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In 2012 MEDIA Desk UK asked the 400 UK audiovisual companies that had received MEDIA funding in the past decade to talk about the effect the support had on their companies, projects and prospects. Read the full report.
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The MEDIA Programme: supporting growth in the European audiovisual industry
Survey of the UK’s MEDIA Programme funding recipients 2001-2011Full report
Report prepared by: Jasmin Searles, Monitoring Dept, BFI. June 2012
Front cover image: Leeds International Film Festival has received MEDIA Audiovisual Festivals funding
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CONTENTS
Context 3
Method 4
Overview of Participants 5
Executive Summary 6
Producer’s Support 8
MEDIA Development Fund 9
MEDIA Broadcast Fund 19
MEDIA i2i Audiovisual Fund 22
Distributor Support 24
Sales Agent Support 29
Exhibitor Support 32
Film Schools Support 37
Professional Training Provider Support 39
Market Organiser Support 41
Impact of MEDIA Funding 42
MEDIA Funded Training Courses 44
MEDIA Funding Networking Events 46
Other Benefits 49
Further Comments 51
Regional Analysis 54
Appendix 1 57
Appendix 2 62
Appendix 3 66
Appendix 4 69
Appendix 5 71
Appendix 6 72
Appendix 7 73
Appendix 8 74
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Context MEDIA Desk UK is a promotion and information office for the European Commission's MEDIA Programme. The MEDIA Programme offers funding schemes which target different areas of the audiovisual sector. The Programme is due to end in December 2013. In December 2011, the European Commission published a proposal for a new “Creative Europe” programme for the period 2014-‐2020 which will replace the current MEDIA programme. This prompted MEDIA Desk UK to undertake a review by inviting UK recipients of MEDIA funding to complete a Survey that was prepared in the context of the future of the MEDIA Programme. The results offer great insight which will contribute to Europe-‐wide negotiations, helping the UK Government make an informed decision as part of the consultation on the European Commission’s proposal. Additionally, the results help MEDIA Desk UK evaluate the impact of the funding, ensure priorities are being met and identify opportunities for improvement.
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Method The online survey was conducted between the 23rd February and 8th March 2012. The Survey used Skip Logic to direct respondents through different paths within the survey so that questions could be specifically tailored according to the type of funding the participant received. This “skip logic” approach allowed the Desk to gather valuable and comprehensive feedback within each strand of funding and helped yield meaningful insight which will contribute to the consultation. Within each strand of funding, the Survey was further split into two parts. Part one aimed to gather comment on the impact of the direct funding received. Part two aimed to identify any additional benefits that MEDIA support has provided for industry professionals to date. In all instances, N/A responses have been removed to get a more accurate percentage of applicable responses when reporting on findings. Any comments have been included verbatim with only typographical or grammatical errors being amended. Company names and project titles have also been redacted to respect the privacy of the survey participants.
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Overview of Participants 404 UK Beneficiaries of funding (between 2001 to date) were invited to participate via an email which provided a link to the Survey. The Survey was completed by 167 people across 6 sectors of the industry. The majority of responses came from Producers who received Development funding (103 respondents). Sector Number
of Respondents
As a % of Total
Participants
Producers (NB: may have received more than one type of funding) 112 67.1%
-‐ Development funding 103 61.7%
-‐ Broadcast funding 10 5.9%
-‐ i2i Audiovisual Funding 10 5.9%
Exhibitor 22 13.2%
Distributor 11 6.6%
Sales Agent 11 6.6%
Training Providers (one participant chose to complete just the general section) 8 4.8%
-‐ Film School 4 2.4%
-‐ Professional Training Provider 3 1.8%
Market Organiser 3 1.8%
TOTAL Participants 167
49 participants chose to provide their contact details to allow MEDIA Desk UK to acknowledge their feedback, comments or concerns.
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Executive Summary Producer Support
• 82% of producers who received a MEDIA Development grant felt the funding had been “very effective” or “effective” in improving the quality of the script.
• 91% of producers indicated it had been “very important” or “important” that the MEDIA Development grant had
allowed producers to safeguard their creative control.
• 80% of producers felt the MEDIA Programme development funding grant had been “very effective” or “effective”
in helping maximise the international market potential of the project.
• 93% of producers who received MEDIA funding more than once rated MEDIA felt the funding was “very effective”
or “effective” in contributing to the sustainability of their overall development activities.
• 100% of producers receiving MEDIA Broadcast funding felt the MEDIA programme was “very effective” or
“effective” in helping maximise the international market potential for their project.
• 100% of producers who received MEDIA Broadcast funding felt the MEDIA programme was “very effective” or “effective” in helping attract interest from broadcasters and other co-‐producers for their TV programmes.
• 80% of producers who received a MEDIA i2i Audiovisual grant felt the funding was “very effective” or “effective” in helping maximise the international market potential for their project.
• 90% of producers who received a MEDIA i2i Audiovisual grant felt the funding had been very effective in making
bank borrowing and/or the use of a completion bond for the production budget more affordable.
Distribution & Exhibition • 82% of distributors who received a grant felt the funding had enabled them to acquire non-‐UK European films
which they would otherwise not have purchased. • 73% of distributors who received a grant felt the funding had a positive impact on the size of release. • 82% of distributors who received a grant felt the funding had “very effectively” or “effectively” boosted the
marketing spend on films released. • On average distributors indicate that 71% of films from countries participating in the MEDIA Programme are
supported by MEDIA Automatic and Selective schemes. • 82% of Sales Agents found the MEDIA programme “very important” or “important” in helping them distribute
films. • 96% of exhibitors who received a grant found the funding to be “very effective” or “effective” in enabling them to
exhibit European non-‐national films. • 74% of exhibitors who received a grant found the funding to be “very effective” or “effective” in helping them
develop new audiences.
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Training, Markets and Events • 75% of film schools who participated in the survey indicated the MEDIA programme had been “very effective” in
facilitating film schools to work together and exchange ideas. • 100% film schools who participated in the survey found the MEDIA programme “very effective” or “effective” in
deploying and using expert industry practitioners to lend expertise. • 100% of the professional training providers who participated in the survey found the MEDIA programme “very
effective” in helping them develop their courses and increase business. • All of the professional training providers who participated in the survey agreed the MEDIA programme reduces
the cost of the training activity, makes training more affordable for participants and enables providers to offer courses they would otherwise not offer.
• All of the market organisers who participated in the survey found MEDIA funding “very effective” in helping grow
their business and “very effective” or “effective” in stimulating employment and creating jobs and improving their leverage of match funding.
• 86% of survey participants who had attended a MEDIA-‐funded training course agreed the course enhanced their
skills and knowledge and a further 90% agreed that attending a MEDIA-‐funded training course provides an opportunity to meet partners.
• 61% of survey participants who had attended a MEDIA-‐funded networking event agreed that attendance had
improved their position with buyers or will help provide opportunities to meet partners for future collaboration. • 79% of survey participants who had attended a MEDIA-‐funded networking event indicated that attendance had
directly helped produce their projects.
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Producer’s Support AIM: MEDIA development funding aims to enable producers to prepare more competitive product for the
international market whilst maintaining full creative control over their project(s).
The questions aimed to ascertain whether the funding helped to better prepare the project for the market.
103 producers (out of 112) had received a MEDIA Development funding grant.
These participants were asked specific questions about this grant, although not all of them answered all questions.
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MEDIA Development Funding How effect ive was the MEDIA Programme in helping you maximise the international market potential of your project? 103 participants answered this question.
82 participants (80% of those who answered) felt the MEDIA Programme development funding had been effective in helping maximise the international market potential of the project. 50 participants provided further comments. Commentary Highlights Producers feel that “The MEDIA award is a stamp of quality” and a “mark of approval” which “[brings] respect and recognition” to a project. Participants found the funding “essential” and “indispensible” and a “very effective tool to leverage funding for the whole project”. “Without MEDIA, many projects would not be developed.” The funding “changed [the] development trajectory enormously”. It has “grown to be a key and crucial player in the international marketplace for media production” and makes “all the difference to the project and its prospects” A Note on Inconclusive Responses 20 participants couldn’t identify whether or not the funding helped maximise the international market potential. Some indicated this was because funding had been used towards other costs (such as script development and content development) whilst others felt it was too soon to assess this potential benefit. Comments which were received by these participants were constructive with one producer clarifying that “…international market potential is, of course, a major consideration both in our choice of project and in MEDIA support of this choice” and another providing an example of how “…the funding [helped] creat[e] a trailer which [was used]to engage prospective overseas investors”.
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How effect ive has MEDIA Programme development funding been in allowing you to find partners for your projects? (For example, through attending international markets) 101 participants answered this question.
68 participants (67% of those who answered) felt that the funding had been effective in allowing producer’s to find partners for their projects. 58 participants provided further comments. Commentary Highlights Many producers commented on how MEDIA funding had directly facilitated their attendance at international markets, making “projects visible” by enabling face to face meetings. The programme “crucially facilitates the emergence of market places all over Europe, and the means for media producers to get to them and meet each other“ . Further, producers cited funding as “extremely necessary for forming relationships with international financiers, sales agents and distributors” which is “an essential element” when attracting and attaching partners to a project. Examples were provided to demonstrate how the funding had helped producers “ attract partners and funding from overseas” and MEDIA Development funding is seen as “crucial” in securing match funding, enabling producers to “maintain relationships with other producers around the world” and many indicated that the funding had been “a crucial part of [the] development strategy” with some producers stating that they were “only able to achieve [funding from partners] due to the support received from MEDIA.” A Note on Inconclusive Responses 30 participants couldn’t identify whether or not the funding had been effective in allowing them to find partners for their projects. Further comments revealed that this was mostly because partners were already in place or not needed at all. One producer commented that the project was “still a work in progress but has been very valuable in enabling us to package the project for interested parties.”
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How effect ive has MEDIA funding been in enabling you to work with established talent? 103 participants answered this question.
68 participants (66% of those who answered) felt that the funding had been effective in enabling producer’s to work with established talent. 46 participants provided further comments. Commentary Highlights There was great commonality amongst the participants who chose to provide further comments. Producers maintain that “MEDIA is a well respected fund in the industry” with a reputation and status which “automatically gives the project kudos and enables [producers] to attach the best talent” to a project. The funding acts as “a “seal of approval for the project”, “is very important for the prestige of the project” and so “[attracts] other financiers and talent to come on board”. The funding can be “crucial” and “key” to producers. One producer admitted that they “would not be able to work with established talent without the MEDIA Programme” and another revealed that “funding enabled us to complete the script with Oscar winning writer and to attract a high profile director”. A Note on Inconclusive Responses 33 participants couldn’t identify whether or not the funding had been effective in enabling them to work with established talent. Further comments revealed that the funding had not been used to attract talent. Some producers highlighted that the talent had been attracted through the quality of the script. ” The fact that we now have a good script …attracted very high calibre heads of department though, and we could not have done that without MEDIA”
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How effect ive has MEDIA funding been in improving the quality of the script? 101 participants answered this question.
83 participants (82% of those who answered) felt that the funding had been effective in improving the quality of the script. 46 participants provided further comments. Commentary Highlights Producers found the funding “essential”, as it enabled them to “work with the best script editors” which both “attracts broadcaster investment” and creates “solid, ongoing partnership[s] with many writers”. The funding is seen as “key to enhancing quality and control.” The “opportunity to iron out a number of editorial issues” is seen as “vital … for writers who haven’t written long form work before.” One producer commented that the funding “advantaged us enormously and perhaps wholly enabled us to work with [the script editor] further. Producers also recognised that the funding allows for “maximum script development”, which may otherwise not have been possible. The finance means producers are able to commission “a number of drafts…to perfect the script” and “arrive at the best draft to tell [the] story.” One producer remarked that “without [MEDIA funding] there would not have been any scripts, let alone improved quality of scripts” whilst another substantiated that “the quality of the script improved markedly”. As well as being a “very influential advisor, [MEDIA] could be a very important financial contributor.” A Note on Inconclusive Responses 16 participants couldn’t identify whether or not the funding had been effective in enabling them to improve the quality of the script. One producer commented “We would always make sure our scripts were top notch” but others indicated the funding was for documentaries where script development would not be required.
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How effect ive has MEDIA funding been in gett ing development projects to production stage? 101 participants answered this question.
72 participants (71% of those who answered) felt that the funding had been effective in getting development projects to production stage. 49 participants provided further comments. Commentary Highlights One producer commented that “The support schemes are very well thought out” and the ratio of projects which reached production stage seemed to verify this statement. Producers demonstrated that there is an “…excellent hit rate of MEDIA funded projects getting into production” and in one case it had been “100% effective”. Another producer acknowledged that in “all cases the funding has been instrumental”. The funding is viewed as a “very valuable part of the finance plan”, “an essential foundation for a healthy project” and valuable in “prepar[ing] the project for the market”. The comments saw MEDIA funding being described as “vital”, “crucial” and “enabling”. One producer highlighted that, in their speciality they have become “the most prolific production house in the UK…because of MEDIA”. The funding and the team were also heralded as “wonderfully supportive in a very difficult economic media environment”. A Note on Inconclusive Responses 23 participants couldn’t identify whether or not the funding had been effective in getting development projects to production stage. Very few comments were provided to explain this choice but it appears that several projects had to be abandoned due to issues with rights holders and other external influences. Others are still in the process of finding further funding so the question was not applicable at this stage.
