Northern Alliance - BFI

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Short Film Export, a study commissioned by the UK Film Council's Export Development team in 2008, found that, “UK short films perform very well on the international stage, with a consistently strong presence at major festivals and at the Academy Awards®.” Filmmakers interviewed for the study considered the international circuit to be of huge importance to their careers, citing, “skills development, confidence-building and the opportunity to test their work out on an audience,” as some of the benefits. Page 104
Appendix XIX List of interviewees Organisation Interviewee 1 104 Films/ Magic Hour Justin Edgar 2 Animate Gary Thomas 3 B3 Marc Boothe 4 BBC Film Network Claire Cook 5 BBC Films Jack Arbuthnott 6 Birds Eye View Rachel Millward 7 Channel 4 Peter Carlton 8 Creative Management and Productions (CMP) Alexandra Stone 9 Dan Films Julie Baines 10 DigiCult/ Scotland Paul Welch 11 Edinburgh International Film Festival Mary Davies 12 Encounters Short Film Festival Mark Cosgrove, Liz Harkman 13 Filmmaker Rene Mohandas 14 Lifesize Pictures Rebecca Mark-Lawson, Julia Caithness, Jude Goldrei 15 London Film School Ben Gibson 16 Mayavision Sally Thomas, Aaron Young 17 MIA Films and Microwave Mia Bays 18 National Film and Television School Lynda Miles 19 Producer Kevin Loader 20 Skillset Neil Peplow, Helen North & Paul Green 21 The Bureau Matthieu de Braconier 22 UK Film Council Lenny Crooks & Emily Anderton 23 UK Film Council Business Affairs department Jodie Orme 24 UK Film Council Development Fund Chris Collins & Lizzie Francke 25 UK Film Council Distribution and Exhibition department Pete Buckingham 26 UK Film Council Diversity team Marcia Williams 27 UK Film Council/UK Tim Cagney, Nikki Christie & Partnerships department Dee Davison 28 United Agents Sean Gascoine Page 105
Page 1 and 2:
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
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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 and 102: The training scheme is best known f
Page 103: Appendix XVIII The role of film fes
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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Northern Alliance - BFI

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