Northern Alliance - BFI

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Appendix XIV Short film versus other media as preparation for feature filmmaking There is a strong perception among the stakeholders that while music videos and commercials allow filmmakers to practise technique and visual flair, they do not fully prepare filmmakers for narrative filmmaking. “The UK has produced great filmmakers from different visual arts. From the commercials world, directors ranging from Sir Alan Parker to Jonathan Glazer; from theatre, Sam Mendes and Stephen Daldry.” Alexandra Stone, CMP “Shorts cannot be seen in a vacuum – they co-exist with, and there is a lot of cross-over between, music videos, commercials and art film.” Rebecca Mark-Lawson, Lifesize Pictures “Directing a mobile phone commercial and conveying a dramatic narrative are hugely different, but a practitioner‟s involvement in one is not mutually exclusive to the other.” Mary Davies, Head of Industry, Edinburgh International Film Festival “Ads, promos and so on all tend to have a fixed format – only shorts allow filmmakers to tell their own story and experiment and find their own way with content and format.” Mark Cosgrove, Encounters Short Film Festival “Some audiovisual disciplines, such as music videos and commercials, allow filmmakers to practice technical styles, but they do not prepare filmmakers in narrative filmmaking. On the other hand, directors coming from theatre risk the danger of over-relying on technicians if they rush into long-form filmmaking too soon.” Mia Bays, Producer and Creative Executive, Film London‟s Microwave “Shorts are not necessarily useful – it depends. For example, so far, the teams that have been selected to train via feature film production through Film London‟s Microwave scheme have come from a variety of backgrounds. The director and producers of Shifty came from a background of music videos and commercials; the director of feature documentary The British Guide to Showing Off comes from an art and documentary background, while the director of Mum & Dad came from shorts and its producer from commercials. We are interested in people with a range of experience.” Maggie Ellis, Head of Production, Film London Page 92
Appendix XV Access and diversity Part of the public value of short filmmaking is its ability to be more diverse than feature length filmmaking has tended to be. A commonly held belief among interviewees was that the writers, directors and producers of short films are likely to come from a broader cross-section of the population than those of feature films. Some stakeholders observed that the lower cost, coupled with the ability to undertake proactive diversity selection procedures in short film schemes, ensure that people from diverse backgrounds are given opportunities to gain filmmaking experience and tell their own stories. While there is general consensus among stakeholders that short film schemes contribute to access and diversity objectives, opinion amongst those consulted tended to fall into two broad camps: 1. Those who feel that access and diversity are at the very heart of the work that short film schemes should be delivering; 2. Those who do not talk in terms of access and diversity, but focus almost exclusively on talent. When prompted, access and diversity are described as “implicit” or, as one focus group respondent stated, “we are running a talent scheme... we would be foolish not to look everywhere for talent.” “Diversity is in your head the whole time – it is „just what we do‟. Diversity is implicit in our remit to find talent.” Regional Screen Agency Digital Shorts, Production Executive There is some sensitivity about collecting diversity data alongside creative information; according to one strategic partner executive, “these are not issues that should be driven by monitoring, ie a need to tick boxes. This could result in turning away better filmmakers to meet diversity objectives.” In some genres, without shorts there would be very little opportunity in the UK for cinematic presentation. For example, animation intended for the cinema in the UK is dominated by shorts, and formal experiment and artists‟ film is largely confined to short formats. However, there is disquiet at the limited diversity still evident in short films and among their makers, and that both latitudinal and longitudinal constraints exist. Page 93
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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
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Shorts appears relatively efficient
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As noted in section 4.2 above, the
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Given that Cinema Extreme positions
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Figures for the Digital Shorts prog
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“We have no brief to work towards
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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 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: “There isn‟t much of an audienc
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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