The Low Budget Funding Guide

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LOWDOWNThe Low BudgetFunding Guide

1999 - 2000

B r i

t i s

h F i l m

I n s

t i t u t e


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The Low Budget Funding Guide is produced annually by the Pro-

duction Department of the Brit-ish Film Institute as part of itscommitment to access, diversityand quality in the developmentof a truly national lm and videoculture.

The British Film Institute offersopportunities to experience, en-

joy and discover more about theworld of lm and television.

For details of other current bacitvities, please call the 24-hour b events line 0870 240 5050 (national call rate applies) or visit www.b.org.uk

WILDLIFE


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1 Getting Started1 New Directions2 Broadcasters and the Regions3 Local Support3 Sponsorship4 Forming a Limted Company5 Help for Small Firms5 Enterprise Investment Scheme6 Forming a Charity6 Raising Money from Charitable Trusts

NATIONAL FUNDING

7 United Kingdon9 England

10 Northern Ireland11 Scotland13 Wales

14 NATIONAL LOTTERY

18 ENGLISH REGIONS

27 EUROPEAN FUNDING

29 EUROPEAN REGIONAL FUNDING USEFUL INFORMATION

30 Books and Publications31 Websites31 Addresses34 Workshops

Written and edited by Chris Chandler.

The British Film Institutes Production Department gratefully acknowledges the assistance of all those organisations listed in the Low Budget Funding Guide.

Publications and periodicals listings compiled by the b National Library.

The editor has made every effort to ensure that information is accurate and up-to-date. If there are any schemes or projects which you wish to be considered for inclusion in the nextedition, please contact the Production Department on 0171 255 1444

Copies of the Low Budget Funding Guide are avaialalbe from b Production Department,Regional Arts Boards, media development agencies and national lm councils.

British Film Institute 1999

Cover image: The Sweet LifePhotographer: Anglia

CONTENTS


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GETTING STARTED

The Low Budget Funding Guide, now in its seventhyear, provides a comprehensive listing of grantsavailable for lm and video production offered bynational and regional arts and media organisations

- including the National Lottery. It also looks atbroadcast co-production initiatives and schemesfor lm makers new to television. There is advice onthe advantages of forming a limited company, alongwith information on support for small businesses -with a special focus on the Enterprise InvestmentScheme. There is a short section on the pros andcons of charitable status plus a brief look at raisingnance through sponsorship and charitable trusts.Addresses of all of the organisations mentionedbelow are listed under Useful Information.

Lowdown gives brief descriptions of each schemeor funding source and whilst we hope that this issufcient for you to decide whether it is worth pur-suing a particular lead, it is essential to carry outyour own research.

NEW DIRECTIONS

The Department for Culture, Media and Sport(DCMS) has continued to focus its attention on howbest to support the lm industry and lm culture andeducation. By April 2000, the DCMS will have set upa new strategic body for lm. To be called the FilmCouncil, it will be one of only two lm bodies directlyfunded by the DCMS (the other being the NationalFilm and Television School). It will be an inuentialbody responsible for selling strategy for governmentsupport and industry liaison right across the lmproduction, exhibition and distribution industries.This will be the rst time that one government agencyhas combined responsibility for both encouragingcultural and commercial lm activity. In the rstinstance, the Film Council is to incorporate the staff and activities of the British Film Commission (BFC).BFI Production and the Arts Council of England(ACE) Lottery Film Department. In addition, fundingcurrently allocated by the DCMS to other lmorganisations - including British Screen Financeand the BFI - will in future be routed through theFilm Council, which will be responsible for agreeingtargets and monitoring those bodies.

At the time of writing, it is difcult to assess the fullimpact of this new organisation. It will be expectedto deliver upon the broad agenda set out in ABigger Picture (the report of the DCMS Film PolicyReview Group, published in April 1998). Its status

as distributor of Lottery funds for lm production inEngland has led to an expectation that it will shakeup the pattern of support available from the Lotteryand create a cultural production strategy building

upon ACEs proposed Alpha Fund (which was put onhold prior to the creation of the Film Council) and BFIProduction. The Film Council is to have a UK-wide remitbut will have no direct engagement with, for example,Lottery production funds from Scotland. Nevertheless,this new agency has the potential to establish clear

leadership and a more coherent pattern of support.