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How effect ive has MEDIA funding been in faci l itat ing the use of the professional paid services of the following?
100 participants answered this question but did not rate all of the paid services. Casting Directors 88 people participated in this rating and 43 participants (49%) felt MEDIA funding had been either very effective or effective in facilitating the use of the professional paid services of casting directors. Researchers
85 people participated in this rating and 40 participants (47%) felt MEDIA funding had been either very effective or effective in facilitating the use of the professional paid services of researchers. Line Producers
87 people participated in this rating and 42 participants (48%) felt MEDIA funding had been either very effective or effective in facilitating the use of the professional paid services of line producers. Consultants 84 people participated in this rating and 39 participants (46%) felt MEDIA funding had been either very effective or effective in facilitating the use of the professional paid services of consultants. Other 24 people felt MEDIA funding had also been very effective or effective in facilitating the use of other paid professionals, including writers, directors, cinematographers, script editors and editorial staff, producers and associate producers, transmedia experts, marketing experts, lawyers, camera crews, commissioning editors, cross platform developers, sound designers and composers.
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The applicat ion process for development funding requires producers to develop convincing, comprehensive strategies for their project from development through to financing, distribution and marketing. How did the process benefit your project(s)? This was an open-‐ended question which invited 91 responses. Commentary highlights Feedback verified that the comprehensive strategies are effective, essential and beneficial. “The rigour of the application process was a fantastic litmus test for how we needed to think about our development strategy” helping producers “form an effective agenda…for moving the project along.” Producers demonstrated how the strategy attracted investors giving producers a “pretext for approaching potential partners to support [the] application “. Cited as a “massive endorsement that allows [producers]…to publicise [them]selves and [their] slate further”, there is substantial evidence that MEDIA support brings “confidence to bring on board matching funding” as well as being “absolutely invaluable…to bring[ing] the project to production” Deemed a “helpful”, “extremely useful” and “insightful” process, the strategies enable producers to “crystallise] why [they] want to make the film”, compelling them to “clarify strategies and the direction of the project.” In simple terms, there was overwhelming assent that the “thinking and planning was a very good thing to do”. It provides a “healthy discipline and high standards to maintain”. Further benefits were identified as producers felt the process helps “sets goals [to] measure progress”, “encourages early collaborations” and helps to explore “exciting new ways to market the film”. The benefits can also permeate through the whole of the company’s business model. One producer explained that the process had encouraged the company to “establish an online business” by self distributing their DVD titles via Amazon and their own website and by offering paid for streaming services through their website. Other Points to Consider One producer found the process “very labour intensive”. This point was echoed but other producers acknowledged that the benefits garnered from the process far outweigh this inconvenience. • “The application process is particularly detailed, but it does help strengthen our overview of all elements of a
project.” • “The application process is thorough and for good reason”. • “Broadcasters take us seriously.”
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How important was it for you that the grant allowed you to safeguard your creative control of the project? 101 participants answered this question.
92 participants (91% of those who answered) indicated it had been very important or important that the grant had allowed producers to safeguard their creative control. 35 participants provided further comments. Commentary Highlights Producers stressed that being able to safeguard creative control over their project was “of huge importance” and “absolutely crucial” as it “protects the integrity of the project” so that the “vision of the project [remains] pure”. This, in turn, offers producers full confidence that investors are “fully committed to the project”. Producers also felt that sharing creative control “often leads to dilution of [the project’s] originality”. Maintaining creative control is “how the best, most distinctive and original work comes about.” It “protects the integrity of the project” as well as “enabling [producers] to develop skills within the studio and keep the production in-‐house.” MEDIA funding is seen as unique and “essential” in allowing producers to safeguard creative control so they can preserve their complete ownership over IP and copyright. It is “the only source of finance available to a UK producer that does not dilute their copyright and give away some creative control”. One producer stressed that “Creative control means ecumenical power and a stronger negotiating position for European producers.” A Note on Inconclusive Responses 9 participants were unsure whether or not safeguarding creative control was important. In some cases, this was because other rights had already been secured. One producer observed “the success of a project is almost impossible to predict” whilst another noted that the other partners in the project, the BFI, “have given really good creative input at all stages”. There are a minority who do welcome the opportunity to involve other creatives in a project.
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Has MEDIA funding helped secure other development funding? 100 participants answered this question.
56 participants (56% of those who answered) agreed that MEDIA funding had helped secure other development funding. 35 participants provided further comments. Commentary Highlights Producers commented that MEDIA funding helped secure further development funding through association as MEDIA “brand recognition” offers demonstrable evidence of the quality of the projects it supports. MEDIA funding “shows confidence in a project” which as well as “greatly strengthen[ing] the position of the company” and “other applications for development funding”. Producers alluded to the “stamp of approval” that comes with MEDIA funding, making projects “much more attractive for other companies to invest in.” The funding provides essential “leverage when approaching other development financiers”. MEDIA support was deemed “invaluable [for] recognition, trust and belief given to project[s]”. One producer commented that “all of the projects that have had MEDIA support have managed to gain support both domestically and outside the country”. Producers are confident financiers know “MEDIA is a strong and established indicator of the quality & potential of projects.” A Note on the other Responses 15 participants were unsure whether or not MEDIA support would secure further development funding. These particular participants indicated they are still looking for funding so couldn’t commit to a definite response at this time. 29 participants did not feel MEDIA support secured further development funding. 4 people provided further insight into their choice helping us deduce that funding is either still being sought (one producer comments “Not at the moment, but I expect it will”) or not required (“other development funding was in place prior to the application” and “other development sources applied for were not influenced by the particular MEDIA funding award obtained”.) The last comment comes from a producer who indicated MEDIA may have encouraged further support in the past, “unfortunately not in this instance”.
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Between 2001 and now, have you received MEDIA funding more than once? 102 participants answered this question.
44 participants (43% of those who answered) had received MEDIA funding more than once. How effective has MEDIA funding been in contributing to the sustainability of your overall development activities? 43 participants answered this question.
40 participants (93% of those who answered) agreed that MEDIA funding had been very effective or effective in contributing to the sustainability of overall development activities. 26 participants provided further comments. Commentary Highlights Producers felt “MEDIA is essential”, “indispensible” and a “cornerstone partner” helping producers “to take projects forward and validate [their] overall business”. Several comments alluded to how funding had “kept the company alive”. “It would have been impossible without MEDIA funding [which] becomes ever more vital in the current economic media climate”. The funding helps companies “survive and grow”, “enabling [them] to continue where [they might otherwise] have had to suspend all development”. For many, MEDIA funding “adds to the company's stability, sustainability, and survival!” Funding “allows for the forging of long term relationships with writers and contributors” and makes “it possible to hold on to good people in the office.”
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MEDIA TV Broadcasting Funding 10 producers (out of 112) had received a MEDIA broadcast grant.
This section will look at their responses. How effective was the MEDIA programme in helping you to maximise the international market potential for your project? 10 participants answered this question.
100% of participants felt MEDIA programme was very effective or effective in helping maximise the international market potential for their project. 5 participants provided comments: • “The MEDIA TV GRANT helped get the project made.” • “The funding enabled us to produce the series.” • “It helped take the pressure of cost of production which means that we can give more time to the planning of our
distribution initiatives and be more selective of our additional partners and sales objectives.” • “Without The MEDIA programme funding, I would not have been able to make my animated children's series
[producer name removed] and therefore the international sales to over 100 territories would not have happened” • “Knowing that we could cover 20% of the budget was crucial. It was the first time I worked with [partner name
removed], so they did not want to risk too much money on this project.”
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How effective has the MEDIA TV Broadcasting funding been in helping you attract interest from broadcasters and other co-‐producers for your TV programmes? 10 participants answered this question.
100% of participants felt MEDIA programme was very effective or effective in helping attract interest from broadcasters and other co-‐producers. 6 participants provided comments: “Again, going through the process of finding partners for the application enabled us to meet and find a broad
range of interested broadcasters and distributors. It is challenging but effective.” “It was an incentive to get us out selling the project outside of our home country.” “We anticipate that it will be and will be using the MEDIA's support and endorsement as an additional
marketing tool to reinforce the quality of our output.” “The MEDIA TV Broadcasting funding contribution meant that broadcasters and co-‐producers were able to
commit to the production.” “In a sense this is not relevant as securing the funding is part of the process of attracting interest. Having said
that, it does allow us to pressurise broadcasters to give commitment to a project” “MEDIA regulations kept rights demands in check. Both co-‐pro partners wanted more than 7 years.”
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How effective was the MEDIA TV Broadcasting funding in helping you complete the financing necessary to produce your TV programmes? 10 participants answered this question.
100% of participants felt MEDIA programme was very effective in helping them complete the financing necessary to produce the TV programme. 7 participants provided comments: • “We could not have made our project as well as we did without MEDIA support. It was crucial.” • “The Media funding was the last piece in the funding puzzle” • “This was crucial as the MEDIA funding closed a very meaningful gap in the overall financing of the production
that would otherwise have had to been investment from the co-‐producers which in turn would have created additional pressure on each of the co-‐producer's businesses.”
• “It triggered the 'green light' for production!” • “It takes the pressure of doing bad deals as a 10-‐12.5% contribution gives the producer a stronger negotiating
position in dealing with potential funders” • “First of all we could not have made the film without the 20% MEDIA contribution; the co-‐pro partners could not
afford the full cost.” • We could attract additional co-‐producers.”
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MEDIA i2i Audiovisual Funding 10 producers (out of 112) had received MEDIA i2i Audiovisual funding.
This section will look at their responses. How effective was the MEDIA programme in helping you to maximise the international market potential for your project? 10 participants answered this question.
8 participants (80% of those who answered) felt MEDIA programme was very effective or effective in helping maximise the international market potential for their project. 4 participants provided comments: • “Totally” • “This money was only awarded after the film was produced so whereas it was very important for the company
and for the film it didn’t really impact the international market potential.” • “I am not sure if our Award also fits under this category but it has been very effective in this respect…namely it
took the pressure off the final cost of production which has enabled us to maximise our approach to the international market place and not have to make additional and potentially less lucrative deals in order to speed up recovery of producer investment in the project.”
• “The money helped us finish [the project] that went on to win the Palme d'Or. We'd have really struggled without it.”
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How effective has MEDIA i2i Audiovisual funding been in making bank borrowing and/or the use of a completion bond for your production budget more affordable?
10 participants answered this question.
9 participants (90% of those who answered) felt MEDIA i2i Audiovisual funding had been very effective in making bank borrowing and/or the use of a completion bond for the production budget more affordable. 5 participants provided comments:
• “Gives us much financial flexibility” • “On lower budget films this finance is key to enabling the additional costs of co-‐producing to be covered.” • “Clearly i2i meant the bond; lending and legal fees were less of a burden on the budget vital in low budget
filmmaking.” • “Extremely effective and helpful in both cases” • “Paying for the completion bond meant that other really important elements in a very tight budget were
affordable.”
The producer who indicated the funding had been ineffective in this way commented “Very little at the moment seems to help encourage the UK Banks to assist in the cash flowing of production so this is an area which MEDIA might be able to help with going forward.”
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Distributor Support Aim: The MEDIA Programme aims to support the transnational distribution and exhibition of European films.
The following questions aim to ascertain how effective recipients have found MEDIA Distribution funding to be.
11 distributors who received MEDIA Development funding participated in the survey. This section will look at their responses. How effective has MEDIA Programme funding been in enabling you to acquire non-‐UK European films, which you would not have otherwise purchased? 11 participants answered this question.
9 participants (82% of those who answered) felt the funding had enabled them to acquire non-‐UK European films which they would otherwise not have purchased. 5 participants provided further comments. Commentary highlights MEDIA funding provides an “element of security when considering the overall cost of acquiring and releasing non-‐UK European films.” One distributor categorically stated they “would not have purchased [their Oscar nominated and award winning] film” without the funding. Another confirmed the funding had “allowed [them] to release and promote titles [they] may never have released otherwise.”
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How effective has MEDIA Programme funding for Minimum Guarantees been in acquiring titles? 11 participants answered this question.
3 participants (27% of those who answered) felt MEDIA funding for Minimum Guarantees had been very effective or effective in acquiring titles. 3 distributors provided further comments. Commentary highlights The funding had “softened the impact of Minimum Guarantees on other more expensive acquisitions” and “enabled [distributors] to acquire titles [they] may not have otherwise acquired” A Note on Inconclusive Responses One comment was provided by a distributor who couldn’t give a conclusive response commenting that they had, in the past, “waited too long before claiming”. They asked whether the deadline for this support could be extended. Has MEDIA funding had an impact on the size of release? (For example, number of prints) 11 participants answered this question.
