Northern Alliance - BFI

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3.3 The New Cinema Fund‟s short film activities The New Cinema Fund (NCF) allocates a little over £1 million a year to its programme of short film production schemes. A total of 817 short films have been co-financed since the inception of these initiatives in 2001/02 (Digital Shorts Plus from 2005). Of these, 684 are Digital Shorts films, 25 are Digital Shorts Plus/Digital Nation projects, 24 are Cinema Extreme films and 72 short films have been supported via the Completion Fund. 13 The remainder were made through one-off, specialist or discontinued schemes (see Appendix VII for a summary of short film schemes since 1997 and Appendix VIII for an overview of the four main current schemes). Via Lifesize Pictures, the NCF is closely involved in the selection and development of each of the short films commissioned through the four principal schemes, including the approval of the final cut. The UK Film Council‟s Communications Department, Lifesize Pictures and the strategic partners also undertake a range of activities to promote the short films funded by the UK Film Council‟s short film schemes. 14 In total, 144 short films supported by the UK Film Council have been screened at A-list festivals and have won or been nominated for 58 high profile awards. The NCF typically provides 50% 15 or less of the finance required to make each short film. The UK Film Council also funds Skillset‟s provision of the training that complements the short film programmes (see Appendix XVII for an overview of this training). It secures its investment by taking a share of the copyright in each film. 13 Source: UK Film Council official collected statistics. 14 For example, Cinema Extreme and the Completion Fund films have dedicated screening slots at the Edinburgh International Film Festival and Encounters, and Completion Fund short films are also screened to a London audience at Curzon Soho. Lifesize Pictures works with the UK Film Council communications department to promote these events. 15 The NCF‟s expenditure leverages further funding to bring the schemes up to much higher levels of total expenditure, In 2008/09 this leverage has been in the order of 62%. Other funding comes from sources including the UK Film Council‟s diversity unit, Skillset, in kind support, and partnership funding (from broadcasters and National and Regional Screen Agencies, for example) and from the filmmakers themselves. Page 16
Table 2: Summary of the NCF‟s production spend and number of films produced per scheme, from inception to August 2009 Scheme Year started Scheme history 16 NCF spend (£) from inception to August 2009 17 Number of films produced Cinema Extreme 2002 642,703 24 Completion Fund 2002 380,118 72 Digital Shorts 2002 3,821,400 684 Digital Shorts Plus / Digital Nation 2005 250,000 25 CNC 2002 93,940 18 3 Reasons to be Cheerful (Comedy Shorts) 2002 77,270 19 4 Viral Shorts 2002 27,500 5 16 Source: UK Film Council official collected statistics. 17 Excluding all management, distribution and marketing costs. 18 Total of film grants. Source: UK Film Council official collected statistics. 19 Total scheme costs. Source: UK Film Council official collected statistics. Page 17
Page 1 and 2: Northern Alliance Review of short f
Page 3 and 4: Appendices I Case studies 56 II Def
Page 5 and 6: 1. Executive summary 1.1 Introducti
Page 7 and 8: support a single disabled filmmaker
Page 9 and 10: emerge as a result of the structure
Page 11 and 12: target audience consists of the var
Page 13 and 14: While our interviewees had sympathy
Page 15: 3.2 The UK Film Council‟s strateg
Page 19 and 20: All of the entities in the table ab
Page 21 and 22: Table 4: Recent applicants and awar
Page 23 and 24: Table 5: Strategic partners‟ prio
Page 25 and 26: There is a need to ground all futur
Page 27 and 28: Table 8: Success and its cost, from
Page 29 and 30: Shorts appears relatively efficient
Page 31 and 32: As noted in section 4.2 above, the
Page 33 and 34: Given that Cinema Extreme positions
Page 35 and 36: Figures for the Digital Shorts prog
Page 37 and 38: “We have no brief to work towards
Page 39 and 40: 4.5.2. Revenues Table 14: Scheme re
Page 41 and 42: Others were more critical, openly q
Page 43 and 44: 4.7 Support for showcasing films at
Page 45 and 46: The provision of culturally signifi
Page 47 and 48: less than a quarter of the cost of
Page 49 and 50: 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
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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
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Agency Scheme Number of shorts Budg
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Appendix VIII Overview of the UK Fi
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Some rules, such as the requirement
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The future The short film schemes h
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Appendix XI Short film internationa
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Beyond Europe 1: New Zealand Film C
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Appendix XII Data availability Summ
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it subject to loss because of staff
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Appendix XIII Platforms and audienc
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“There isn‟t much of an audienc
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Appendix XV Access and diversity Pa
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Appendix XVI Business affairs Short
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(b) VAT is paid on awards and provi
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Completion Fund, and from the Natio
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The training scheme is best known f
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Appendix XVIII The role of film fes
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Appendix XIX List of interviewees O
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Appendix XX Sample survey questionn
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3. Measuring success How does your
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4B. Festival screenings of short fi
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4E. Revenue generated: Please provi
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4H.Of the above, how many have subs
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'Developing exceptional talent' and
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for making and reporting distributi
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Of the filmmakers supported by resp
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Filmmaker activity On average, each
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Appendix XXII Northern Alliance Nor
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