The coming year may also see changes in how lmdevelopment and production support is delivered inthe English regions. The current situation can appear complex with a web of support and relationshipsinvolving the BFI, ACE, RABs and MDAs, BFC, regionalscreen commissions, local authorities and many other organisations. Arguably, the Film Council brings withit an impetus to create regional media developmentstructures which correspond more closely to its unitarystructure. At the same time, the creation of inuentialRegional Development Agencies (RDAs) - which willlead on economic regeneration - and changes in thepattern of European Union regional funding may leadto new structures for industrial and business support.Another result of the DCMS Departmental SpendingReview has been the creation of Regional CulturalConsortia (RCC) which bring together all of the agenciesin each region that fall within the DCMS remit (sportsheritage, arts, libraries and tourism as well as lm).RCC have been charged with setting a regional culturalstrategy and will advise RDAs on cultural issues. In all,the potential for change is enormous: the direction andconsequences are unknowable.

As outlined above, responsibility for proposed newLottery schemes to support development distributionand cultural production now rests with the Film Council.However ACE has made a number of changes whichmay be benecial to some lm makers. Two strandsof Lottery funding have been delegated to RABs: for small capital projects of up to 100,000; and a projectsscheme which follows on from ACE - together calledthe Regional Arts Lottery Programme. The delegatedcapital strand will not be open to lm productionapplications but would be able to support equipment

purchase for regionally-based groups or companies.The projects scheme is unlikely to support short lmsfor cinema but should be accessible for community-based production, educational projects, Installations or artists lm and video work for exhibition in galleries.Each RAB has a set of regional priorities and grants wiilrange between 5,000 - 30,000.

Finally on ACE, its recent restructure has led to thecreation of a Broadcast and New Media Department.Its role will be to broker links between ACEs artformdepartments and broadcasters to facilitate creativetelevision projects -along the lines of Dance on Camera.There is also continuing discussion of the creation of a Recordings and Publications scheme using Lotteryfunds. This would potentially be able to support arts


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broadcasting and creative documentaries and wouldpresumably, support the work of the Broadcast andNew Media Department.

In Scotland, it has been agreed that responsibilityfor Lottery production support will transfer from the

Scottish Arts Council (SAC) to Scottish Screen.This is expected to take place at some point duringthe current nancial year. It seems unlikely thatthe change will have any immediate effect on theavailability of funds In Scotland with the schemeslisted under Lottery Funding switching from SAC toScottish Screen (hopefully) seamlessly. Plans arestill on course within SAC for a low budget Lotteryscheme, scheduled for launch at the EdinburghInternational Film Festival in August 1999.

The Arts Council of Wales (ACW) is only able to makea comparatively small amount of money available for lm - in the region of 1 million (the exact allocationwill depend on the number and quality of applicationsfor all Lottery schemes in Wales). Sources at Sgrn ;the media development agency tor Wales, fear thatthe number of good applications for lm productionwill exceed the allocation available well beforethe end of the nancial year: it will certainly limitACWs ability to respond to more than a very fewapplications for feature lm projects.

Elsewhere in Lottery-land, there are a few new

opportunities which lm makers may be able to takeadvantage of. Millennium Festival Awards For All willrun from April 1999 to June 2000. Grants on offer are very small - between 500 and 5,000 - witha user-friendly application form and rapid decision-making. Awards for All is aimed at communitygroups wishing to organise projects celebratingthe millennium, bringing communities together andincreasing peoples involvement in new activities.Film or video productions, especially by small,voluntary groups, fall squarely within the guidelines.Application details are obtainable by calling theMillennium Festival ofce.

NESTA, the National Endowment for Science,Technology and the Arts was rst proposed soonafter the 1997 general election as a way to encourageentrepreneurship and support talented individuals.It will have an especial interest in assisting in turninggood ideas into bankable, employment-generatingbusinesses. At the time of writing it was about tolaunch details of schemes but projects working withscreenwriters and to assist lively young productioncompanies seem to be very much in keeping with itsaspirations.

Away from the world of grant aid, there has beena spate of lm nancing developments exploitingthe UK governments lm production tax write-off

regime. This marks a growing and welcome willingnesson the part of City institutions (and their wealthy clients)to become involved in lm projects. The schemes haveinvolved some of the giants of the UK accountancy andnance world, such as Ernst and Young, as well asspecialist media outts like Factor 8 Films. Schemes

vary from acquisition of existing features (which yieldsmoney for the producers to invest in future projects)to investments in slates of new lms. The EnterpriseInvestment Scheme which uses a special tax relief for investors in high-risk businesses is discussed later.