8 participants (73% of those who answered) indicated MEDIA funding had a positive impact on the size of release. 5 participants provided further comments. Commentary highlights Distributors were “very pleased with the automatic/reinvestment scheme”. The funding enabled them to “invest in more prints and extra promotional activity” by “reinvesting some of the auto fund against P&A costs”. The spend on promotion means “advertising can increase” with the hope there will be a greater impact on the size of release.
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How effective has MEDIA funding been in boosting marketing spend on films released? 11 participants answered this question.
9 participants (82% of those who answered) felt MEDIA funding had very effectively or effectively boosted the marketing spend on films released. 2 distributors provided further comments. Commentary highlights 1 participant explained “It is the overall subsidy to P&A costs where it assists. On selective schemes these can have a hugely positive impact too”. A Note on Inconclusive Responses The participant who provided an inconclusive response commented “We tend not to overstretch ourselves on our marketing budget. We would have been more able to do so if we had been able to secure selective funding.”
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How effective has the MEDIA Automatic scheme been in supporting the overall sustainability of your business? 11 participants answered this question.
7 participants (64% of those who answered) felt MEDIA funding had been very effective or effective in supporting the overall sustainability of their business. 4 participants provided further comments. Commentary highlights The automatic support can be used as a “roll-‐over fund without which [distributors] might not be able to acquire new titles.” Without the funding exhibitors felt there would be “a much lower emphasis on European film” with a tendency to look “to English language territories for acquisitions”. Other comments to note 1 participant found the scheme ineffective in supporting the overall sustainability of their business but commented “We did not use the MEDIA scheme extensively enough to be able to gauge this question.”
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Analysis on Distributor films released Distributors were asked questions about films they released against those which had been supported by MEDIA funding. Average figures in a year were provided. 9 participants responded but only 6 correctly understood the question*: How many
films do you release?
How many are from countries participating in the MEDIA programme?
How many of these are supported by MEDIA Automatic and Selective schemes?
MEDIA supported films as a % of films from participating countries
If there was no MEDIA support in the future, what changes would you envisage in your acquisitions policy and business model in general, if any?
Participant 1 10 6 3 50% Yes, less EU films, more UK-‐US
Participant 2 30 15 15 100%
Participant 3 10 4 4 100%
Participant 4 10 5 3 60% very few if any European films
Participant 5 9 6 4 67% It would be rather disastrous
Participant 6 5 2 1 50% Yes -‐ going forward we would need to reduce the value of MGs if there
was to be no MEDIA support
*3 Distributors indicated none of their films had been supported by MEDIA Automatic and Selective schemes. Only beneficiaries of funding were invited to participate in the scheme so the question was misunderstood or answered by a participant who hadn’t realised funding had been received.
On average distributors indicate that 71% of films from countries participating in the MEDIA Programme are supported by MEDIA Automatic and Selective schemes.
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Sales Agent Support Aim: MEDIA Programme runs an annual scheme which allows sales agents to generate a subsidy based on their
performance in selling non-‐national European films within a qualifying period.
The following questions aimed to ascertain how effective you sales agents found the funding to be. 11 Sales Agents who had received MEDIA Programme funding participated in the survey. This section will look at their responses. How effective has MEDIA Programme funding been in enabling you to acquire films from other European countries? 11 participants answered this question.
4 participants (36% of those who answered felt the funding had been effective in enabling them to acquire films from other European countries. 4 participants provided further comments. Commentary highlight • “We have been able to utilise this funding to help with minimum guarantees and expenses on other European
films.” Other responses received • “Although MEDIA Desk UK has been extremely helpful in providing guidance on the schemes, we have not had
the time to plan our strategy for working with filmmakers from other countries. We hope to do so in future.” • “We're a London based sales company; the scheme doesn't really help us at all.” • “Attribution of help is based on theatrical distribution therefore on big budget pictures which are not accessible
to smaller companies like us. MEDIA helps European mini major studios. Independent European pictures with small to medium budgets with TV and DVD sales within Europe are not supported by the sales agent scheme. For example, we have distributed Hungarian, Dutch, Italian, Spanish and French pictures in Europe on TV and DVD almost exclusively and we are not eligible.”
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In overall terms, how important is the MEDIA Programme for you, as a UK Sales Agent?
9 participants (82% of those who answered the question) found the MEDIA programme very important or important as a UK sales agent. 3 participants provided further comments. Commentary highlights Sales agent support scheme has “assisted [in] distributing films from all over the world”. The MEDIA programme is important both for “the funds it provides to acquire films and cover expenses” as well as for providing sales agents with confidence that they can “put together a selective scheme application… which is a strong incentive for buyers.”
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How effective has European Film Promotion’s Film Sales Support scheme been for your company? 11 participants answered this question.
10 participants (91% of those who answered the question) found the European Film Promotion’s Film Sales Support Scheme had been very effective or effective for their company. 6 participants provided further comments. Commentary highlights Many sales agents utilise the scheme to support attendance at markets and film festivals which they might
otherwise not have attended.
One commented “Attending markets is very expensive, with smaller companies having to cover the same costs as larger companies and that cost representing a larger portion of our budget. We wholly support the possibility of there being some funding for smaller companies attending Cannes and Berlin, as well as non-‐European festivals which would otherwise be hard to justify attending.” Sales agents agree that this opportunity leads to “new relationships, and sales of a film”.
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Exhibitor Support Aim: Cinemas which programme a significant number of European films can obtain financial support by
becoming members of a European network supported by the MEDIA Programme: Europa Cinemas.
The funding aims to facilitate the programming of European non-‐national films as well as to encourage exhibitor activities to target young audiences. The following questions aimed to ascertain how effective exhibitors found the funding they received through Europa Cinemas.
22 exhibitors who had received MEDIA Programme funding participated in the survey. This section will look at their responses. How effective has the funding been in enabling you to exhibit European non-‐national films? 22 participants answered this question.
22 participants (100% of participants who had received exhibitor funding) found the funding to be very effective or effective in enabling them to exhibit European non-‐national films. 8 participants provided further comments. Commentary highlights Europa Cinema funding “is of significant importance” to exhibitors and “invaluable in maintain[ing] adequate levels of European and international cinema in programming”. Some exhibitors specifically select European films when given the choice “knowing it will contribute to Europa funding”. This confidence allows exhibitors to “take more risks in programming” knowing that “any reduction in box office may be partly offset by Europa Cinemas funding”. The freedom both allows exhibitors to “screen films even if [they] cannot guarantee a large audience” and “better underpins the ongoing costs of running [the] programme.”
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How effective has the funding been in extending the release period for European non-‐national films? 22 participants answered this question.
13 participants (59% of participants who had received exhibitor funding) found the funding to be very effective or effective in enabling them to extend the release period for films. 13 participants provided further comments. Commentary highlights Exhibitors recognise that “Funding, combined with the digital era, allows much more flexibility, in planning, when, and for how long, to screen certain titles.” The funding offers a “wider window” for the release period which can help “educate and grow audiences”. A note on the other responses. Exhibitors who were inconclusive in their response indicated that films are still played on “merit and knowledge of [the] audiences”. Programmes, of course, remain “success-‐based” and release periods take into account the film’s “merit and knowledge of the audiences”. Exhibitors would not “continue to screen a failing movie only to secure Europa Cinemas support.” The more screens exhibitors have, the more likely they are to extend runs. It is the Independent exhibitors who have screen limitations who are less able to extend release periods as they must satisfy audience demand by offering a varied programme with steady pace of titles being released. Some have little choice but to “switch films every 1-‐2 weeks” or screen them “for one week only” as audiences do complain if film runs extend for longer.
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How effective has the funding been in enabling you to offer films in digital format? 22 participants answered this question.
14 participants (64% of those who answered the question) found the funding to be very effective or effective in enabling them to offer films in the digital format. 13 participants provided further comments. Commentary highlights In the early years the funding offset some of the set up charges of going digital, which in turn increased opportunities to screen European work in a digital format. The support provided to independent cinemas “is excellent and helps underwrite flexibility for audiences.” Helping cinemas to become fully digitised has “opened up avenues to exploit European film more effectively” and continues to “help enormously” in screening titles in digital format. Exhibitors found their investment in digital equipment “increased opportunities to screen European work in a digital format” “giving exhibitors great flexibility and higher quality” output. It is seen as “crucial to the success of [their] cinema” enabling them to programme a variety of films and “retain a ready-‐to-‐screen archive of recent titles.” The support has had “a considerable impact [in] recouping] investment in the equipment” allowing money to be spent on “programming and marketing more challenging film titles.” One exhibitor also noted that “MEDIA initiatives such as Europe Loves Cinema have given both a framework and the marketing support to spearhead consistent programming initiatives”. A Note on the other responses Some exhibitors who provided inconclusive responses explained a digital projector screen had already been in place before becoming a part of the network. However, the funding can still be used to “pay for part of the rental… [allowing exhibitors to] book as many films on digital as possible”. One exhibitor suggested a digital bonus would help “a great deal with ongoing costs, moving eventually towards replacement of equipment”. The exhibitor who found the funding ineffective in this way explained they screen films primarily from 35mm (or DVD or BluRay when a 35mm print is not available.) Although this exhibitor hopes to acquire a digital projector they commented that “MEDIA programme funding is not available to us for this purpose.”
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How effective has the funding been in helping you to develop new audiences? 22 participants answered this question.
17 participants (77% of those who answered the question) found the funding to be very effective or effective in helping them develop new audiences. 15 participants provided further comments. Commentary Highlights One exhibitor commented “Europa Cinemas and MEDIA have helped us grow our business in less than 10 years more than 6-‐fold. We now, with MEDIA's help, since 2003, have booked 26,000 films, trained over 1000 professionals from 635 organisations, distributed 235 films and achieved audience figures in excess of 6 million admissions” Exhibitors re-‐iterated that “the cushion of funding has helped [them] to continue to take risks with more esoteric titles”. Helping fund titles “which haven’t benefited from large marketing campaigns” not only expands audience but “encourages greater breadth in the programme”. Exhibitors are enabled to “build upon” and “develop links with new audiences”. Without the funding, the programme would be “less varied, less unique, more Hollywood, and much less interesting.” A Note on Inconclusive Responses One participant commented that “there is a mature audience, who welcome non mainstream films, and that has not really changed dramatically over the years.”
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Please indicate whether or not you agree with the following statements: In addition to providing funding, the Europa Cinema Network benefits members by: Strongly
Agree Agree Neither
agree nor disagree
Disagree Strongly Disagree
No. of Participants
Sharing best practice 6 13 3 1 0 23 Exchanging ideas and expertise 6 15 1 1 0 23 Keeping up with technological developments
7 10 5 1 0 23
Offering training and guidance 5 12 4 1 0 22 Boosting your political voice 5 10 4 1 0 20
7 participants provided further comments • “MEDIA and Europa Cinemas are a VITAL support infrastructure for our work as an exhibitor, advocate and
distributor for non-‐national and non-‐US films. The schemes are a huge factor in our ability to be able to deliver a high quality, culturally diverse cinema programme which reaches out across the UK -‐ including major urban centres such as Bristol, Nottingham, Sheffield, Bradford etc. but also into far smaller geographically remote towns and villages across the 500+ UK cinemas we deal with on a regular basis.”
• “It's a very valuable resource.” • “The annual conferences are wonderful opportunities to get together with industry professionals from around
Europe and share good practice [also the inclusion of the screening day was very welcome]. The opportunity to attend meetings at festival such as Cannes is also a great idea. Thanks!”
• “While the financial assistance is a key element of why Europa Cinemas is a key factor in bringing the best of international and independent cinema to our local audience in Dundee, Scotland, the advice and expertise which they offer through training, conference and annual meetings is also invaluable to the professional development of our cinema team.”
• “We use the 'brand' to distinguish us to other funders and supporters.” • “Most of our representation is through Independent Cinema Office, who book our films and work with us on
development of programme and audiences.” • “More could be done, to help some member cinemas, navigate the digital jungle”
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Film School Support Aim: MEDIA Training Funding encourages the networking of film schools and the mobility of European film
students, in particular through collaboration between European film schools, training institutes, and with the participation of partners from the professional sector.
The following questions aimed to ascertain how effective film schools found the funding to be. 4 Film Schools who received MEDIA Programme funding participated in the survey. This section will look at their responses. How effective has the MEDIA Programme been in facilitating film schools to work together and exchange ideas? 4 participants answered this question.
3 participants (75% of those who answered) indicated the MEDIA programme had been very effective in facilitating film schools to work together and exchange ideas. “The impact of MEDIA funded programmes has been enormous. A distinguished and influential Professor of the Polish Film School in Lodz states "it has completely changed my way of thinking about teaching film" which is testament to this impact. The variety of other bridges to industry programmes also show that the ideas behind the
programme have been properly disseminated because of its open source nature.”
“The EU's provision for allowing schools in Europe to work co-‐operatively has already changed the landscape “. “One key benefit is the new focus on students building networks themselves and preparing for professional practice through these joint programmes”. Initial Training support has meant film schools have “built strong partnerships with national film schools in Ireland, Estonia and Finland and many others.”
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How has the availability of MEDIA funding impacted the film school?
