Short Film Export Report - BFI

Genre
Fiction 11
Animation 7
Documentary 1
Total 19
4.3 Observations based on this sample
Animation (7)
Documentary (1)
4.3.1 Strong international appetite for UK shorts
UK films received 14 % of the total prizes, comparing favourably with the 16% given to shorts
from the USA and 12% to French-made shorts; particularly impressive given that no domestic
festivals were included in the sample while the US and France picked up many of their awards
in their home countries. British shorts have a proven ability to play well at both European and
North American festivals as well as further afield (although East Asia is not represented in the
sample, in recent years the UK has performed very well at shorts festivals in countries including
Japan, Hong Kong and Singapore). This was confirmed by our consultations with international
programmers, who talked of actively looking forward to the British Council‟s package of new
films each year and of their admiration for the originality and skill of UK filmmakers.
4.3.2 Diversity of films, filmmakers and of funding models
Many filmmakers consulted felt that one of the festival scene‟s strengths was its openness to
new voices, providing an important platform for talent that might not emerge through other
routes like television or advertising. This is borne out by the data, which includes a wide range
of genres and approaches and a strong showing for women and BME filmmakers. More recent
festival successes also back this up, with a number of UK prize-winners emerging from the
world of animation, music video or visual arts. 7 It‟s also important to note the range of funding
sources including broadcasters, film-schools and Arts Council support, with a third benefitting
from some form of UK Film Council funding and at least two thirds made with some element of
self-funding.
4.3.3 Significant proportion of self-distribution
As well as funding their own shorts a large proportion of UK filmmakers distribute their work
too. Reasons given for this included: failure to get picked up by an agent; a fear of losing half
the return on the film in the form of sales commissions; or a lack of faith that the agent will
represent their film effectively. However, many short film buyers do not have the time to deal
with individual producers and prefer to pick up packages from agents or distributors. This
predominance of self-distribution represents a missed opportunity for British short film, not just
in terms of sales but also international visibility of the work, although self-distribution can reap
rewards for some. (See Hibernation, below.)
4.3.4 Festivals are hard work
Many filmmakers talked of the time-consuming and expensive process of submitting to festivals
and award schemes, coordinating print transport and representing a film internationally. The
producers of Milk, a Scottish Digital Short which won the Golden Bear for Best Short at Berlin
in 2005, totalled up the administrative and shipping costs and the human resources involved in
festival promotion of the film. This was close to £5,000, as against the £1,200 which the film
7 Crossovers between the film and art worlds are particularly striking here, with successes in 2008 for artists Ben
Rivers and Desperate Optimists (Rotterdam) and Steve McQueen and Sam Taylor-Wood (Cannes).
Drama (11)
13