Looking at the other end of the budgetary spectrum,the last few months has seen a growth in interest inmicro-budget production - not as a cruel expedientforced upon lm makers by a Philistine establishmentbut as a creative challenge. Emblematic of this hasbeen the establishment of a London outpost of USindie Next Wave Films. Next Wave specialises indigital video (DV) production and can put completionfunding into productions (usually at rough cut stage).Peter Brodenck, who runs Next Wave in the USA,has a missionary zeal for the opportunities which DVand microscopic budgets can provide. He points tothe success of lms made for tiny budgets such asClerks (Kevin Smith) and of features shot on videolike Thomas Vinterbergs Festen. His starting point isthat lm makers should work with the resources thatare readily available and write a script that workswithin that context - a technique used successfully byNottinghams Shane Meadows. It is likely that 1999 will

see the launch of more micro-budget feature supportinitiatives drawing on, amongst other things, the buzzcreated by the Dogma Manifesto. The challenge is tomake creative, vibrant, exciting projects using a lowbudget, not despite it.

BROADCASTERS AND REGIONS

Lowdown does not attempt to list the many com-missioning strands offered by broadcasters. The onlyexceptions to this are initiatives such as BBC 10x10,which explicitly sets out to encourage lm makers newto television, or co-production schemes with RABs andothers. This is mainly due to the fact that it would notbe possible to accurately represent the complex andfast-changing situation within the UKs growing number of broadcasters in so slim a guide. It also reects thefact that information can be hard to obtain from somecommissioning editors. That said, the main terrestrialbroadcasters have made efforts to open communicationwith a broader set of lm and programme makers.

Both the BBC and Channel Four, within their publicservice remit, have embraced the need to promote

new, creative talent from the whole of the UK. ChannelFour, in part due to its publisher-broadcaster status, hasthe most diverse response to this remit with FilmFour (see National Funding), Independent Film and Video


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and Nations and Regions all playing an active partin encouraging small, new and non-mainstreamlm makers. The Nations and Regions Department(Stuart Cosgrove is its Head of Programmes) isbased in Glasgow and oversees Channel Foursambitious plans to spend 30% of its programmebudget on production outside London. Nations andRegions plays several roles in the commissioningsystem. It directly commissions programmes for the Channel Four schedule, develops projects for annual editorial budget rounds and brokers projectsin partnership with editorial ofces in London.Central to the Nations and Regions approach isthe Research Centre. Headed by John McVay, itsfunction is to develop the capacity of regionally-based companies seeking to break into networkbroadcasting, it does this through a programme of company and skills development activities, seekingto enhance the ability of companies to respond to

the broadcasting marketplace. It can also provideadded value development funding to independentproducers who have already received developmentcommissions from network commissioning editors.The fact that only 40 or so independent producersachieve network broadcast commissions in any year demonstrates the value and need for this capacitybuilding approach.

The BBC Independent Commissioning Group(ICG) was set up in 1997 dedicated to developingand managing relationships with independentproducers. Headed by Bill Hilary, there are threecore departments: Factual (led by Peter Grims-dale); Drama (Tessa Ross) and Entertainment (ledby Hilary himself). The Groups remit covers allareas of the schedules on BBC1 and BBC2 as wellas the new digital television services including BBCChoice and BBC Knowledge.

As part of its efforts to target regional programmemakers, the Group holds regular brieng events innational and regional centres. IGC commissioningexecutives participate in regional sessions acrossthe UK including Shefeld Documentary Festival

Regional Day. Sharing Stories in Edinburgh andMega Mela in Birmingham. The ICG will acceptunsolicited proposals which should be directed tothe most relevant of the three departments. Wherepossible, writers are encouraged to approach theICG in association with an independent productioncompany. The BBC also produces commissioningguides which provide information about the types of programmes being sought, the audiences they areto serve and resources that are available.

LOCAL SUPPORT

Local authorities can be a useful source of assis-tance. Most councils have an arts section and themajority of these give small grants to individuals and

groups for which lm makers may be eligible - thoughobviously your competition will be a spectrum of artsactivities and not just other lm and video projects. Afew councils have lm-specic schemes, for exampleMedia Arts First Stop Awards in Swindon and theWandsworth Film and Video Making Award.