The availability of MEDIA funding has impacted the school through:
How effective has MEDIA funding been in deploying and using expert industry practitioners to lend expertise? 4 participants answered this question.
All participants had found MEDIA funding very effective or effective in deploying and using expert industry practitioners to lend expertise.
• “MEDIA funding has enabled us to deploy a wide range of industry experts from all over Europe to the benefit not
just of staff and participants in each workshop of ENGAGE but to the deeper benefit of the participating schools by forging stronger links with industry.”
• “MEDIA funding enabled us to bring in and pay high level practitioners to give the benefits of their experience to
our students and recent graduates.” • “Excellent experience at one of the training mentor programmes”
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Professional Training Provider Support AIM: MEDIA funding aims to help training providers deliver continuous vocational training activities for film and
television industry professionals in the areas of new technologies, economic, financial and commercial management and script development.
The following questions aimed to ascertain how effective training providers found the funding to be. 3 professional training providers who had received funding participated in the survey. This section will look at their responses. How effective has the MEDIA Programme been in helping you, as a training provider, to develop your courses and increase business?
Participants were further asked if they agreed with the following statements:
• MEDIA funding reduces the cost of the training activity. • MEDIA funding makes training more affordable for participants. • MEDIA funding enables providers to offer these courses which they would otherwise not offer.
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How effective has MEDIA funding been in deploying and using expert industry practitioners to lend expertise?
One professional training provider elaborated “MEDIA funding enables us use the top international experts in the cross-‐media field.” Does the MEDIA funding requirement to offer a course to an international group of trainees benefit British trainees?
One participant laid emphasis on how “The international aspect of the course helps British trainees find essential new partners, expertise and inspiration needed in the cross-‐border, cross-‐platform media world of today.” Another underscored their answer by reasoning that “Every industry, and certainly Britain, needs to form working networks with other countries and import good practice.” How effective is MEDIA funding in preparing trainees to operate in an international context?
The MEDIA funding was cited “The Pixel Lab and The Pixel Market place a high importance in operating in an international context -‐ therefore the funding is essential.” Please provide examples of how the training has helped your graduates secure jobs. One training provider found the funding “Amazingly effective -‐ millions of pounds of deals generated!”. Another provided 3 examples after confirming “Many commissioned projects after development on The Pixel Lab”. The last participant was unable to give evidence of graduates securing jobs at this stage but stipulated “we know the training has helped their work.”
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Market Organiser Support AIM: This scheme facilitates access to markets for European professionals. The following questions aim to
ascertain how effective market organisers found the funding to be. 3 market organisers who had received MEDIA funding participated in the survey. This section will look at their responses. Has the funding been effective in enabling you to organise events where UK professionals can encounter international partners within a structured, accessible and professional context?
How effective have these events been for your participants in order to progress projects from development to production? Can you give examples? • “Without MEDIA support, it would be so hard to give the personal support and democracy that MeetMarket
specialises in.” • “Very. We have had a high number of projects being offered finance/investment/distribution -‐ though of course
not all actually move on to full production. Key also has been the attachment of sales companies to projects presented at the PFM.”
• “Amazingly effective -‐ millions of pounds raised, lots of new films released.” To what extent do you agree or disagree that MEDIA funding reduces the cost of the event organisation and succeeds in making it more affordable for the participants meaning providers are able to offer these events where they otherwise wouldn’t be?
The funding “Meant we could afford to keep growing numbers”. One example is by being able to offer hotel accommodation to non-‐national participants. How effective has MEDIA funding been in ensuring participation of expert industry practitioners? (Buyers, financiers, broadcasters).
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Impact of MEDIA Funding All participants were asked to comment on the overall impact of MEDIA funding. In overall terms, how effective has MEDIA funding been in growing your business?
158 participants answered the question. 104 participants (66% in total) found MEDIA to be either very effective (34%) or effective (32%) in this way. See Appendix 1 for full commentary. In overall terms, how effective has MEDIA funding been in stimulating employment and creating jobs?
158 participants answered the question. 93 participants (59% in total) found MEDIA to be either very effective (29%) or effective (30%) in this way. See Appendix 2 for full commentary.
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In overall terms, how effective has MEDIA funding been in improving your leverage of match funding?
158 participants answered the question. 93 participants (60% in total) found MEDIA to be either very effective (32%) or effective (28%) in this way See Appendix 3 for full commentary.
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MEDIA Funded Training Courses 65 participants (of 154 who answered) indicated they had been on a MEDIA funded training course, with a further 4 participants who were unsure whether or not they had been on a MEDIA funded training course. The results are below:
Training Course Survey Participant Attendance
ACE Producers 17
Archidoc 1
Art Cinéma = Action + Management, by CICAE 6
Berlinale Talent Campus 9
Cartoon Masters – Cartoon Finance 4
Closing The Gap: Equity Investment for 360° Content 1
Developing Your Film Festival, by ICO 3
Digital Production Challenge, by Focal 1
DigiTraining Plus: European Cinemas Experiencing New Technologies, by Media Salles 1
Documentary Campus 6
EAVE European Producers Workshop 19
EAVE Film Finance Forum 4
EAVE Film Marketing Workshop 1
ESoDoc -‐ European Social Documentary 4
Essential Legal Framework: Rights Clearance 1
EURODOC Production 3
Ex Oriente Film 2012 1
Inside Pictures 8
International Screenwriters Workshop & Master Class by Equinoxe 1
Into the Future, by Wadja Studio 1
Marketing & Distribution (M&D) by Media Business School 7
MEGA PLUS -‐ European Master in Audiovisual Management 1
Nipkow Programm 1
Screen Leaders EU 1
Script&Pitch Workshops & Writer's Room, by Torino Film Lab 2
SOURCES 2 Projects & Process -‐ Training Mentors for European Documentary Filmmakers 2
SOURCES 2 Script Development Workshop 6
Story Doc Training Programme 2012 – Cross Media Programme 1
The Pixel Lab: The Cross-‐Media Workshop 7
TransISTor 2012 2
Transmedia Next: The Art, Craft and Business of Storytelling in the Digital Age 2
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Did attending a MEDIA-‐funded training course enhance your skills and knowledge? 70 responses were received:
60 participants (86% of those who had attended (or may have attended) a course) agreed that attending a MEDIA-‐funded training course enhanced their skills and knowledge. See Appendix 4 for full commentary. Did attending a MEDIA funded training course: Yes No Unsure at
this point N/A Total
Respondents
Enable you to obtain more work? 24 10 23 10 67 Enable you to run a more successful business? 45 3 14 5 67 Directly help you to produce any of your projects?
33 6 17 8 64
Was attending a MEDIA-‐funded training course an opportunity to meet any partners for possible future collaboration?
71 responses were received. 64 (90% of those who had attended a course) agreed that attending a MEDIA-‐funded training course provided an opportunity to meet partners.
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See Appendix 5 for full commentary.
MEDIA-‐Funded Networking Events 100 participants (of 154 who answered) indicated they had been on a MEDIA funded networking event The results are below:
Networking Event Survey Participant
Attendance 3D Film Mart 1
Agora Film Market & Crossroads Co-‐production Forum, Thessaloniki 1
Baltic Event, at Black Nights Film Festival, Tallinn 4
Baltic Sea Documentary Forum 1
Berlinale Co-‐Production Market 38
The Business Street at Rome Film Festival 6
Cartoon Forum 12
Cartoon Movie 5
Cinekid for Professionals, Amsterdam 5
CineMart, Rotterdam 23
Connecting Cottbus 1
CPH:FORUM + CPH:MARKET 10
Doc Outlook, at the International Festival of Nyon 3
DocsBarcelona Film Festival + Pitching Forum 10
Documentary in Europe Workshop, Bardonecchia 5
DOK Leipzig: DOK Industry Offers, at Krakow Film Festival 5
Dragon Forum 4
East European Promotional Programme for Support of Documentary Film, Jihlava, Czech Republic 2
European Documentary Workshops Southern Europe (Lisbon and Thessaloniki) 3
European Producers Club Co-‐production Forums 5
Europa Distribution Workshops 0
European Short Pitch by Nisi Masa 3
The Film London Production Finance Market 28
The Amsterdam forum for international co-‐financing of documentaries (IDFA) 15
Galway Film Fair 22
The Industry Club at San Sebastian Film Festival 4
European Film Promotion’s: Industry Screenings in the USA 2
European Film Promotion’s:European Platform at the Busan IFF 1
European Film Promotion’s:Gateway to North America (Toronto) 1
Umbrella Office at the AFM 6
Annecy International Animation Market (MIFA ) 7
MEDIA Stands at European Film Market and Marché du Film, Cannes 44
MEDIA Stands at MIPTV and MIPCOM 13
MeetMarket, Sheffield 25
Netherlands Production Platform 1
New Cinema Network at Rome Film Festival 5
New Nordic Films 4
Nordisk Panorama 5
The Pixel Market by Power to the Pixel 11
European Film Promotion’s Producers on the Move in Cannes 1
Short Film Market – Claremont-‐Ferrand 3
Sofia Meetings 2
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Sunny Side of the Doc 2011 9
Networking Event Survey Participant
Attendance Thessaloniki International Doc Market 4
TorinoFilmLab Meeting Event 3
Variety’s Ten European Filmmakers to Watch in Karlovy Vary 6
World Congress of Science and Factual Producers. 5
Did attending the event(s) improve your position with buyers and financiers?
101 responses were received. 62 respondents (61% of those who had attended an event) agreed. See Appendix 6 for full commentary.
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Was attending a MEDIA-‐funded networking event an opportunity to meet any partners for possible future collaboration?
103 responses were received. 84 (82% of those who had attended an event) agreed. See Appendix 7 for full commentary.
Has attending a MEDIA-‐funded networking event directly helped you to produce any of your projects?
98 responses were received but the question wasn’t applicable to 6 participants who indicated “N/A” so they have been removed from the calculations. 74 (80% of the 92 participants who had attended an event) agreed. See Appendix 8 for full commentary.
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Are there any other benefits which you would like to tell us about?
Producer Comments - The local (UK) MEDIA is superb and a real asset. - MEDIA is a very important source of support for us as a micro indie. Long may the support continue! - KEEP GOING!!! - The MEDIA Programme as it currently exists has vastly assisted my company to compete at all levels in Europea
and all over the world. Since founding the company 12 years ago we have been involved in over 40 international feature films most of which were supported by MEDIA. It is essential to the European idea -‐ and as British company and as a nation we must vigorously join in this project.
- MEDIA is an essential and invaluable element in supporting the production of quality film and media in Europe. - Having MEDIA development funding is the ONLY thing that has kept our fledgling company afloat over the past
four years. We know this is the time that it takes to create properly constructed projects intended to be well-‐financed so they can compete effectively in the commercial marketplace. It is the crucial first step in enabling us to become an important creative contributor with a sustainable business model.
- I have always found the MEDIA staff very helpful. - It has been a wholly empowering and positive experience, being a beneficiary of the grant. Whilst the initial
forms are comprehensive, once the grant is awarded, we found everyone involved supportive and focussed on getting us the financial support in the bank as soon as possible.
- It's genuinely meritocratic. If you put in a good proposal you get the money. That's the way it should be - My gut feel is that it's an amazing programme. But the bureaucracy has to diminish in favour on more hands on
support and promotion of the scheme to broadcasters... perhaps even given a mentor or exec producer as part of the scheme?
- Not really -‐ we are just very glad that the funding opportunities and support are out there -‐ for everyone -‐ not just us.
- I think the MEDIA single project development financing offers a company a real boost especially if the company has shown a track record but needs that additional support to be able to develop and produce more challenging films in terms of budget, scale etc. in the future. I feel very grateful and really appreciate the MEDIA support.
- The MEDIA programme is a hugely valuable source of funding to the film industry, providing assistance to projects which may require an extra draft, or initial funding to get it to the first stage of development, when it can then go on to attract further development funding.
- Without MEDIA documentary film-‐making of any importance in Europe, about Europe, for Europeans -‐ is dead. - The sharing of experiences is a very valuable tool in the creative industries. - The project got made and that was very good. It was pushed by S4C at the time. They did not come up with the
funding, or any other support. We wasted time and hopes that did not come to fruition. - The granting of the MEDIA award has given the project confidence and helped us convince others of it's
potential - Receiving a MEDIA Award lifts confidence in the system and proves that these Awards are genuinely available to
all and helps endorse the quality of a project. - Without this fund, it would be incredibly difficult for a small production company like ours to have the time and
resources to produce such a professional and comprehensive marketable product. - Cartoon Forum and all the Cartoon networking forums are a wonderful way to meet and make new working
friendships. The networking is invaluable. - The finance provided enables producers to develop projects without too much creative interference. - Based in the UK, as a BAFTA award winning company, I would not still be Producing, and my Company would
have folded if it wasn't for the MEDIA Program. Last year we were nominated again... - I think the MEDIA Development Fund is invaluable to producers. It enabled us to develop a first class screenplay
with an Oscar winning screenwriter and first class director, who attracted an A-‐list star cast. Unfortunately major distributors did not consider the subject to be commercial.
