Northern Alliance - BFI

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“You have to address the diversity issues in feature filmmaking at the same time as opening up short filmmaking to minorities. You won‟t make the feature film industry more diverse just by making short filmmaking diverse.” Julie Baines, Dan Films Despite concerns that more could be done in areas such as diversity, there was widespread appreciation of the public value of short filmmaking in developing talent to refresh and sustain the UK film industry and the UK‟s film culture. “Short filmmaking is part of the fabric of UK film.” Alexandra Stone, CMP Page 94
Appendix XVI Business affairs Short film contracts, terms and conditions, accounts, recoupment and reporting Key issues Reporting on money made from sales of short films is inefficient; policing and reporting costs too much time and money when returns are so minimal; Contracting is too inflexible, and the area of business affairs requires more funding to ensure more appropriate deals. Background and questions arising The UK Film Council issues contracts for individual short films, their terms and conditions, reporting obligations and recoupment and accounting procedures, are currently in the same style as contracts for full feature films: Table 18: A comparison of short film schemes‟ current contracts Scheme Cinema Extreme Completion Fund Digital Shorts/Digital Nation Commission Expenses Up to 35% The lower of £200 p.a. or 15% of sales Reasonable Annual reporting for five years Up to 20% (available to filmmakers, strategic partner‟s decision) Accounting and reporting Separate trust account, annual reporting (£6m for two years) Net of commission and expenses, 50% to UKFC until recouped, then 100% to producer Reasonable Strategic partner to act as collection agent, annual reporting Recoupment Net of commission and expenses, 100% to UKFC & C4 until 50% recoupment, 50% thereafter Net of commission and expenses, 100% to UKFC and strategic partner until 50% recoupment, 50% thereafter Page 95
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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
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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 and 92: “There isn‟t much of an audienc
Page 93: Appendix XV Access and diversity Pa
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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Northern Alliance - BFI

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