Increasingly local authorities are recognising the valueof lm and video both as a creative medium and asan industrial sector offering employment opportunitiesand fuelling economic regeneration. In some partsof the country this has led to the creation of dynamicschemes to promote lm production, releasing tensand sometimes hundreds of thousands of pounds of production funding usually involving European UnionStructural Funds. Changes in the Structural Fundingregime under Agenda 2000 will alter the areas eligiblefor support. Losers might include the Midlands Regionssuch as Cornwall and West Wales are almost certain

to gain and 2000 may see the creation of new, largeproduction funds in these areas.

The national network of Screen Commissions notonly offers advice on locations but can also providecomprehensive information on many other aspects of lming. All Screen Commissions work to promote thelocations available in their area to local, national andinternational production companies. Their databasesand photo libraries are invaluable for anyone lookingfor local resources and their practical assistance indealing with permissions, police, re and other publicauthorities can save an enormous amount of red tape.All of the UK is now covered by a regional and/or citycommission.

SPONSORSHIP

Film makers have not tended to be rst in the queue whentalking to businesses about sponsorship although thereis no reason why lm or video production shouid not besuccessful in this area. Sponsorship is normally partof the general promotional expenditure of a businessand although that can encompass a sense of corporateor social responsibility, it is not philanthropy or a gift.Some companies do make philanthropic donations butsums tend to be small and often access is restricted tocommunity groups.

It is important to think carefully about what you may haveto offer each company you approach. Local companiesmight be prepared to put modest sums into productionsin return for comparatively minor promotional credit inthe local area. More often, companies are likely to beattracted by an on-screen credit. Companies will be mostinterested in supporting projects which are aimed at anaudience section to which they are trying to market their

products. Companies should usually be approachedvia public relations or marketing departments, althoughit is always worth playing on any direct contact with themanagement you might be able to establish.


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Dont expect to receive a rapid response or nec-essarily any response at all. It is good practice tofollow up an initial letter with a telephone call. Beaware that sponsorship is a game of delicatenegotiation and not something that will happenovernight.

As with any type of fund-raising if is vital to do your research: nobody is going to take you seriously if youhavent bothered to nd out the name of the personyou are writing to, or which products the companysells. The more you know about an organisation,the better the position you will be in to offer theman appealing package, Remember that companysponsorship is a payment for the promotion of goods and services. At all costs avoid offeringa sponsor something you are unable to deliver.Equally, dont allow sponsors to feel that they caninuence the creative integrity of your lm: if you feel

uncomfortable with the extent of involvement soughtby a sponsor, it might be better to look elsewherefor support.

It is also worth investigating Arts and Business(formerly ABSA). Although not a funder in the rstinstance, it does operate a pairing scheme which actsas an incentive scheme for business sponsors. Thescheme helps both businesses and the arts get themost from their partnership by providing additionalnancial support in the form of awards. To qualify for an award you will need to have your sponsor alreadyin place and the nancial rewards are greater if thisis a company which is new to arts sponsorship. Thescheme will only match cash sponsorship.

Often companies may be more willing to providesupport in kind by providing goods and services. Atits most advanced level, product placement agents(who act as intermediaries between lm makers andmanufacturers) can provide a wide range of items- from cars to jelly beans - free to lm productions- usually on the condition that products are used ina favourable light. Product placement works bestfor productions likely to reach larger audiences via

cinema or television. A word of warning - if productsare to be shown on camera and you are intendingyour project for a commercial broadcast audienceyou should check with the broadcaster that this isnot likely to infringe ITC guidelines.

FORMING A LIMITED COMPANY

Many - or even most - low budget lm makersoperate as sole traders or as unincorporatedassociations. They undertake all activities as privateindividuals, applying for grants and entering into

contracts in their own names. Registering as acompany can offer advantages. To do so createsa legal separation between personal and businessnances, limits liability in the case of nancial (and

other) disasters, can give credibility to ones activitiesand can be used to regulate relations within partnershipsin a corporate rather than personal capacity. In general,the larger the projects you intend to embark upon, thelarger the amounts of money you will need to completethem, the more useful it becomes to operate as alimited company. If you are entering into contracts or agreements with organisations such as broadcasters,the larger independent production companies, banksand so on, being a registered company can give younot only credibility but also some additional protectionagainst error or sharp practice. Most particularly, it is thecompany, not you personally, which must full contractsor meet liabilities: as long as company directorshave acted properly and responsibly, your liability for nancial and other penalties can be limited. It is alsoworth noting that most National Lottery distributors donot make grants to individuals and that broadcasterswill require programme nance to be managed in a

separate business account.