- MEDIA support is vital to the continued development of European co-‐productions/projects and the development, sustainability and growth of European Production Companies. It has been one of the most valuable and essential tools utilised by our business. Long may it continue!
- Receiving development funding from the MEDIA programme is a sign of support and credibility. Other funders see this as a big achievement because they know that to get this funding our project would have been thoroughly evaluated. This gives them the confidence to invest in our project.
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- We're just big MEDIA fans! - Overall, I think you are on the right track in assisting producers, although so much of what you do is not
applicable to us.
Distributor Comments - MEDIA is a fabulous institution -‐ it provides so many indirect and direct opportunities and is very valuable - MEDIA is very important to European film. I very much hope it continues to grow.
Exhibitor Comments - It's hard to overstate the value of MEDIA's contribution to the cultural life of the UK's film sector and it is one of
the few organisations which seek to address all parts of the industry from production to distribution and exhibition. It is one of the very few organisations in the world which is aware of how these three factions of the business work together. This joined-‐up thinking is an invaluable strength.
- Europa funding will help us survive as an independent cinema with an interesting programme. - Media programme support is particularly important to keep European language film available to audiences in
the UK, where we suffer disproportionately from sharing a common language with the USA!
Training Provider Comments - Having worked as a producer prior to running a film school for the past seven years I have benefited directly
from MEDIA development, distribution and new technology funding allowing me to work internationally and get projects distributed across borders. The support of MEDIA Initial Training to my film school since 2008 has made a critical difference to the internationalisation of our and our partner schools' students, graduates and staff and sown the seeds of future European collaborations
- From its earliest days MEDIA has been enormously beneficial in my development both as a producer/writer and director of film and television and as a designer and provider of high level film training. From The Documentary Fund, to MAP TV to Sources, to EAVE, to Project Development funding, to Passion To Market and Inside Pictures MEDIA has been there to give the collective support to do what the member states of Europe cannot do alone. I can safely say that without MEDIA I would have thus far had a very different career and a greatly impoverished experience as a cinema goer! Keep it. Build on its many successes.
- Keen to access MEDIA much more in future
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Please use this opportunity to provide us with any other comments which may not have been covered by the Survey.
Producer Comments - We sincerely hope that MEDIA single development and slate development funding will continue beyond
2013, and that the programme will continue to back projects which aren't necessarily backed up-‐front by a broadcaster. The climate for creative documentary and art house cinema is fiercely competitive, and I have noticed a tendency in projects coming from bigger, sustainable companies get the backing rather then the smaller companies, and it is regrettable as MEDIA funding has such a powerful clout surrounding it. With MEDIA backing, a broadcaster is more likely to come onboard when the risky, costly development is in process or indeed being undertaken, rather than to take the risk up front. Especially so with smaller companies. I speak from having benefited from the programmes, but also as a close observer of the global media landscape, which now needs more support than ever; as broadcasters, distributors and funders in general are more risk-‐averse than ever. We have been successful twice with single development, since applying first time in 2002, but unsuccessful with two slate applications and three single applications, despite scoring extremely highly on a project submitted in 2010. Thanks.
- Finding funding partners for projects is proving an increasing challenge and it would be helpful to have more international networking events with a particular focus on helping to fund feature projects.
- MEDIA funding is vital but the bureaucracy can be very daunting. As always it would be good if it could be made easier.
- The delay in learning if an application has been successful or not -‐ and to what extent if successful -‐ is difficult for production budgets and schedules. In Australia the result is known in a few days.
- The whole process of applying and waiting for the answer and eventual funding is incredibly long, by which time many people can have lost options, or documentary stories changed, etc. If this can be addressed it would be great.
- 1) I have not attended many of the education and training activities as a participant -‐ but very often as a teacher, panellist, expert or advisor. 2) We need to work hard in the UK to convince our peers and authorities that the European idea is crucial to the survival of many of our companies and that the UK must contribute both spiritually, practically and financially to the European media idea wholeheartedly this includes MEDIA -‐ i.e. British events should be genuinely EUROPEAN and have a serious participation of non-‐nationals -‐ and some positive discrimination to individuals and companies which are from Low Audio-‐visual capacity.
- It would be nice to see MEDIA support ideas which are outside the classic America film structure. Ideas which Hollywood might shy away from. Political relationship daring controversial ideas.
- Now that online networking is so easy, it would be great to be on the mailing lists for ongoing networking and documentary events in the UK. (I have had the impression that most of the MEDIA programme's efforts seem to be in continental Europe). Although development funding was great to have, it did require us to find the other 50% of the spend from our own resources. This was not always easy. The monitoring of our project by the MEDIA Programme was delivered on paper. It might have been useful to have a face to face discussion about the problems we had encountered with out project. The drop in the value of the £ was a problem when it came to preparing the final accounts. We had spent money in pounds sterling which, expressed in higher value Euros, appeared to be less in value.
- We would like to see the UK become part of Eurimages. - MEDIA is an exceptional programme and is imperative in helping European producers develop their
projects; a business which in turn also helps develop talent and provide high quality creative jobs. As a company we've benefited tremendously from receiving MEDIA development funding -‐ we wouldn't have been able to attend some of the markets or develop the project to such a high standard had we not received funding. So thank you and keep up the excellent work.
- The application process and administration is excessively slow and cumbersome. - I would like you to look again at the amount of detail you require on the development budget at such an
early stage. I know we are 'allowed' to change things by request, but this does feel quite hard to predict accurately at such an early stage.
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- I think it's not too dramatic to say that without MEDIA Development and TV Broadcasting funding our company would not have made any of our shows, which have gone on to great success, and indeed without the lifeline of all those vital MEDIA-‐funded events we'd probably no longer even be in business.
- I would again like to emphasise the important of the MEDIA programme. And also to say how much we have appreciated the help, support and advice of the UK Desk.
- Support from the bureaucracy in Brussels and from MEDIA Desk UK has been fantastic. - If you care about the world, you must care about documentary. If you care about documentary, you must
support MEDIA. Phil Grabsky -‐ multi-‐award-‐winning director. - By legitimising the use of the word 'culture' alongside 'business'! - It would be great if the intensive preparation for applying for these grants was a little less time consuming
and demanding! - The courses and events that MEDIA programme are involved with could be better publicised. This may
encourage business to attend events that they may not have been aware of. - This Award was the first time I had applied for an Award and it took several attempts/applications on the
same project before fully understanding the level of precision required. We persevered and the eventual success was worth the effort. We will certainly look to MEDIA again for support in the future.
- Please keep up the good work. Without these MEDIA programmes, the opportunities to create and realise wonderful projects are severely diminished.
- The development rules make it difficult for new independent talent to secure funding. MEDIA should consider a way of permitting 'producer sponsorship' of new talent without restricting that producer to submit their own project.
- The MEDIA programme is a brilliant and vital initiative that without much wonderful independent cinema would not get developed or made.
- My only other comment would be about Producers Support -‐ Development Funding. This funding is vital for development of film and documentary productions, but, because the funding is for development, the 6 month wait between application and decision can be frustrating and if there was any way of speeding up that process I think it would be beneficial.
- Great support from the MEDIA London office and lots of time giving to the MEDIA TV.
Distributor Responses - Thank you
Exhibitor Responses - I just hope that one day the Media programme may support us so we can deliver and benefit more from the
programme. I would love to have gone on some of the programmes but unfortunately we just don't have the funding to do it.
- Long may MEDIA (or Creative Europe) continue! - The Europa trailer is well received, particularly the music
Training Provider Responses - The critical role of MEDIA Initial training in stimulating and supporting the professionalism and
internationalisation of film and television schools cannot be overstated -‐ it is a vital component in the ecology of professional training and is a highly effective way of ensuring the interconnectivity of our national education and training providers with each other and with industry. It would be a major step backward to remove this plank in the European stage.
- It would be a strategic move if MEDIA were to encourage organisations you fund to go on the training courses as a condition of funding. It would be useful to have a closer relationship between funder and fundees, with more support from MEDIA in developing applications and projects.
- In this time of change I would suggest that you do not embrace change for the sake of showing that you
have done something new. By all means grow and develop the programme, but I would strongly advise that
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we keep the expertise and structures that work. In addition, MEDIA is rather a strong brand because of all the years of work that have gone into making it so. It seems to me to be foolish to even consider leaving all of that behind.
Sales Agent Comment - We found the support very welcome in the past, however, the changes in the criteria to apply for sales
agent support have made it impossible for us to apply for any more support.
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Regional Analysis We were able to obtain regional data for 164 (of 168) participants. There was a direct regional correlation between those who were invited to participate and those who did participate.
Nation No. of people who were invited to participate
As a % Number of people who responded
As a %
England 334 83% 143 87%
Northern Ireland 8 2% 3 2%
Scotland 36 9% 12 7%
Wales 26 6% 6 4%
Grand Total 404 100% 164 100%
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Appendix 1 In overall terms, how effective has MEDIA funding been in growing your business?
Producer Comments - Developing the project with the MEDIA support has helped the company expand its network of contacts and
establish itself on the international market. - This was a single project which has not yet proceeded beyond the draft script stage. - In this climate its hard to grow any business - My company set up a separate training company in 2007 which has taken a lot of our focus off our main activity
and Production Company, i.e. our business hasn't grown. We are back on track for developing the business now however, taking a break from training and mentoring of new filmmakers.
- It has helped us progress this one project. We have also put into practice the organisation and detail required in the MEDIA application which has helped us greatly.
- MEDIA has been a huge help, but it cannot fully counter-‐act the growing hindrances -‐ the ever decreasing budgets offered by TV channels for quality documentary, the ever-‐decreasing number of 'slots' in the schedules for intelligent TV programmes, etc.
- The funding we received only helped to develop one specific project and the very nature of the industry dictates that for a business to grow you can't rely on the success of one pitch alone.
- It gave the business substantial impetus. - As a result of having the funding, projects have gone into production that would have stalled otherwise. This has
been the main stimulus for jobs. - It has been effective to the extent that the BBC was very happy with the outcome of our film and with all the
awards received around the world and as a result they will retransmit the film and they see our company as one that can deliver a good story and an audience pleaser. We have received more commissions and are in regular talks about future work.
- It's a great award to receive: structured, logical and very cost effective. The application process is onerous but that's probably a good thing and the support from my local MEDIA Desk was superb. I'm certainly looking for the next project to submit!
- We haven’t seen effects directly due to the MEDIA funding, however there may be in-‐direct effects we haven’t even noticed yet.
- Financially and prestigiously - MEDIA money has helped us get two films made. Those projects were very well received, have sold well and
have helped our international reputation. - Unfortunately, however useful and positive the MEDIA funding has been, it is never enough. In a country
without government support for the creative industries, we always have to give work and rights to co producers in countries that have more enlightened governments.
- We are an established, if small, company. If our development grants move to production that will be a great help in growing the business.
- Development MEDIA funding was given to two documentaries that the company has made, projects which might not have been made without MEDIA funding. Having two completed, broadcast, successful documentaries on the company's slate is only going to encourage growth, recognition and provides a proven track record for the company.
- We now have a solid financial base and a strong slate, but when we achieved MEDIA funding we were a younger company and in need of development support to push forward co-‐production projects which could not find support in the UK.
- Enabling us to develop projects that we would have found difficult to find funding for as development funding is generally scarce right now.
- It helped raise our profile as an independent writer to someone who is playing in the major leagues. Apologies, more sporting metaphors.
- We were established in Northern Ireland a place of massive unemployment, structural problems and on going violence, MEDIA at times was our only supporter. It gave us and the market confidence.
- The funding of the pilot ultimately led to the commissioning of a series. The series has helped increase our turnover and hopefully will bring long term financial gain.
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- Growing a business in children's television in the UK is currently very difficult as there are so few slots available. The MEDIA funding has definitely helped us keep staff employed and get interest from Commissioners in the company.
- It is one of the only funding streams that recognise that independent producers need financial support to be able to properly develop their projects ahead of bringing them to the marketplace. It has been absolutely essential to the growth of the company over the last few years.
- It gives us a strong line-‐up of projects, helps our bank finance and insurance possibilities and works with our distributors to ensure wide dissemination of our work. It allows me to have a sustainable business and make 5 or 6 feature film contributions a year.
- Crucial in helping us choose the best talent to work with and giving them the financial support to be able to nurture their creative ideas.
- Our support 7 years ago doesn’t build a sustainable business and with the integration of internet TV and cinema, there are bigger forces at play.
- Enabled development of a range of projects under our control which have contributed to a consistent run of television and film production.
- MEDIA funding allows us to develop projects, while retaining the copyright and ownership. This is the key to sustainable business.
- It gave us the funding to pursue the specific international story -‐ providing a creative focus, stimulating international connections and conversations on the European TV scene. Because we didn't in the end go into production, it didn't in itself help grow the business which was affected by the downturn in interest in documentaries.
- Up until three years ago it had worked really well but then we were unsuccessful in a slate application and then again on a single project application. It has meant the company has really struggled between films at a time also when the UK industry was not very strong. We made other films but not the ones supported by Media and we felt a slate approach for our company would be in the best interest of both parties.
