Northern Alliance - BFI

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Screen Agency partners are the most appropriate bodies to fulfil that function. It should be core to the UK Film Council‟s mission. The UK short film universe The Film4 view is that shorts are a better predictor of feature filmmaking ability than pop promos, advertising and so on, but are still not a perfect predictor. Even shorts that get festival attention are not necessarily good predictors, as they can be overreliant on techniques like voice over, or may represent the only creative idea a filmmaker ever has - the equivalent of one hit wonders in pop music. Short filmmakers can also be swayed by fashion; they may attempt to recognise trends in festival taste, or emulate popular feature themes. This can give a false indication of ability (and can become very dull). Film4 does, however, look at all relevant media to identify talent – artists‟ films, TV drama, pop promos, etc – and has taken an active interest in directors from all of these sources. Future shorts Looking to the future, Carlton is not convinced that the Digital Shorts model of equal geographic access is still appropriate. He would propose a model which worked through fewer centres of excellence around the UK. These centres should be outward facing and proactive about partnership, and open to application from all. There is the potential for film workshops, such as Knowle West Media Centre and Threshold Studios, to act as a support/feeder network for centres of excellence. Page 80
Appendix XI Short film internationally In Europe, including the UK, short films are widely seen as representing the future of filmmaking. They play a role in visual experimentation, creativity and talent emergence, and act as a training ground for directors and producers who then move on to make feature films. A wide range of country-specific public funding mechanisms is in place to support the sector. The following table summarises the support available for short film in a sample of European countries. In these countries, it is customary to define a short film as being less than 60 minutes in length, though the required duration of films funded through individual schemes varies. An exception to the 60-minute rule is made by the Italian Film Commission, which provides loan funding for short films of under 75 minutes in duration, covering up to 100% of the budget, to a maximum of €75,000. An interesting feature of the Italian system is that if the loan is not paid back within a three-year period, the state can take possession of the rights of the film for the outstanding amount of the loan. In addition to the shorter short films (5-20 minutes), many national public funds in Europe finance short films of around 30 minutes and over. The schemes for these longer short films often have national broadcasters on board as co-financiers and broadcasting partners. These initiatives could be seen as bridging the gap between shorter short films and feature films and/or television drama. For example, the Finnish Film Foundation and YLE, the Finnish national broadcaster, have been cofinancing four 28-minute novella films a year since 2007, with the aim of encouraging new writers, directors and producers to create fresh and original films. The novella films are made for €170k budget each (co-financed by the partners on a 50-50 basis), and broadcast on a dedicated programming slot on YLE‟s Channel 1. 1 Cinema Extreme has not collected data on the diversity of its applicants only its awardees over the period 2002/03 to 2007/08. During this time female awardees have fallen from 50% to 33%,ethnic minority awardees began and finished this time period at 0% though reached a high of 18% in 2007/07 – over the entire time period measured ethnic minority representation averaged 7%. No awards have been made to disabled filmmakers. Page 81
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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
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While our interviewees had sympathy
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3.2 The UK Film Council‟s strateg
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Table 2: Summary of the NCF‟s pro
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All of the entities in the table ab
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Table 4: Recent applicants and awar
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Table 5: Strategic partners‟ prio
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There is a need to ground all futur
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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 and 76: Appendix VIII Overview of the UK Fi
Page 77 and 78: Some rules, such as the requirement
Page 79: The future The short film schemes h
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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