The Companies Act 1985 lays down strict regulationsgoverning what companies may and may not do. TheAct is enforced and monitored by Companies House. Itimposes reporting and operating restrictions which someindividuals or groups may regard as onerous. Much of this is to do with the frequency and administration of company meetings, and the ling of annual results andauditing of accounts. Failure to le. the appropriatereturns and accounts on the due dates can lead to quitesubstantial nes.

If you think a limited company structure might be of advantage, the rst thing to do is to contact CompaniesHouse for its guidance notes on incorporation andregistration and read them thoroughly. These areinvaluable: without them you will invariably get somethingwrong. Only form a company if you are certain that it isthe best option for you and you are condent in thepeople you wish to work with. A company must have atleast two directors - you cannot form one as anindividual. If in doubt, seek advice from a solicitor,company formation agent or similar professional.

As to the actual process of creating a company, thereis a standard registration fee of 20. However, youmay also need professional help to draw up your Memorandum and Articles of Association which givedetails of the company, Its activities and how it willoperate as a legal entity Companies House takes all of this very seriously, even to the extent of restricting theuse of certain words in company names. You shouldtake a lead from them and take the process equallyseriously. To all intents and purposes there are twooptions for the sort of company you might form: limitedby guarantee or limited by shares. To simplify greatly, acompany limited by shares would have the objective of trading in order to make prots to distribute to its share-holders, A company limited by guarantee is the formatavailable to charities and other groups which do not


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seek to distribute any prots to company members.

HELP FOR SMALL FIRMS

Depending on your status, there are a number of organisations and schemes which will give assis-tance to small companies, including those activein the media sector. The Department of Trade andIndustry (DTI) publishes A Guide to Help for Small Firms which covers all the schemes discussedbelow. This gives details of the help the Governmentprovides for small rms, a good deal of which isavailable though a network of Business Links inEngland, Local Enterprise Development Unit (LEDU)in Northern Ireland, Scottish Business Shops andBusiness Connect in Wales.

It may be possible to gain nancial support to helpyou start a business. Local schemes are run in some

areas by the Training Enterprise Councils (TECs inEngland and Wales: in Scotland the equivalent arethe Local Enterprise Councils or LECs). Supportfor training for small rms is available in the formof loans at preferential rates and underwritten bythe Department of Employment under a schemepoetically called Small Firms Training Loans. Thecurrent review of TECs (due to report in the middleof 1999) may bring about changes in the pattern of support. Similarly, government interest in lifelonglearning (and the creation of Lifelong Learning Plansby local authorities) may change the availability of support for training.

Once established, additional help is available via arange of other nancing schemes. Many of theseoffer loan guarantees for rms or individuals whoare unable to obtain conventional nance, help inraising equity nance (someone gives you moneyin return for a share in the business) and encouragebusiness angels (private investors happy to invest insmall companies and accept lower or slower returnsthan market rates). In short, this may be useful if youare attempting to raise nance for a feature projector wish to raise capital for premises or equipment.

Help and training in business planning and detailsof business support opportunities can be obtainedby calling the Business Link Signpost Line which willdirect you to your nearest Business Link.

ENTERPRISE INVESTMENT SCHEME

There has been a lot of recent interest in the useof the Enterprise Investment Scheme (EIS) to raisemoney for feature lm production, with at least veschemes launched in the rst quarter of 1999 alone.These range from single lm proposals aiming

to raise a minimum of 185,000 to a slate of sixfeatures aiming to raise over 3 million. Budgets of lms range from under 0.5 million to over 3 million.The EIS provides tax incentives for investors to buy

shares in companies trading in risky business areas.There is no legal minimum or maximum level of nanceto be raised, although below a certain level the costs willoutweigh the benets. For individual investors there isa maximum investment in each tax year of 150,000.

In a theme common to much of the Lowdown, the keyto using EIS is careful research and planning. Theessential rst step is to identify a group of potentialinvestors. Whilst It is possible to set the minimuminvestment quite low - say 500 - there is a lot of taxand corporate documentation involved and a larger number of small investors will make for a more costlyand complex procedure. An important factor in an EISproposal is whether the share offer is going to be madeto more or fewer than 15 people. Under 15 counts as aprivate offer and must comply with the requirements of the Financial Services Act. To target over 15 individualsconstitutes a public offer and can only be made by a

public limited company (pie). To set up a pie requiresa share capital of 50,000 (or 12,500 and a personalguarantee to pay the remainder). The daunting-sounding Public Offer of Security Regulations will applyto the offer.

