Northern Alliance - BFI

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Table 9: International success and its cost, from inception to August 2009 Scheme Number of films produced Total cost to NCF 35 (£) UK Film Council recorded outputs 36 Cost of success (£) Cost per Selected High screening Cost per for A-list profile at A-list high profile festivals awards and festivals award or for shorts nominations for shorts nomination Cinema Extreme 24 966,574 4 5 241,644 119,315 Digital Shorts Plus / Digital Nation 25 448,871 6 2 74,812 224,436 On the basis of this (admittedly crude) analysis, while Cinema Extreme has been effective at producing short films that garner attention and praise, this appears to be largely attributable to a small number of its earlier productions. The Completion Fund appears to be less effective; the proportion of films that achieve recognition appears especially low given the nature of the fund‟s intervention. Its engagement, which comes after principal photography, should allow it to achieve the highest percentage of awards, nominations and screenings. It also appears to be relatively inefficient; again the nature of its intervention should in theory allow it to direct resources to where the highest payback is likely. In practice, it is only 22% more cost effective 37 at securing high profile screenings than the higher risk intervention of the Digital Shorts programme which funds the entire filmmaking process. Given its role, it is perhaps most unfair to measure the Digital Shorts programme in this way. However, after discounting the inevitably higher level of redundancy associated with providing a programme to include new or recent filmmakers, Digital 35 See footnote 34 above. 36 Source: UK Film Council official collected statistics. 37 Cost per screening for Completion Fund films, as calculated above, divided by the equivalent for Digital Shorts. Page 28
Shorts appears relatively efficient, in terms of securing screenings for the films it helps produce. It is perhaps also unfair to consider the performance of the Digital Shorts programme alone, as it is intended to feed into the Digital Shorts Plus/Digital Nation programme. The Digital Shorts Plus/Digital Nation programme appears to have been relatively effective and efficient from its first incarnation, especially in terms of securing international recognition for its films at A-list festivals outside the UK. Interviewees regarded festivals as the most important platforms for showcasing short films, and therefore screenings and awards represent key measures of success. Other platforms are not necessarily as highly regarded and are more complicated to analyse, even where data are available. This is especially the case for short film online; however, the following table gives an indication of success in these other platforms (for further details of platforms and audiences for short film, see Appendix XIII). Page 29
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 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: Table 8: Success and its cost, from
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
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 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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