- MEDIA funding has allowed long term development of projects through research to production and this development has facilitated more projects to be taken on and the growth of the company slate. It has increased output and also grown our network of professional contacts through sustained working relationships during long term development projects.
- Success breeds success. Having visible, high-‐end, prestigious projects on our slate is essential in attracting other projects.
- It's been invaluable to us. We wouldn't have been able to develop the project to such a high standard without MEDIA's support.
- It has given a fresh burst of investment to our slate and enabled us to drive forward script development and investment in talent. It has strengthened our core relationships with writers and current investors in projects.
- Without MEDIA we would not have been able to develop in the area of feature film and drama, which is where our new projects are.
- Helped us in producing our first longer-‐length documentary for the international marketplace. Helped us with generating relationships with international commissioners and potential partners for future projects
- MEDIA's money invests in the projects rather than in the company so it hasn't really helped grow the company directly, but of course the more projects we can develop, the more projects we make, the more fees are brought into the company which allows us to continue working in this field and potentially to expand.
- Essential as it allowed to develop project and grow business through it. - Although the funding has supported only one project and this has not yet gone into production, that support
has been very important in strengthening the early stages of the company's development. - Because we received MEDIA funding it is a stamp of approval from an established European institution and
therefore gives confidence to third party equity investors and financiers. It also gives the project credibility and makes it stand out within the film industry market place.
- Without the MEDIA funding, we would not have been able to produce the series. - It has helped us to survive as a company. As a result we are about to go into production on our next feature
film. - As we were only funded for a single project, it had limited effect on our overall business. - It has allowed us to employ a full-‐time development staff and to collaborate and foster relationships with more
talent and with more varied sources of finance. - The particular projects backed did not progress beyond first draft.
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- MEDIA funding provides sophisticated financing which the producer can use to retain creative control and leverage other financing; it is also structured in such a way as to contribute to the sustainable growth of the production company.
- A number of the scripts developed converted into production and international sales. - All the MEDIA programmes are important for British film and broadcast. In my experience UK broadcasters do
not take these initiatives seriously as a means of funding programmes and films. - Out grant focused on a single project being further developed so the growth of my business was not really
effected. - MEDIA Funding has allowed me to further develop a project to take to market, which has a direct impact as it
means financiers can take the project more seriously and ultimately the film has a greater chance of being produced and financed the more it is developed. Financing the film would imply fees will come into my business to help sustain it and allow it to grow further too
- The fund enabled us to develop internal skills. However, due to the project not culminating in a final published product, we haven't expanded as initially planned. Had the economics been different in the general sector, we would have doubled the size of the production team and created a large number of jobs. Regarding growth of the business, we still retain the skills that were developed and therefore have potential to expand the studio within that sector when circumstances change. It therefore has a beneficial effect and does enable us to promote the skill set within the industry.
- MEDIA funding has helped reduce the level of risk investment we would otherwise have had to cover in order to bring what has been a complex and innovative international co-‐production into fruition. In helping this particular production work, the company's cash flow has been improved and the potential for future income from the exploitation of the series and related IP rights enhanced.
- It has given us a major product to sell. - The Media funding for this series triggered broadcaster confidence to commission further series. - We have gone, thanks to MEDIA development funding, from a one person operation in a back room to a fully
equipped studio with a full time development team -‐ part financed by MEDIA grants but also because we were able to develop programmes without undue pressure on completing the development process. The result was stronger programmes that have sold all around the world.
- It helped in the development of one of our most important projects and increased our slate of developed films. - Getting projects away, and premiering them at A-‐list festivals allows the company to be visible and interest in
other projects is natural from this. - It allows us to keep a talent pool linked to the company -‐ this is our business model. - I received MEDIA funding for one documentary project. It was extremely effective in the development of that
project, and obviously each project builds the business, but overall it was most important in developing a single project.
- Absolutely crucial. Our company had a good track record in production and distribution of music, arts and travel and making low budget programmes. The MEDIA support for one of our projects helped us enter the high end market of History where we can now make films for with a much greater budget. This project was well received and it looks like the same co-‐pro partners want to work with us again on new History films. We now can increase the budget as well. Straight forward History films are a dying genre, more broadcasters want history soaps rather than straight films -‐ so MEDIA support for more artistic films also helps to keep a threatened but valuable doc form alive.
- MEDIA support allows us to prioritise long term projects which contribute to aims and strategies in place around the growth and long term sustainability of the company.
- MEDIA funding has made it possible to continue the business but the withdrawal of Scottish animation production has made it difficult to make films
- We could not get the project to market, our European partners refocused on other business and we could not generate the revenue to continue as an independent content maker -‐ instead we relied on providing consultancy and production services to 3rd parties.
- As a result of the grant we have managed to raise the finance for our film. This year we will be going into production. This is our company's first feature film. The company will grow as a result of this film being made and released internationally.
- I have received funding 3 times for single projects and once for a slate of projects over a period of approximately 10 years. I have produced 4 films in those years and the slate funding in particular helped sustain my business without a doubt. Producers are never able to earn money during development (it is one of the inequities of the profession, that they should simply find the money to pay others, whilst earning nothing themselves until and unless the project goes into production). Therefore, they lurch between extreme poverty
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and sudden inflow of fees (which have to pay back debts which accumulated during development). To keep a sustainable business going during development phases, the MEDIA Programme has been invaluable.
- Our company won MEDIA funding early on in its life and made the company sustainable. The new funding we have received in the latest cycle will help us build on that and consolidate our position as a successful, small independent production company.
- Our company is no longer eligible for Media funding because of citizenship of company directors. Although we live and work in the UK and have done so for 20 years, pay taxes in the UK, can vote in all elections, advise the government on a one-‐to-‐one basis on film policy, and have permanent residency status in the UK, we cannot apply for vitally needed funding because we are not British.
Distributor Comments
- MEDIA Funding through the VOD scheme has helped us develop our own documentary distribution platform - As part of our overall profitability – our film would have made a thin profit margin if it weren't for the selective
support -‐ that support makes this a viable business model. - It's been helpful, but again it's just mitigated risk and allowed us to take more chances on European film that
we might not otherwise afford to be able to do.
Exhibitor Comments - The growth in our own business has led directly to job creation -‐ but in a wider context the training initiative
helped by MEDIA, both in the UK and Europe, have given over 600 organisations the ability to grow and develop creating sustainable employment situations.
- As previously mentioned, being a EUROPA CINEMA has meant that we have been able to take a chance across the year on titles which would otherwise struggle to find screen space in the country. We are the primary venue for independent world cinema in the country and MEDIA funding has helped to maintain that level of provision.
- Trust from distributors on Europa Cinema Label but as well from the Audience who assimilate Europa Cinemas brand as quality cinema.
- The increased number of European films has helped attract a different audience to the cinema. - As explained previously, without the Europa Cinemas funding we would not be able to show such a wide range
of films and develop our local audience for international cinema. - We are quite a small business. We have room to expand in terms of our audience figures and we have expanded
in recent years. It's difficult to say with 100% certainly to what extent the MEDIA funding played a role in that but it is through the more 'risky' programming that this funding supports which we have been able to develop our brand identity which is wholeheartedly dependent on the films we screen. The strong brand we have been able to develop is undoubtedly helpful with the nurturing of our audience base.
- The MEDIA programme has enabled us to develop the cinema programme resulting in increase in audience numbers and income.
- Knowing that we can count on some funding through our participation in Europa cinemas gives us financial stability and allows us to have more imaginative programming and support films that we don't necessarily think will make us a lot of money but that we believe in. Our business has increased admissions year on year and this is undoubtedly in part due to the MEDIA support we receive.
- Helping us showing films we might not have otherwise offered. - We are an independent art house cinema operated by volunteers, and we do not run on a commercial basis;
while we are grateful for the funding we receive, the MEDIA programme best helps us through Europa Cinemas, when the collective booking potential of the cinemas involved tempts distributors to release titles they would not necessarily release. This is particularly true with respect to 35mm print distribution, titles for release in the UK will soon no longer warrant the striking of 35mm prints, it is only the need for 35mm prints in Europe that will make them available.
- Business not growing at present due to reducing local authority funding. - My two venues are quite static Funding is certainly welcome but I cannot measure it in these terms. - We now have 50,000 more people seeing specialised film at our venue than we did five years ago.
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- This funding has been crucial in underwriting our plans for expansion of programme, screens, and audiences. As a result of the contribution Europa Cinemas and other funders make, we are now selling around 50,000 more specialised film tickets a year compared to 2005-‐6.
Market Organiser Comments - Funding meant our marketplace assistant job could go year-‐round. - Our Market was very UK orientated in its first and second years. Since partnership with MEDIA, we have
gradually increased the proportion of non national producers and by 2012 will have more than 50% of producer attendants from outside UK and US/non EU.
- Crucial for building our international profile.
Training Provider Comments - Helped us develop an internationally recognised course that has led to international recognition. - MEDIA funding has allowed us to develop international links and form partnerships which enable us to offer a
wider range of training opportunities. - It has enabled us to expand our work internationally, developing international contacts and broadening the
scope of our services. - The support offered by Media has helped provide the foremost course for producers in the UK and Europe and
encouraged European producers and executives to gain experience and contacts in the world of Hollywood.
Sales Agent Comments - We have benefited from support through the Development Support scheme, which has been extremely helpful
to our efforts to develop projects that have a chance of making a serious dent on the world box office, and creating new franchises for the European filmmaking base.
- In our business it's really the prospect of having a consistent slate of sellable films that will determine growth. We specialise in art house titles that may sometimes pre-‐sell but are more often execution dependent. Because the funding we receive will be tied to a certain extent to the commerciality of our films and because that funding it is not at a level yet that would make such a difference we would not be able at this moment to make plans to expand.
- In short, when film budgets and scales are being reduced, they're even more difficult to promote and find a place in a crowded market. This problem has been growing over recent years and is, in my opinion, only getting worse.
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Appendix 2 In overall terms, how effective has MEDIA funding been in stimulating employment and creating jobs?
Producer Comments - The MEDIA funding our project received has created jobs for several script editors and a casting director. - In this particular case, as the producers were also writer and director and DOP it is not possible to say that jobs
were created. In one sense, however, the grant stimulated employment. - To date, four people have been employed on the project: three more will be shortly. - Effective, but mainly on a short term basis as one of the projects didn't move into production for a variety of
reasons. - We have hired professionals to work with us and when the film is shot will hire many more staff/ freelancers to
realise the project and grow the business. - We have occasionally hired researchers to develop ideas, and DOPs and production teams to make 'teasers' for
our proposals. - It certainly provided work for the writers attached to the project. - Development project. - If we have MEDIA funding it helps greatly -‐ without that commitment others would find it easier to walk away. - This is a hard one to quantify as it was a development grant and was for one project. My company remains
small and has been hit -‐ like most people -‐ by the global economic crisis. We still work as a very lean team with a core of 2-‐3 people and hire in freelance crew for each specific project. There has been no growth in employment as a result of the MEDIA funding but we are surviving in very hard times and we are proud to have been able to add to our portfolio and to watch its international critical (if not economic) success.
- I'm effectively a one man band in the development stage so the MEDIA award didn't generate any permanent jobs. But it did lead to a film being made and that did indeed generate paid employment for a large team of people.
- IN our case MEDIA fund hasn’t created employment or jobs. - Assistants, secretary. - MEDIA funding has allowed us to crew up for production on two films and therefore we've been able to employ
several assistant producers and production managers/assistants for those films. - It has enabled us to keep some productions in the UK, thus providing highly paid jobs for the length of each
production, which can be as long as 2 years. - The company is very small, run by a director, writer, producer so the need for employment for others is limited. - It has created jobs where developed projects have gone into production. - Writer, producer, and artists. We did a fair bit of work. But not every project makes it through. - We have run a company in Northern Ireland, in an area with 82% unemployment. MEDIA by stimulating
investment has helped create and sustain our projects and profile. At times we have employed 7 full time staff and produced over a dozen docs and four features. MEDIA was crucial in this.
- The series that was based on the pilot development employed 30 people for 12 months. - The MEDIA funding has enabled us to keep members of staff employed on the project whereby we would have
had to let them go. We have also been able to work with the freelance community. - We have converted three MEDIA supported projects and thus created employment through both the
development and production process on three films. - It has kept our company able to compete and thrive in a depressed economy. - The funding has allowed the employment of writers and other "development" staff, working towards further
employment of freelance personnel at the production stage. - We have been able to hire writers, directors, script consultants, casting directors, line producers and create
short shoots involving any number of experienced crew members: which creates jobs in the sort term but contributes to sustaining a baseline of talent in the industry in the longer term. If only there was more of it....
- It’s very difficult to build a film development company because of the nature of the beast but MEDIA does allow you to try things out and hire people which you wouldn’t be able to afford.
- We are a small company and our MEDIA development funding has been of great value in enabling us to get projects ready for production finance, which in turn creates jobs for many crew and cast members and stimulates employment in the post-‐production and sales processes. We are currently casting our latest
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MEDIA-‐supported project and the script has secured the interest of Mark Rylance to play the lead. This will, we hope, secure an A List director and will then finance a relatively big-‐budget film with a wide range of jobs created.
