Northern Alliance - BFI

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Those that had obtained funding appeared to have done so over a number of years: Five respondents who had received Digital Shorts funding received it over more than one year; One respondent received funding from Digital Shorts for two years and Digital Shorts Plus for two years within the 2006-2009 period. Loose correlations showed that the UK Film Council-funded filmmakers were those reporting the majority of revenues, though not a majority proportion of distribution deals. UK Film Council backing also correlates with filmmakers making feature films, receiving development funding, getting a job in the industry and having films screened at A-list festivals. However, filmmakers without UK Film Council backing were those that tended to win the high profile awards. Page 124
Appendix XXII Northern Alliance Northern Alliance is a chartered accountancy firm that provides accounting, tax, financial, management and business consulting services to private and public sector organisations and individuals, especially to those operating in the media, entertainment and creative industries. We have substantial practical knowledge of, and expertise in, how the private and public sectors work. The range of our experience extends throughout Europe, Asia and North America. The Northern Alliance team that undertook this review of short film consisted of Catherine O‟Shea, Chris Chandler, Laura Hypponen, Michael Franklin and Mike Kelly. Northern Alliance Limited is a member of the Institute of Chartered Accountants Practice Assurance Scheme, which has been designed to demonstrate to the business community and the wider public the Institute's commitment to upholding and developing public standards that command public confidence. Further details can be obtained from www.icaew.com. Page 125
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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
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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 and 122: Of the filmmakers supported by resp
Page 123: Filmmaker activity On average, each
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