Northern Alliance - BFI

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2. Filmmaker questionnaire A separate questionnaire, with similar questions to that of the stakeholder questionnaire, was sent to filmmakers invited to the three focus groups. The respondents included eight Sheffield focus group members, four diversity focus group members and nine Edinburgh International Film Festival focus group members/invitees, making 21 filmmakers in all. The selection process for the focus groups was as follows: Sheffield - Lifesize Pictures was asked to invite local (ie within commuting distance of the city) filmmakers - writers, directors and producers - both men and women, as diverse as possible, from their contacts database; Edinburgh - Edinburgh International Film Festival was asked to invite all short filmmakers with a short film in the festival programme as well as all short filmmakers attending the festival on the focus group date (which was the screening date of UK shorts compilation Vol1 and GMAC shorts). Diversity - focus group participants were recruited via contact from B3 Media, 104 Films and the UK Film Council's Diversity team. During the focus groups, discussions were structured around points in the questionnaire and related issues. Filmmaker priorities Overall ranking of filmmakers‟ priorities: 1. Produce critically acclaimed shorts; 2. Develop my skills/talent; 3. Help me move to feature films; 4. Be discovered as new talent; 5. Produce films for a wide public audience; 6. Experiment creatively; 7. Use digital and new technologies; 8. Get trained in working as part of a crew. However, the priority ranked most often as number 1 is “Help me move to features”. Page 122
Filmmaker activity On average, each filmmaker produced: One film a year 2006-2008, rising to two a year in 2008/09, with Expenditure of approximately £9,000 in the first film, rising to £16,000; The average duration of these films increased from nine to 12 minutes; 84% of these films were shot digitally. Exhibition and distribution Of all of the 101 films in the sample, for the entire period reviewed: 32 screenings at A-list festivals were achieved; Two high profile awards were won; Six films were picked up for distribution; 15 were broadcast; Two were included on reputable DVD labels; 11 are available online; Only two respondents recorded any revenue from distribution deals, and the average of these yearly amounts was £550; Only two respondents recorded revenue from broadcast deals from shorts, and the average of these yearly amounts was £863. Career development One respondent had previously made a feature; Four have received feature development funding; Seven have an industry related job; Ten have received industry recognition; Five have received public recognition. Filmmaker interaction with the UK Film Council Eight of the 21 respondents had received shorts funding from the UK Film Council. This included: Six Digital Shorts; Two Digital Shorts Plus (One Digital Short and Digital Short Plus overlap); One Completion Fund. Page 123
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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
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emove the perceived element of comm
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As part of our review we checked th
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films produced in the UK. We would
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million in only a few weeks. I was
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That dedication and persistence has
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Appendix II Definitions Exactly wha
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Directors, started in 1989 and prod
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Appendix IV Why short films are mad
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Appendix V The public value of shor
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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 and 104: Appendix XVIII The role of film fes
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: Of the filmmakers supported by resp
Page 125: Appendix XXII Northern Alliance Nor
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Northern Alliance - BFI

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