- I am employing a number of freelancers in the development process, and this will be multiplied hugely as the development is likely to result in production.
- It helped fund freelance jobs for the research trip and in making the pilot in Russia. These included: Research trip: researcher and writer/ producer -‐ three weeks each executive producer -‐ 6 months part time production manager -‐ 2 weeks part time Pilot: Russian consultant/fixer -‐ one month full time director -‐ two months full time production manager/executive producer -‐ three months full time accountant -‐ one week editor -‐ two weeks full time.
- It is very effective when it is there and very hard when it is not. - It has enabled us to work with a range of writers and researchers when developing projects, taking these
relationships into the future. Not only contributors from within the industry, but also individuals from outside the industry that are developing their first projects for film and television.
- Scripted film and TV development pays very poorly outside of 1st look deals or being subsidised by larger corporations. The MEDIA grant definitely helped secure existing jobs in subtle and tangible ways and has provided the potential to generate future employment.
- We've been able to work with some excellent writers and an amazingly talented bunch of animators, characters designers etc all because of the MEDIA funding.
- We have hired director & script editing support on one project. We have hired a writer and script editor as well as several specialist police consultants and forensic advisors. We are about to embark upon full development of an e-‐novel/app/online graphic novel with publisher Penguin for another project which will include hiring graphic artists, writers and technological experts.
- The film for which I received development funding would not have been made without MEDIA's help. So all the employment created by the film was directly or indirectly attributable to MEDIA funding.
- We have been able to keep an assistant on longer than we could have done without MEDIA - I'm not sure this is relevant to the particular award we received -‐ although of course it enabled us to continue
employment on that particular film. - Again MEDIA's money goes directly to projects rather than to the company so it doesn't help with creating jobs
at the production company. What it does do though is enable you to pay a fair rate to the line producers, casting agents, researchers etc who are brought on as freelancers to work on the project. Possibly without MEDIA's money these roles would have to be filled by less experienced in house staff rather than trained professionals in these fields.
- Allowed us to take on further people to develop project. - MEDIA funding has been effective in sustaining a proper development process and means we've been able to
pay people properly for their services rather than work -‐ as we often have to -‐ on a deferred fee basis. - Initially able to source finance from various sources, but laterally became increasingly difficult. - No further jobs have yet been created. - It stimulates employment by being able to pay directly for the projects development costs. As we are all aware
it is the development costs that are often the hardest to come by. It creates jobs for writers, directors and crew such as line producers, production managers and casting directors. I think it is incredibly effective at the point where a project needs and requires the finance to move it forward.
- A large number of people were involved in the production. - We were able to take on a number of people in different roles during the development process. - Because of the support MEDIA gave our company we are now about to make a feature film which will create
over 50 jobs (for the duration of shoot and post production) and will pump over half a million pounds into the Welsh economy.
- We were able to hire some freelance support for a period of time. - Too early to say. - A number of the scripts developed converted into production and international sales. - Since it is a development grant for a single film script to be developed, the long term creation of jobs is not
really relevant. - It has meant paying a writer, coordinator and Line Producer. - Had the economics been different in the general sector, we would have doubled the size of the production
team and created a large number of jobs. Regarding growth of the business, we still retain the skills that were developed and therefore have potential to expand the studio within that sector when circumstances change. It therefore has a beneficial effect and does enable us to promote the skill set within the industry.
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- In this particular instance, this Award has had an impact on all three international co-‐production partners. - A number of animators and other creatives were needed to create the development materials. If green lit, the
programme would provide work for many creatives. - It helped to pay for at least 40 people to be employed on the project in different production capacities - We have -‐ thanks to development funding, and one TV broadcast grant -‐ been able to employ over the last ten
years some 50 freelance staff for periods of 18 months at a time, four times. We have also been able to employ a full time development executive, director and art director to concentrate on development.
- Several people were employed during the development process of the film. - Getting projects away means jobs are created. Obtaining development money means jobs are created. It is
quite simple. The MEDIA money is of massive benefit to employment in the independent sector as companies are not under pressure to pay this money back with a premium.
- We work internationally -‐ we employ freelancers in Scotland, but also in the rest of the UK and Europe. The more projects we develop and produce, the more we employ -‐ the schemes in the MEDIA program allow us to increase the volume of our work, and the ability to do it.
- With MEDIA funding I was able to employ a cameraman, editor and researcher in order to produce a trailer for my documentary.
- For a start it saved my job as a Managing Director. The company was on its last legs before the MEDIA supported production. I spent years raising finance for two big projects, one came off because of MEDIA. The other is still in the balance. The MEDIA supported film increased the reputation of the European Director as well (but he lives in Japan). In general UC works with freelancers, so apart from Director & Producer no new jobs were created. Just supporting freelancers and suppliers in the NW region of England, an area which struggles against the dominance of London in the UK TV business.
- The financial support creates stability, stimulates further investment and therefore allows us to create new opportunities within business.
- National factors have hindered the company's development. - No new jobs were created because the project never made it into production. - The impact related to employment will be felt when the film goes into production. At that time an entire crew
and cast will be engaged to produce the film. This employment is a consequence of the grant and not a direct result.
- I think it is fair to assume, in my case, that the 4 feature films I produced with the help of MEDIA Development funding might not have been converted into production had they not received the development grants from MEDIA. The 4 films had budgets of between 2.5m and 3.5m GBP and created employment and generated fees and revenues in the UK, Germany, Hungary and Denmark.
- We have been able to keep at least two additional permanent members of staff as a result. - The original funding was very small. It was my fault because I did not calculate well the difficulties and the
demands of the project.
Distributor Comments - We don't have staff. - We have created three new positions as a result of Media funding. - Hard to quantify. - We might possible have a smaller team.
Exhibitor Comments - We engage in a significant number of projects from film distribution to professional training courses where
MEDIA funding has been KEY in enabling us to raise significant levels of match-‐funding. - The level of funding we receive from MEDIA is marginally below what we receive from our Film Agency each
year so it is significant in order for us to maintain the effective running of our venue. Its contribution helps us to maintain our current level of provision and the associated roles within the venue.
- A thriving cinema can only be maintained by effective staffing. The increased numbers of films have led to an increased programme of educational activity around these European films.
- The funding has allowed us to take risks with our programming; the funding has played a role in sustaining and growing our business.
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- We have quite a small team here with very low turnover and little room for growth largely due to the limitations of our physical premises.
- Media funding has not directly resulted in increase in employment as the enhanced programme can be delivered by the same number of staff. However, it can be said to help safeguard existing employment.
- Not relevant to us - Stoke Film Theatre is an independent art house cinema run by volunteers, we only have one part time paid
position which pre-‐dates our involvement with the MEDIA Programme. - Jobs holding steady at present but no growth - There need to be schemes, which target the non profit sector, to allow trainees, and graduates, access to
employment training. - We now employ 30 more staff than we did 5 years ago. - Expansion has been a large part of our work in the last decade, and Europa Cinemas funding has supported and
helped us realise those plans.
Market Organiser Comments - Has given credibility to our Market event -‐ people respect an event with MEDIA funding - Allowed us to have a year-‐round assistant post and another short term assistant post. Crucial in creating jobs.
Training Provider Comments - Our course prepares producers to create sustainable IP and businesses therefore creating jobs for the multiple
roles needed on cross-‐platform projects. At the lab many of the participants have begun to work together generating new projects and new roles and employment opportunities.
- MEDIA funding has allowed us to increase our own activity and support SMEs to the point where they have employed more people.
- A large number of the graduates of Inside Pictures have gone on to be industry leaders in the European Film Industry (details available).
Sales Agent Comments - The funding we have received to date is not sufficient to allow for job growth within the company. - I'm afraid the issue is helping smaller scale films and similar companies handling them to deal with the films in a
viable way and a positive knock on effect from that is that maybe more jobs will be created but we're a long way from that...
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Appendix 3 In overall terms, how effective has MEDIA funding been in improving your leverage of match funding?
Producer Comments - The project already had secured match funding when the MEDIA application was made, but securing MEDIA
funding helped us raise further development funds for the project. - The production company was able to obtain matching finance at the level of €40,000. - It has allowed us to get BFI match funding - It has meant we could state the terms of a deal rather than take the initial terms handed to us. - It's a huge help here. It impresses European broadcasters and increases their faith in the project - In this instance it wasn't effective at all since it coincided with a downturn in animation production and
commissioning in the UK. - My partners were in place prior to the application being made. - The MEDIA funding attracted one non-‐profit organisation to support us in development stage. - Instant incentive for public national development. - As part of our finance plan, having MEDIA money was instrumental in attracting a co-‐producer who was also an
investor for one of our films. - Not so much for development, where we are almost always forced to match the MEDIA money ourselves, but
the distribution money we have had has been a cornerstone in the funding of our shows which have several partners in different countries.
- Once MEDIA has provided finance and endorsed the project it makes it much more attractive to other companies to invest.
- It has helped for example where the BFI are prepared to fund 50% of a development budget, but usually their funding has come first.
- People are reluctant to match fund without greater control. And that greater control was part of the problem with our initial rights holder and the deal I had in place with him.
- Sometimes MEDIA was first in support which we used to leverage other development finance. - We currently have not sought match funding, but I would imagine having MEDIA funding would help. - We have been able to partner with other funds, distributors, other international co-‐producers and financiers at
a very early stage because of this. - As already stated, MEDIA support has greatly helped to leverage the development support of the UK and
Scottish national bodies for film. - The MEDIA brand is widely recognized as a stamp of approval inside the industry and out of it. It has been a key
element of our offering to finance and can be considered crucial in helping encourage matching -‐ and production -‐ financiers to contribute.
- Match funding tool is much easier when you have something to match against so yes it did improve the strategy going forwards.
- On our latest project, MEDIA funds paid for four drafts of script, on the strength of which the BFI has agreed to fund the next stages of development.
- We are in the process of funding the project but 'first' money is a very effective leverage tool in raising further finance. I know this from experience.
- Unfortunately not much -‐ we didn't go into production because of lack of interest from broadcasters. - We raised match funding on our slate application from the Creative Investment Fund in the North of England
but when our slate application was unsuccessful we struggled to hold onto this money and replace it to match the other investment. It cost us a lot of energy and goodwill not to mention valuable time and resources.
- Partnership with MEDIA has been very helpful in facilitating working with other partner organisations when raising match funding. MEDIA is a respected fund and embarking on a project backing by MEDIA often helps to interest other financial backers.
- Both Channel 4 and Penguin have endorsed the appeal of the match funding element of slate funding. - It was more effective in consolidating domestic funding. International funders were reluctant to pre fund.
However, many of the meetings facilitated by the MEDIA funding did eventually result in programme sales, once the film was finished, which offset production losses.
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- It's as simple as that -‐ MEDIA provides evidence that we have money, which then enables us often to secure more.
- We received UK Lottery money after receiving the MEDIA grant, and also money from Slovak TV who bought and broadcast the film on International Roma Day.
- Development funding is increasingly difficult to find and financiers prefer to share the risk on their investment, whether this be the BFI, Film4 or the BBC, or even end users such as Studio Canal. Once they know it is not only their money at risk or they have to put in only 50% of the development budget or less then it is a lot easier to negotiate.
- MEDIA is a good way of improving leverage because it reduces risk for potential match funders. - Became increasingly difficult to raise match funding. - The award of MEDIA funding has been very valuable in confirming the quality of the project to other potential
funders. - We have our own fund so we could have put a small amount of finance to the project anyhow. Having said that,
I think it helps us justify what we are paying and why in project development costs to our shareholders/ investors.
- It has helped to bring in further funds from a number of other sources. - It helped us to be taken more seriously. It helped improve our company’s credibility. - Our ability to match MEDIA funding with investment 'in-‐kind' allowed and encouraged us to invest in our own IP - We were able to bring BFI matching funding to this project after work done to be able to apply for the MEDIA
grant. - Eventually when the project is further developed, I expect it to prove very effective - In this case, the start of production came before confirmation of receipt of the Award so it was very effective in
that all the respective co-‐producers agreed that they would invest in the project to a level that was greater than the Award applied for. The possibility of the Award gave a real and meaningful opportunity to producers to reduce their exposure and this definitely helped all parties adopt the structure that was applied.
- We match funded the budget ourselves - It also helped me retain copyright control and a better % of royalties. - The main benefit has been to give us flexibility in planning our funding. - Encouraged the involvement of the UK Film Council. - Having match in place is vital and allows others to have the comfort they need. The fact that the MEDIA money
is able to be first in is also a real plus. - 100%. The latest project -‐ we have raised 40% of the match funding after a 50% development funding was
awarded and are on our way to rise the last 10% after initially being prepared to put up the last 10% from the company. It has allowed us to get started; to get the work done that has in turn attracted more finance into the project after seeing proposals and trailers.
- I think it's difficult for me to say. In my case, the development support meant that I was able to interest broadcasters in the next stage of production.
- I did not receive extra funding on the basis of MEDIA’s involvement. - The MEDIA funding demonstrates significant investment in our projects and incentivises other financial
institutions to invest but it is also used as our expenditure and commitment to a project and so is leverage when obtaining match funding and securing our financial stake and future in projects.