Once you are clear who you are targeting, a prospectusmust be produced setting out the proposed use of thefunds, company directors and other details. To do thisyou will need to have a comparatively we 11-developedproject - most lms looking for EIS money already havekey cast and other talent attached. For example, UKFilms Groups glossy brochure, promoting two movies,names Ben Kingsley and John Hannah as attachedto play lead roles in Mr Benn and Dave (Eurythmics)Stewart as writer/director of Honest. To produce thenecessary legal and nancial information requires theassistance of professionals: UK Films prospectus whichaimed to raise a minimum of 3.6 million was drawn upby accountancy giant PrIcewaterhouseCoopers.

There are clearly advantages and disadvantages to EIS.It is not suitable for short lm production and would beharder to pull off a successful scheme without at leastsome prior feature lm experience. The creation of a

plc to launch a public offer may be too costly for somecompanies, but a private offer may not be able to raisesufcient money given that the offer can only be made toa 15 individuals (not all of whom may eventually decideto invest). However, for strong projects and determinedproducers it has proved a valuable way of temptingserious investors to take a step into lm nance. Moreinformation and advice on EIS can be obtained via theBusiness Links service: details of your nearestBusiness Link can be obtained by calling the BusinessLink Signpost Line.


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FORMING A CHARITY

Operating as a charity can bring benets to anorganisation and may assist in funding and makinglm or video. Charities enjoy corporation tax . andcouncil tax benets and charitable status can bringcredibility in the eyes of funders, other organisationsand the general public. It can also be easier to raisefunds from certain sources including grant-makingtrusts and local government. While the CharitiesAct 1992 restricts the freedom which charities haveto trade beyond the strict remit of their charitableobjectives, lost exibility can be restored by thecreation of a trading company operating outside thescope of charity law but covenanting back prots.The legislation governing the establishment andactivities of charities is, however, as stringent as thatgoverning limited companies. The Charity Commiss-ioners maintain a register, investigate misconduct

and abuse, and otherwise administer the charitiessector in England and Wales. The law is different inScotland.

Under law, charities exist to full a speciedpurpose and are, by denition, voluntary organi-sations: that is, the board of management must notbe remunerated (although staff can be paid). Thedenition of charitable purpose breaks down into sixheads of charity: the relief of the elderly, vulnerableor hardship; the advancement of education; theadvancement of religion; the promotion of urban or

rural regeneration; the relief of unemployment; other charitable purposes for the benet of the communityMost charities active in the arts or media operateunder the educational head.

A charitys objective might, for example, be to pro-vide benet to lm makers in a certain area (per-haps by creating an organisation that would ownlm or video equipment made available to thegenera! public) or to promote lm making by andabout specic, disadvantaged groups (for exampledisabled people or unemployed young people) andwhich is likely to be benecial to that group. You

should note, however, that charities cannot supportpolitical parties or behave in a way which is politicallypartisan. It would be illegal and improper to createa chanty just to benet you and your friends (nomatter how disadvantaged you might feel). Is is alsoillegal for the trustees of a charity to benet fromit nancially - for example, a trustee cannot alsobe an employee of the charity. It is possible to beprosecuted for running a chanty improperly

The Charity Commissioners publish a booklet, SoYou Want to Start a Charity, which gives adviceand explains the law. There are more than 150,000registered charities already operating and it may bepossible - or even desirable -to join forces with anexisting organisation. For example it you wish to

make a specic lm or series of lms with a charitableaim but not to take on sustained work in this eld, thennding a suitable established charity might be a moresensible option. The Central Register of Chanties (which can be consulted at Charity Commission ofces)or Charities Digest both give Information on existingcharities.

RAISING MONEY FROM CHARITABLE TRUSTS

Money from charitable trusts is often available,particularly for voluntary groups and organisationswishing to work on community projects. It may also bepossible to raise money for projectsdealing with specic themes from trusts which alsotake an interest in that topic: for example, a charitywhich supports regeneration projects in the inner cities

might provide funding for a documentary about tenantmanagement of estates. There is a growing number of community trusts, grant-giving bodies which focussupport upon a particular town or district. These oftenhave very wide objectives within their geographical remitand can be supportive of local lm makers. Many largecompanies create trusts which are often most active inthe region in which their head ofce or manufacturingbase is located.

