Northern Alliance - BFI

There was a very high level of consensus that talent development through short
filmmaking requires subtlety and sophistication in approach. At its most advanced,
short filmmaking is seen as allowing filmmakers to perfect their art through
performance, while for relative novices more formal support is required and the
opportunity to train and be trained is as important - or even more important - than
the final product.
As noted in section 3, Skillset supports dedicated training schemes which run
alongside the Digital Shorts and Cinema Extreme programmes: in both instances,
Skillset categorises this support as „training linked to production‟. Although this is
clearly not an illogical categorisation, it is notable that Skillset does not consider its
support for either Cinema Extreme or (in particular) Digital Shorts as part of its
commitment to new entrants – which includes training strands for writers, directors
and producers (as well as craft and technical grades). It appears that there is an
opportunity for greater efficiency and effectiveness through a more co-ordinated
approach.
“It is difficult to assess properly without adequate information, but I feel we should
be identifying talent at First Light and supporting it through to feature filmmaking.”
Paul Green, talent scout, Skillset
Probably the most important objective and rationale for higher education institutions
is the development of skills, technical competence and other broadly educative goals,
rather than the development of feature filmmaking talent. However, it is hard not
get the impression that an opportunity is being missed, especially given the amount
of money the funding councils devote to the production of short films, and the
resources and expertise that Skillset engages to develop new entrants training,
unrelated to the NCF‟s short film activity.
“We need a more joined-up strategy, where there is a smooth transition from
training to production. At the moment, they don‟t marry up.”
Neil Peplow, Head of Film, Skillset
Evaluation of individual training programmes specifically related to the UK Film
Council‟s short film schemes was generally positive, 60 but this was contradicted by
the frustration expressed by some attendees of the focus groups, especially the more
experienced filmmakers who felt the support made available to them was not geared
up to their stage of development.
There is an opportunity for increased coordination of the work of Skillset and the
NCF, and for better leverage of the considerable sums invested in short filmmaking
via higher education.
60 See Appendix XVII.
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