifying Film and Television Tourism in England , p. 1. 23 Reynolds, p. 56 24 Schiavone, p. 1116. 25 Olsberg SPI, Stately Attraction How Film and Television Programmes Promote Tourism in the UK (2007) <https://www2.bfi.org.uk/sites/bfi.org.uk/files/downloads/uk-film-council-stately-attraction-how- film-and-television-programmes-promote-tourism-in-the-uk.pdf> [accessed 12 July 2023] (p. 103). 26 Reynolds, p. 51. See also Olsberg SPI , Quantifying Film and Television Tourism in England , p. 1. See also p. 66. For how Great Chalfield Manor used funds from filming on conservation, see Edgington and Taylor, p. 74. 27 Olsberg SPI , Quantifying Film and Television Tourism in England , p. 15. See also p. 44.
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