Northern Alliance - BFI

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Table 10: Ancillary distribution 2006-09 38 Scheme Number of films produced Distribution deal (%) Broadcast 39 deal(%) Percentage of films with: DVD label (%) Online availability (%) Total number of online views Cinema Extreme 14 71% n/a n/c 40 n/c n/c Completion Fund 25 32% 0% 0% 12% n/c Digital Shorts 281 41 15% 12% 7% 23% 130,125 (per film) (463) Digital Shorts Plus / Digital Nation 18 6% n/a 6% 22% n/c However, the consensus of opinion is that the acid test for short films is the subsequent progression of talent, especially directors, into feature filmmaking. “A good measure of success of short film schemes is to look at how many people go on to make features, and good features; ie demonstrating that progression on the ladder from shorts to features…” Chris Collins and Lizzie Francke, Development Fund, UK Film Council 38 This table shows the various deals achieved and/or platforms utilised by UK Film Council supported short films from 2006 to 2009, as recorded by the UK Film Council’s strategic partners. Neither Cinema Extreme nor the Completion Fund track online views and, though almost all Digital Nation strategic partners reported that they did not collect this information either, one respondent reported their results as zero. Figures reflect activity up until May 2009. 39 Both Cinema Extreme and Digital Nation schemes are broadcaster supported. 40 n/c = not collected. 41 Scottish shorts results have been removed from the sample, as the provision of data was not adequate for reliable results. Page 30
As noted in section 4.2 above, the data collection methodologies adopted often do not lend themselves to accurate measurement of the impact of activity. In our survey, all of the strategic partners cited career development as a measure of success for their short film activities. Despite this, four of the respondents do not collect careertracking data at all, and half of all respondents did not track all of the categories which they stated – as part of the questionnaire - were key career tracking data. However, according to information supplied by the NCF after the completion of the field work undertaken for this report, 63% of NCF backed feature directors have made short films and, measured over the life of the programmes, almost one third of Cinema Extreme directors and 8% of Completion Fund and Digital Plus/Nation directors have gone on to make features. Strategic partners stressed that a key issue in monitoring talent is to do so over a sufficiently long time period (see case study, Shane Meadows and short film, Appendix 1). It can take several years for a filmmaker to progress from his/her first engagement with the funding system to achieving visibility as a features director. Frequently, by the time such breakthroughs have occurred, this initial engagement has been forgotten. 42 The data in Table 11 should therefore be viewed in that context; there are certainly exceptionally talented filmmakers who have made short films in the period analysed who have not yet made a feature film, but will go on to do so in the future. 42 For example, Anthony Minghella’s short film award from the now-closed Southern Arts Board film and video production fund. Similarly, Saul Dibb had early support from First Take, a joint initiative by Eastern Arts Board and Anglia TV, in the mid-1990s, almost ten years before his first feature Bullet Boy (2004). Andrea Arnold was supported by First Take at around the same time, well before her breakthrough short film, Wasp was supported by Cinema Extreme in 2003. Page 31
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 and 28: Table 8: Success and its cost, from
Page 29: Shorts appears relatively efficient
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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