Northern Alliance - BFI

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Lifesize holds a discussion each year with filmmakers about professional conduct, including copyright, contracts and the working time directive, but there is a duality in practice with ostensible compliance disguising breaches of policy. Lifesize feels the UK Film Council is not involved enough to appreciate this fully. Lifesize says it focuses on cherry-picking talent that is suitable for the international marketplace, whereas strategic partners promote at a local or national level, and tend to promote every film they fund. It also feels that the National and Regional Screen Agencies can also be dogmatic about targets and that some poor films are commissioned simply to help meet targets. It believes that Digital Nation plays an important role in moving on from this context, with bigger budgets and a more flexible approach. Lifesize concedes that data management has not been efficient in the past; it would like to stop having to report back on the money made on the sale of films and would like more flexibility in the way films are contracted. Via Lifesize Pictures, the NCF is closely involved in the selection and development of every short film commissioned through the four schemes including the approval of the final cut (see Appendix IX for detail on the individual schemes‟ processes). Conversely, although both the UK Film Council and Lifesize Pictures actively promote many short films, in the majority of cases (especially at the Digital Shorts level) the responsibility for actually marketing the films is left with the filmmakers themselves. This may reflect the economic reality that there is no viable business model for short film distribution. Certainly the returns from Digital Shorts and Digital Shorts Plus/Digital Nation support this conclusion. Page 38
4.5.2. Revenues Table 14: Scheme revenues 2006-09 56 Total revenue (£) 57 Number Total expenditure of films on film Scheme produced production 58 Digital Total Distribution Broadcast DVD Online Shorts 281 2,329,221 40,845 3,938 34,682 960 1,265 As a % of cost 1.8% 0.2% 1.5% 0.0% 0.1% Digital Shorts Plus / Digital Nation 18 363,000 5,766 2,200 3,566 n/c n/c As a % of cost 1.6% 0.6% 1.0% It is clearly only worth monitoring and collecting revenues for a few films, yet all filmmakers appear obliged to account for their projects in the same way regardless of the extent of their success or scale (for further information on shorts recoupment see Appendix XVI). 56 This table shows total revenues recorded by the UK Film Council‟s strategic partners over the last three years across various distribution platforms, for Digital Shorts and Digital Nation films (Cinema Extreme and Completion Fund do not record this information). A sample of the returns from all short films made in the UK, with and without the support of the UK Film Council, is provided for comparison. 57 Information on DVD revenues and, more so, online revenues appears to be only haphazardly collected by strategic partners. On the basis of the scant information available it appears that, on average, a short film made either with or without the support of the UK Film Council does not generate any revenue of any significance from online distribution. 58 Includes all NCF, partner, and other funding, as recorded by the strategic partners. Page 39
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 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: “We have no brief to work towards
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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