Northern Alliance - BFI

More documents

Recommendations

Info

oth cases, the Business Affairs team has found it easier to hold training sessions with the filmmakers at the beginning of the commissioning process to explain budgeting and scheduling; how to clear film; broadcasting compliance issues; and the overarching process, from greenlighting the films via the Production Finance Committee, to receiving the Lottery funds in the bank account. The Business Affairs team has also has written a step-by-step guide for filmmakers when they need to draw down funding from the UK Film Council. The combination of this training and the guide have reduced the number of queries coming from filmmakers. The training sessions also flag up problems that might arise in the production, such as broadcasting compliance issues or use of music, and allow filmmakers to hear about issues that other filmmakers may be facing. The Digital Shorts partners also run their own training sessions which may touch upon some of the same issues. Sales and distribution: rights and recoupment The UK Film Council's Business Affairs department is also often asked to look at sales agency/distribution agreements on behalf of the filmmakers (for Completion Fund or Cinema Extreme), or for the partners (on Digital Shorts) in order for them to avoid seeking and paying for external legal advice. The distribution rights to Cinema Extreme and Completion Fund films are held by the producers, but they can appoint a sales agent if one is interested. After experimenting with a third party sales agent for Digital Shorts (Short Circuit), the distribution rights in Digital Shorts are now held by the National and Regional Screen Agencies for two reasons. Firstly, to ensure transparency on any income: the fact that the UK Film Council has the contractual right to recoup means that, in order to comply with Lottery Financial Directions, it has to exercise a level of diligence in enforcing that right. Secondly, in terms of the legacy of short films, it is assumed that, for third parties seeking a licence to show a film in ten-20 years time, it would be easier to approach the National and Regional Screen Agencies or their successor bodies for permission, than to try to track down a defunct production company. In addition, not all Digital Shorts are produced through production companies. Often the individual producer, writer and director enter into an agreement directly with the relevant National or Regional Screen Agency which effectively acts as a production company, and therefore needs to hold all rights centrally. Despite the fact that short films do not generally recoup their investment, some films do generate income. Certain shorts have been sold to HBO, Arte France and the MTV Network, for example. However, data on distribution/sales are patchy. Data should be provided directly from producers to the UK Film Council for the Page 98
Completion Fund, and from the National and Regional Screen Agencies on Digital Shorts films, every 12 months. Completion Fund data comes from Mayavision to the UK Film Council and is copied to Lifesize Pictures; this is the least problematic of the schemes. In other cases, Lifesize has helped the UK Film Council to chase producers and strategic partners, but results have not been comprehensive. Note that the UK Film Council logo/credit on a film can be perceived as a mark of authority and it therefore has brand value for filmmakers. This can generate its own problems if used inappropriately in negotiations with third parties. Page 99
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 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: (b) VAT is paid on awards and provi
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?