Northern Alliance - BFI

More documents

Recommendations

Info

Short films are not the only route for new filmmaking talent to develop and progress, but there was a strong view among interviewees that no other medium (eg commercials, music video, television or theatre) is as accurate an indicator of feature filmmaking talent as short films are (see Appendix XIV for selected stakeholder opinions on the issue). “Short films are about personal stories and ideas; the format is much freer. You can choose whom to work with, establish relationships, and learn about the whole process – from fundraising to distribution - whereas with commercials you generally deal with just the production process, and the story and other parameters of the project come from the client.” Claire Cook, BBC Film Network Despite the perceived value of short films in identifying talent and preparing that talent for feature filmmaking, the sheer number of short films made each year in the UK 80 suggests that not all short films lead to opportunities in longer-format work; there is a very high level of redundancy in short film production, and very few of the hundreds of short filmmakers reach their ultimate goal. “Short films play an extremely useful role in the discovery of talent. It is less clear how filmmakers progress. You find a talented director through their short film calling card - and what next?” Sean Gascoine, United Agents 80 As already documented, there are over 2,000 - of which around 1,800 are made in the context of higher education - compared to 160 feature films (the annual average of the total number of UK feature films made over last three years, according to the Film UK guide). Page 66
Appendix V The public value of short films When considering the payback that short films make to the UK‟s cultural life in return for the public funding devoted to their production, it may be useful to think of their contribution in two ways: their intrinsic value as a form of art or entertainment in their own right, and their instrumental value as a means of developing the skill-set of the UK industry as a whole, in particular the subsequent feature films of short film „graduates‟. Interviewees appreciated their intrinsic value: “Short films are a showcase for different stories and opinions. Shorts also allow audiences to engage with bolder and „higher risk‟ storylines than are possible in television or feature films.” Claire Cook, BBC Film Network “Great shorts can be more satisfying than feature films, and can be easier to engage with because they are shorter!” Mia Bays, Producer and Creative Executive, Film London‟s Microwave This cultural value can often be latent or deferred: “There can be a „retrospective‟ cultural benefit from shorts when an audience is given the opportunity to discover a canon of early work by an established filmmaker as was the case with Martin Scorsese's short films.” Alexander Stone, CMP However, there was a clear consensus that the primary contribution made by short films was instrumental in nature: “Short films are an essential part of talent development. They are a great medium for exploring a filmmaker‟s tone and style.” Chris Collins and Lizzie Francke, UK Film Council Development Fund Precisely where talent development starts and skills training stops is harder to discern, though the value of a continuum of formal training was evident in much of the opinion canvassed as part of this review: “Short films play a very important role, primarily in talent development, and primarily in developing and discovering directors. However, I think they are a great training ground for people in every department, for instance I first came across Seamus McGarvey through a short he‟d shot.” Julie Baines, Dan Films Page 67
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 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: Appendix IV Why short films are mad
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
show all

Northern Alliance - BFI

Create successful ePaper yourself

Delete template?

Save as template?