Northern Alliance - BFI

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4. Evaluation of the UK Film Council‟s activity 4.1 Objectives Many stakeholders shared the view that there is a lack of clarity over the current objectives and/or priorities for the UK Film Council‟s short film activities. This lack of clarity seems to apply to the UK Film Council‟s various internal departments and teams as well as its strategic partners and other stakeholders consulted. The following quotes from interviewees illustrate this point. “We feel we have delivered against what we understood to be the objectives. We don‟t have many formal targets, but informal benchmarks have developed and been communicated.” Strategic partner “The actual objectives for schemes are unclear. Are they calling cards? To build a network in a particular region? Provide access? Build diversity? There needs to be greater clarity of objective.” Industry interviewee Given the perceived lack of clarity of objectives, <strong>Northern</strong> <strong>Alliance</strong> asked the strategic partners to rank the objectives of their short film schemes from 1-9, with 1 as the highest priority. The results are summarised below (see Appendix IV for more detail on why short films are made). Page 22
Table 5: Strategic partners‟ priorities regarding the role of short films Rank Strategic partners‟ priorities 28 1 Developing exceptional talent 2 Discovering new talent 3 Helping key talent move to feature films 4 Producing critically acclaimed short films 5 Encouraging creative experimentation 6 Encouraging diversity in the film industry 7 Producing short films for a wide public audience 8 Encouraging use of digital and new technologies 9 Training all crew In addition, there was a broadly held view among interviewees that the UK Film Council is focusing on the wrong aspects of projects: both in concentrating on individual films rather than underlying talent, and in focusing on the volume of films produced, rather than the effectiveness of the schemes in nurturing talent. As part of this review, we compared the UK Film Council‟s provision to that of some international peers (see Appendix XI). In larger mature and developed economies similar to the UK, a tiered pattern of support at national, regional and local level is not unusual. As well as a more devolved approach at lower levels, the resources invested in individual short films produced at the top of the range was typically higher than in the UK. Some of these countries, most notably New Zealand, also appear to have prosecuted a strategy vigorously targeted at achieving international recognition via representation at leading film festivals and major awards ceremonies. There appears to be significantly higher commitment, both in terms of finance and human resources, to marketing the makers of their best short films to the international industry and making explicit commitments to their transition to feature filmmaking. There is a need to refresh and re-state the UK Film Council‟s aims, objectives and targets so that its programmes remain relevant and competitive on a global stage. 29 28 Source: strategic partners questionnaire for this report, completed by a sample of 25 strategic partners in May 2009. 29 The principal conclusions from each section of this report (underlined) are carried forward into section 5, where they are discussed further and form the basis of recommendations. Page 23
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 and 16: 3.2 The UK Film Council‟s strateg
Page 17 and 18: Table 2: Summary of the NCF‟s pro
Page 19 and 20: All of the entities in the table ab
Page 21: Table 4: Recent applicants and awar
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
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
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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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Northern Alliance - BFI

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