Northern Alliance - BFI

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egional broadcasters. Another feature was the existence of diversity strands targeting disabled, black and Asian filmmakers. 78 “In the past, the <strong>BFI</strong>, BBC and Channel Four all supported shorts. Now, a lot of good films have to be self-financed.” Ben Gibson, Director, London Film School Sales both to UK and mainland European broadcasters used to be the main source of revenue for short films. However, the period immediately before the formation of the UK Film Council saw radically decreasing support for short film from broadcasters, both in financing and broadcasting them. 78 These were typically considered to be short-term measures needed to accelerate opportunities for target groups and individuals. Page 64
Appendix IV Why short films are made The consensus of opinion consulted was that the primary purpose of short filmmaking was instrumental, with filmmakers at all levels principally focused on using short films as a vehicle for career progression. Table 16: Filmmakers‟ priorities regarding the making of short films Rank Filmmakers‟ priorities 79 1 Produce critically acclaimed shorts 2 Develop my skills/talent 3 Help me move to feature films 4 Be discovered as new talent 5 Produce films for a wide public audience 6 Experiment creatively 7 Use digital and new technologies 8 Get trained in working as part of a crew “Short filmmaking serves as an apprenticeship process, in particular for producers, writers and directors but also for other crew, before moving on to features.” Mia Bays, Producer and Creative Executive, Film London‟s Microwave The role of short film schemes in developing skills in all grades was highlighted by many industry National and Regional Film Agencies executives and there is appreciation of the potential for short filmmaking in a higher education context to develop skills (with developing talent, as defined above, as a strong secondary benefit). All stakeholders agreed that high-quality short films work as calling cards for directors – and, to a lesser extent, for writers and producers - and this aspect becomes increasingly important as the transition to feature filmmaking draws nearer. “Certain short films have caught my eye and I‟ve become a fan of the filmmaker and then wanted to work with them once we‟d found the right piece of material. Sometimes it has worked in a different way: David Mackenzie got in touch via his brother, whom I already knew, about developing Young Adam and it was then that I looked at his shorts. Either way, shorts play a critical role in supporting the case for working with emerging talent.” Alexandra Stone, CMP 79 Source: filmmaker questionnaire; in May-June 2009, 21 filmmakers were asked to rank these priorities from 1-10; see Appendix XXI for details. Page 65
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Northern Alliance Review of short f
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Appendices I Case studies 56 II Def
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1. Executive summary 1.1 Introducti
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support a single disabled filmmaker
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emerge as a result of the structure
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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 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: Directors, started in 1989 and prod
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
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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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