Northern Alliance - BFI

More documents

Recommendations

Info

Appendix IX The UK Film Council and partners: processes and projects The schemes‟ processes are different in key areas. For example, Digital Shorts is devolved funding in the sense that the UK Film Council does not directly contract with the filmmakers, as it does with its other production schemes. Lifesize Pictures also takes a more direct creative role in Digital Shorts projects than it does in the other schemes. Cinema Extreme and the Completion Fund The management processes and division of labour within both Cinema Extreme and the Completion Fund are largely similar to those described for Digital Shorts. Festivals and distribution Active filmmakers promote their own films; Strategic partners have their own, individual marketing plans, from festival strategies to DVD distribution; Lifesize has its own marketing plan, including festival screening slots, for Cinema Extreme and Completion Fund films; Lifesize works with the UK Film Council Communications Department; Digital Shorts and Digital Nation produce 100-150 films a year; Once a year, Lifesize executives sit down to watch them all and create a long list of 20-30 films to promote in an appropriate way, eg by curating festival programmes consisting of Digital Shorts or Digital Nation short films; There is no long-listing for Cinema Extreme or the Completion Fund, as those schemes produce fewer films; Cinema Extreme and the Completion Fund have dedicated screening slots at the Edinburgh International Film Festival and the Encounters Shorts Film Festival; Lifesize pushes their promotion. Digital Shorts and Digital Nation Guidelines and rules All the strategic partners have slightly different deadlines; Lifesize executives approve and have input into the guidelines (input and feedback could include anything from structural issues, such as whether teams or individuals should be applying, to clarity of application forms and transparency); Guidelines change from one year to another – sometimes small changes, sometimes radical changes; In the early days of Digital Shorts, the rules were more rigid regarding budgets and film durations – there is now more flexibility; This has led to strategic partners developing more films, making fewer films, with different durations and budgets; Page 76
Some rules, such as the requirement to film on a digital format, stay constant; When the schemes are launched each year, strategic partners respond to queries; Lifesize also receives queries and diverts them to strategic partners. Applications and selection Applications are made to strategic partners who prepare the initial shortlist; Lifesize approves the shortlisting methodology for each strategic partner (eg the use of readers, etc); There are differences from one strategic partner to another - some executives read all applications, others employ readers; Lifesize asks to see full lists of applicants in addition to shortlists, in case some people are missed – and Lifesize can add people to the shortlist; Lifesize executives will read 20-30 complete applications per scheme (including supporting material), depending on the number of applications; The selection process is a discussion between Lifesize executives and strategic partner executives – it is a mutual decision-making process; Some strategic partners use a points system to assess applications; others use a more subjective approach. Post-greenlight Development: strategic partners executives have a direct relationship with filmmakers; Lifesize feeds in development feedback through strategic partners, at appropriate stages during the post-greenlight development phase; Similarly, Lifesize feeds into the editing process at various stages, by providing notes to be conveyed to filmmakers via strategic partner executives; The UK Film Council shares sign-off responsibility on screenplay, final cut and credits. Contractual arrangements on NCF short film schemes There are three ways for strategic partners to contract with filmmakers on Digital Shorts: 1. Strategic partner acts as a production company and pays all film costs directly; 2. (a) Strategic partner pays the whole production budget to an individual filmmaker (without a production company); (b) Strategic partner pays the whole production budget to an individual filmmaker (with a production company); 3. Strategic partner pays a production company that is producing a slate of films for the scheme; only one agreement needed. Page 77
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 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: Appendix VIII Overview of the UK Fi
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?