Northern Alliance - BFI

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FeatureLab 2007/08 FeatureLab is a feature film scriptwriting and development training scheme with a BME focus, run by B3 Media, Film4, Binger Filmlab and Skillset. From 121 applicants, 14 were chosen. Training was delivered in London and Amsterdam via Skype and through one-to-one interviews with Film4. It was supported by Cannes attendance, and culminated in a pitching weekend during which seven participants pitched to a panel from the industry. Out of the 14 participants, one is in development with Film4, two have had scripts optioned, three have been signposted to Powerlab, and four are still in talks with Film4 and B3 Media about their futures. 4mations Digital Shorts Training 2009 A one-day workshop was attended by 22 selected filmmakers across the nations and regions from the Digital Shorts scheme. The feedback from participants and tutors was noted as: “incredibly positive throughout, with only minor changes made along the way in terms of the type and amount of information given to the participants.” Page 102
Appendix XVIII The role of film festivals International festivals are crucial for the development of filmmakers and the gathering of influential supporters, potential funders and peers. UK film festivals Stakeholders deemed selection for festivals and festival awards as important measures of success for short films. The two key UK film festivals, the Edinburgh International Film Festival and the <strong>BFI</strong> London Film Festival are, not surprisingly, the two festivals that were mentioned most frequently as key short film players in the UK. The Encounters Short Film Festival in Bristol is also a desirable showcase and networking opportunity for short filmmakers and industry talent spotters. Other, more niche festivals that carry some kudos with stakeholders include: Animate Onedotzero Rushes Soho Shorts Flatpack Festival and 7inch Cinema also get some recognition, although these are arguably less industry targeted and more enthusiast focused. Out of a plethora of festivals celebrating diversity and minority groups, Birds Eye View, BFM (Black Filmmaker) International Film Festival, Oskar Bright, and Wolverhampton Disability Film Festival hold national recognition. The Birds Eye View opening night is always a programme of shorts, and to date has always sold out. This programming is both a strategic decision given the challenges of finding a headline film made by a woman, but more positively, the organisers feel that a well-programmed selection of shorts can act a taster menu for the festival to follow. International film festivals Many stakeholders interviewed showed knowledge and enthusiasm for international festivals, notably the Clermont Ferrand International Short Film Festival and the Toronto International Film Festival. Page 103
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Northern Alliance Review of short f
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Appendices I Case studies 56 II Def
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1. Executive summary 1.1 Introducti
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support a single disabled filmmaker
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emerge as a result of the structure
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target audience consists of the var
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While our interviewees had sympathy
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3.2 The UK Film Council‟s strateg
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Table 2: Summary of the NCF‟s pro
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All of the entities in the table ab
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Table 4: Recent applicants and awar
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Table 5: Strategic partners‟ prio
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There is a need to ground all futur
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Table 8: Success and its cost, from
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Shorts appears relatively efficient
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As noted in section 4.2 above, the
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Given that Cinema Extreme positions
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Figures for the Digital Shorts prog
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“We have no brief to work towards
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4.5.2. Revenues Table 14: Scheme re
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Others were more critical, openly q
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4.7 Support for showcasing films at
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The provision of culturally signifi
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less than a quarter of the cost of
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Recommendation: The UK Film Council
Page 51 and 52: emove the perceived element of comm
Page 53 and 54: As part of our review we checked th
Page 55 and 56: films produced in the UK. We would
Page 57 and 58: million in only a few weeks. I was
Page 59 and 60: That dedication and persistence has
Page 61 and 62: Appendix II Definitions Exactly wha
Page 63 and 64: Directors, started in 1989 and prod
Page 65 and 66: Appendix IV Why short films are mad
Page 67 and 68: Appendix V The public value of shor
Page 69 and 70: Social networking sites, such as Be
Page 71 and 72: Investment in the production of sho
Page 73 and 74: Agency Scheme Number of shorts Budg
Page 75 and 76: Appendix VIII Overview of the UK Fi
Page 77 and 78: Some rules, such as the requirement
Page 79 and 80: The future The short film schemes h
Page 81 and 82: Appendix XI Short film internationa
Page 83 and 84: Beyond Europe 1: New Zealand Film C
Page 85 and 86: Appendix XII Data availability Summ
Page 87 and 88: it subject to loss because of staff
Page 89 and 90: Appendix XIII Platforms and audienc
Page 91 and 92: “There isn‟t much of an audienc
Page 93 and 94: Appendix XV Access and diversity Pa
Page 95 and 96: Appendix XVI Business affairs Short
Page 97 and 98: (b) VAT is paid on awards and provi
Page 99 and 100: Completion Fund, and from the Natio
Page 101: The training scheme is best known f
Page 105 and 106: Appendix XIX List of interviewees O
Page 107 and 108: Appendix XX Sample survey questionn
Page 109 and 110: 3. Measuring success How does your
Page 111 and 112: 4B. Festival screenings of short fi
Page 113 and 114: 4E. Revenue generated: Please provi
Page 115 and 116: 4H.Of the above, how many have subs
Page 117 and 118: 'Developing exceptional talent' and
Page 119 and 120: for making and reporting distributi
Page 121 and 122: Of the filmmakers supported by resp
Page 123 and 124: Filmmaker activity On average, each
Page 125: Appendix XXII Northern Alliance Nor
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