- We did manage to get match funding from both Dutch and German publishers initially -‐ but neither of them would commit in the end to providing the in-‐kind services that would have allowed the project to go into production.
- We were able to raise match funding as a result of the grant. - UK Film Council grants and BBC development grant were unlocked through MEDIA funding. - In the UK almost all development funding requires a match -‐ Media has really helped us fill that gap.
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Distributor Comments
- We have raised some match funding through having a MEDIA grant. - This is not something we take into account.
Exhibitor Comments - This has not been explored at the venue. - We haven't sought match funding for any projects in our businesses recent history. - Not effective in match funding but very effective in making the case for breadth of film programme.
Training Provider Comments - The awarding of MEDIA funding is definitely a key help in securing funding in other sources as MEDIA funds
some of the leading media courses in Europe. - Funding of our programme for four years has allowed us to develop a case to bring in national film funds and
decrease the MEDIA % of support for our programme. - With MEDIA funding we were able to access funds from the BFI and private industry as well as contributions
from students and their employers and regional training bodies.
Sales Agent Comments - We have not made any attempts to date to use the funding as leverage. - It just doesn't help.
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Appendix 4 Did attending a MEDIA-‐funded training course enhance your skills and knowledge?
Producer Comments - Attending the ACE programme has been invaluable -‐ it has considerably accelerated my personal
development as a producer and it has helped the general development of the company. - Went to a training weekend about Journalism in Documentary (Belfast Fest 2007). It was extremely
stimulating. - It was absolutely essential for a young producer like me to be able to network with like-‐minded individuals
and learn the best practices for developing and growing the business through our film projects. - It greatly assisted the Director. He was a relatively new director who now has an award winning film on his
resume. - Yes, a little, but because the situation is so different in each country, it was not always useful. The
networking was more important. - Interesting from changing workplace point of view. always useful to know what is going on, even if it
doesn't directly affect one's business - I was an observer on the first EAVE course. I still have contacts from that course. At that time it was good
to understand how the system works, and producers need not be alone in producing work. - The pixel lab was very informative about new transmedia market place. - The courses were largely splendid, and helped both with networking leading to later production
partnerships, and a raising of general knowledge and awareness of the international film business. - It taught me skills of script development in collaboration with writers; and also gave invaluable
introductions to other writers and producers across Europe. - Both courses attended by staff members who rated them very highly -‐ especially the CICAE course. - Not really. - I have attended ACE, EAVE and INSIDE PICTURES and have produced and continue to produce feature films
with friends and contacts made through these programmes. - I attended as a speaker. But yes, the opportunity to network with other professionals definitely helped
enhance my knowledge and skills. - Good intros to European Producers/potential co-‐production partners and the funding within the European
Creative Community. - ACE -‐ absolutely fantastic, would not hesitate to recommend it. Perfectly pitched for the experienced
producer - Knowledge of international marketplace and building relationships with commissioners / future partners, as
well as steering particular projects. - I was lecturing the Inside pictures course, but I found it most interesting and helpful also. - I was attending as a 'decision-‐maker', and felt that I enhanced my knowledge by doing so. - It is probably the greatest course I have ever taken and progressed my career immensely. - It helped me with finance and strategy thinking for our work. - The financing landscape is constantly changing and meeting and networking on these courses allows one to
keep abreast of the industry. Also expanding that network is vital to progress. - Especially, the new cross over content. Project based intensive training courses give the skills necessary at
the level we need to produce, whereas one off workshops or lectures over a day or morning/afternoon only scratch the surface and give information , rather than develop skills.
- Absolutely! The courses have always made me a better skilled Producer. - This was how I began working in multimedia. - The course gave us the skills and the knowledge to make the transition from documentary making to fiction
projects. - My colleague attended Inside Pictures and it enormously enhanced her view of global film making.
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Exhibitor Comments - Yes. - It was a great experience to meet colleagues from around Europe and share ideas - I attended the CICAE ART + CINEMA = MANAGEMENT course both as a participant and a facilitator and found it
an invaluable forum for making contacts and networking with other exhibitors. The Marketing & Distribution course which I attended quite a number of years ago was a key turning point in my professional career as a programmer.
Distributer Comments - Inside Pictures has been hugely beneficial with knowledge of the production sector.
Market Organiser Comments - Unsure at this point - Good to learn from other countries' experience.
Training Provider Comments - I attended all of these courses as a mentor/ tutor -‐ not as a participant
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Appendix 5 Was attending a MEDIA-‐funded training course an opportunity to meet any partners for possible future collaboration?
Producer Comments
- I am currently collaborating with two partners which I met through the ACE programme. - The Director may have met people he will collaborate with -‐ in Italy especially. But I do not have the details. - Yes [3 examples of collaboration provided]. - Production relationships are still ongoing. - It takes more then a course to find a partner but it does start somewhere. - These are too numerous to list. - I attended as a decision-‐maker and made contact with both student attendees and other decision makers - There have been several both in terms of production partners and financing partners. - It enables you to develop other ideas with new partners you meet and get on with. I am currently working on 2
new documentary ideas with new people from the recent Documentary Campus training I have done. - I met a writer I commissioned a script from and I met people I may work with in the future.
Distributor Comments - Production projects are in development now
Exhibitor Comments - Both courses I attended have resulted in completed projects as well a life-‐long support network of other
professionals in the business.
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Appendix 6 Did attending the event(s) improve your position with buyers and financiers?
Producer Comments - Presenting projects at the market has helped secure production finance as well as co-‐production partners on
projects. - We pitched the internet film in Barcelona and Sheffield, and drew it to the attention of many broadcasters.
Some subsequently contributed finance to the film. - Some years ago I got substantial funding as a result of attending Eurodoc. The marketing events are much
more difficult but I have come to know key people in the industry better -‐ especially some financiers and distributors who now know my name -‐ but I have not yet managed to attract a distributor as a result of attending any of these events. The market has gone through a period of retraction and there was a period when financiers etc were not taking too many risks on films up front. They seemed to want to see the finished film which is very hard for an independent producer. I stopped going to markets for this reason until it becomes more worthwhile to take this risk again.
- We couldn’t find a pre-‐buyer or a financier that year. - We attended Meetmarket in Sheffield and London Film Festival with several projects over the last few years.
These have been crucial markets for us and have made a significant different to our success in raising funding and finding distributors.
- Yes. These markets are essential, though the Cartoon events are much more useful than the markets at film festivals.
- Cartoon Forum is always helpful. Not always on the day, but always, eventually. - We sold a number of Projects at these events through the years. - Being nominated for the Annecy official selection was useful to increase the company profile. - It enabled us to meet lots of Co-‐production partners and broadcasters across Europe. In the long run this will
be very useful. - Immensely useful access - It’s a good platform. - It raises your profile and enables many useful conversations and connections. - These have been over 10 years and all have been useful in different ways. - The MEDIA stand at Cannes in particular is incredibly useful and really valuable support. - It's hugely important to continually meet potential funders and potential partners. These events provide an
opportunity to connect with the rest of the industry and for our company to sustain its presence in the marketplace.
- Cartoon was very helpful in having such a strong focus. - I obtained buyers and financiers through attending Cartoon Forum. - Meeting financiers at these types of events is great as you get to know them and when you come to bringing
projects to them you have a relationship with them. - Because as a producer, you are able to meet Com Eds and other financiers over a series of markets over
particular negotiations over the development of a project. - Basis to raise and finalise co-‐pro and pre-‐sales for MEDIA funded TV project. - We pitched our film to various buyers and financiers. We developed relationships and we were able to get
funding to shoot a pilot for our film. We also met partners who we are currently in discussions with. - Although a number of meetings were held, there has been no tangible outcome as yet.
Distributor Comments - Markets are always effective
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Appendix 7 While attending a MEDIA-‐funded networking event did you meet any possible partners for future collaboration?
Producer Comments - I am now collaborating with a film production company in Barcelona who I met at the IDFA pitching forum. - Attending IDFA forum and MeetMarket Sheffield has led to direct investment in films, at Berlinale EFM, I
have met with production partners I may collaborate in future -‐ Berlinale also introduced me to producers I have collaborated with but not on MEDIA slate productions.
- Not yet -‐ but we live in hope. We were made an offer of funding at the Galway Film Fleadh from a major US distributor some years ago but it was withdrawn within months when the market collapsed. It will happen again I am sure.
- Several new partners have been met at these events. - We have coproduced with many people I have met at the Cartoon Forum, primarily in France and Germany,
but with presales to Scandinavian countries. Too many to list. - We are presently involved in a project that came out of the Berlin Film Market and Galway Film Fleadh. - We have met up and discussed the project with several partners and are waiting to see what happens with
the UK broadcasters. - I've found three collaborators from Germany, Ireland and Sweden who I've met several times at market
over a number of years, and we have built a working relationship and in this way. - In almost every occasion. - Sheffield MeetMarket and others have provided direct connections for ongoing collaborations. - Both for productions and in project developments. - Recently at the Documentary Campus -‐ collaborators on new projects and partners on the current project
in development; which is funded partly through the MEDIA programme. - Sales Agents, Distributors, Co-‐Producers. - We met partners we intend to work with in the future.
Exhibitor Comments - Our links with MEDIA and Europa Cinemas has led to us delivering and co-‐delivering professional training both
nationally and internationally.
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Appendix 8 Has attending a MEDIA-‐funded networking event directly helped you to produce any of your projects?
Producer Comments - I'm currently in the process of producing a film with partners I met during the Berlin co-‐production market. - Many of our docs have been funded through pitches and contacts at, for example, IDFA, Sheffield. - Through possible co-‐producers. - My current film about the internet would have been impossible without networking at IDFA and Barcelona. - Call regulations could be simplified and more transparency in the admin process would help greatly. - Not yet. It's a matter of time I think before we do manage to get other financial partners on board. - By pitching to broadcasters. - By meeting funders and interested producing partners we've been able to take projects from development to
production and then through to delivery. - Yes. We have launched several projects at the Cartoon Forum [3 examples provided]. These have all been
financed with the help of international partners. - [Our animated children’s cartoon] got produced for CiTV as a result. That was the most direct result. - I've picked up loads of projects to co-‐produce at co-‐pro markets. - I am currently co-‐producing with a Swedish partner. - Yes it enabled us to get international funding and distribution for a documentary. - These events allow you to meet and MAINTAIN relationships with other producers which is necessary with
producers you wish to collaborate and co-‐produce with. [5 examples provided] - We've met with some potential co-‐producers and funders…things are going very well. - Yes. MEDIA funding and a MEDIA event -‐ Sheffield MeetMarket -‐ provided key partnerships for our project [title
and director provided]. The film is longitudinal (filmed over 2 years) and Sheffield provided lots of opportunity regarding generating pre-‐sales interest. Although we weren't able to raise UK production finance, being at the festival to take meetings with our American director helped raise the profile of the project in the marketplace. We’ve also recently secured production finance from Participant Media in the States, which is fantastic.
- Always helpful to network with other producers. - We've pitched four projects at Cartoon Forum over the past 10 years. 2 have successfully gone on to be
produced, 1 is about to start production and the other was picked up by a broadcaster for further development. - There are no results yet but we are hopeful that contacts made will eventually bear fruit. - By exposure to different funding models and providing network contacts. - Networking through these events allows trusted contacts you already have to endorse new contacts they might
have and with the right meeting of minds this leads to collaboration. - By meeting EU broadcasters, co-‐production partners and creative partners to work with. - By securing sales to broadcasters and negotiating with other potential financial partners. - I met a now regular co-‐producer at EAVE. - At Documentary Campus I met the person who has now become my Digital producer in the current cross
platform -‐ previously this project would have never been cross platform, or I would never have met her. Now it has every chance of happening as a developed project with a great team. All of this facilitated by a very well thought out MEDIA program. It works!
- Set up a co-‐pro, pre sales and acquisition of a specialist catalogue for my company. - Attachment of Sales Agents, Distributors, Co-‐Producers and finance to the projects. - Attending the European Producers Club events has lead to 2 projects receiving funding from partners we met
for the first time at the events. - Meeting potential partners has not always helped the project pitched, but has often helped later down the line
with other projects.
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Distributor Comments - Call regulations could be simplified (especially after successful applications) and more transparency in the
admin process would help greatly. - Berlin 2012 -‐ I met with a number of potential partners.
Exhibitor Comments - It's hard to overstate the value of MEDIA's contribution to the cultural life of the UK's film sector and it is one of
the few organisations which seeks to address all parts of the industry from production to distribution and exhibition. It is one of the very few organisations in the world which is aware of how these three factions of the business work together. This joined-‐up thinking is an invaluable strength.
Market Organiser Comments - Great contacts to invite to the market
Training Provider Comments - IDFA helped me produce an hour long documentary for ARTE, ARD and NCRV.
For all enquiries please contact:
Agnieszka Moody, DirectorMEDIA Desk UK
c/o BFI21 Stephen StreetLondon W1T 1LN
Tel: 0207 173 3221
Email: [email protected]: www.mediadeskuk.eu