Different trusts have varying and often very precise rulesof eligibility: many will not consider your applicationunless you are yourself a registered charity and aneven greater number wont make grants to individuals.As with sponsorship you cannot necessarily expect aquick turnaround on your application - some trusts mayhold their meetings as little as once or twice as year.

If you wish to pursue this source of funding, a number of useful publications exists, in particular the Directory of Grant-Making Trusts and Funding Digest, a monthlypublication aimed primarily at voluntary organisations.Both are often available in public libraries.


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BBC 10x10

Bristol Television FeaturesWhiteladies Road Bristol BS82LR Tel: 0117 974 6746 E-mail:

[email protected] Producer:Jeremy Howe

BFI Production

21 Stephen StreetLondon W1P2LNTel: 0171 6365587Fax: 0171 5809456Minicom:0171 580183924 Hour Information:0171 580 1052

http://www.b org.ukHead of Production:Roger Shannon

British Screen Finance

14-17 Wells MewsLondon W1P3FLTel: 0171 3239080Fax: 0171 3230092Contact: Sara Harper

Film Four

76-78 Charlotte StreetLondon W1P1LXTel: 0171 8687700Fax: 0171 8687742

http://www.lmfour.com

Head of Film: Paul Webster Head of FilmFour Lab:Robin Gutch

BBC

10x10 offers an opportunity for directors with no previous network direct-ing credit to make low budget ten-minute ction or documentary lmsfor broadcast on BBC 2. It commissions 10 lms per series. Successfulapplicants are provided with production nance and practical guidance bythe BBC Bristol Features. See the Guardian or contact your RAB/MDA for deadline details

BFI Production

By April 2000, the DCMS will have set up the Film Council. In the rstinstance, the Film Council is to incorporate the staff and activities of BFIProduction (alongside the British Film Commission and ACE Lottery FilmDepartment). It is therefore currently not possible for BFI Production topublish plans for future production schemes. However, one of the early

priorities for the Film Council is likely to be the development of a culturalproduction strategy and fund. It is anticipated that this will build on thestrengths of BFI Productions past activities in short and feature lms.For the current year (1999 and early 2000) BFI Production intends tocomplete the 1999 New Directors slate of short lms and aspires tolaunch a limited number of script development schemes with nationaland regional partners, it also supports production activity with RABs andMDAs in England and with Sgrn in Wales through direct grants andpractical assistance.

British Screen Finance

British Screen Finance invests in British lms, including lms madethrough the European Co-production Fund. Scripts should be sub-mittedwith full background information. All scripts are read. Scripts submittedby producers with a fully developed production package are given pnoniyand projects must have commercial potential in the theatrical market.British Screens contribution rarely exceeds 500,000 and is never morethan 30% of a lms budget.

FilmFour

FilmFour is the new lm division of Channel Four Television. FilmFour Productions aims to produce 15-20 feature lms each year. It looks for distinctive projects which can make a mark in a competitive cinema

market. Unsolicited material is not accepted and proposals should besubmitted through a producer or literary agent. FilmFour remains commit-ted to new and emerging talent and has set up FilmFour Lab to supportthe newest and most striking creative voices and visions of tomorrowscinema in Britain.

FilmFour Lab runs the late night short lm strand The Shooting Gal-lery. The Lab will occasionally provide completion nance for works inprogress (as well as buying UK TV rights for completed works).

UNITED KINGDOM

N O T V A L

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Channel Four/MOMIAnimators Residencies Museum of the Moving ImageSouth BankLondon SE1 8XTTel: 0171 815 1376

Animation Co-ordinator:Yvette Burrows

Japan Foundation17 Old Park LaneLondon W1Y3LGTel: 01714994726Fax: 0171 4951133

http://www.jpf.go.jp/

Open Society Institute400 West 59th Street,4th Floor New York, NY 10019USATel: (212) 548 0657Fax: (212)5484647

http://www.soros.org/sdf

Program Co-ordinator:Kyoko Inouye

Program Director: DianeWeyermann

Channel Four/MOMI Animators Residencies

This highly successful scheme invites recent animation graduates to applyfor one of four annual residencies at the Museum. Winners will be awardeda fee of 2,910 and a budget of up to 1,612 and will receive a three-month residency. At the end of the residencies, development projects will

be considered by Channel Four for commissioning. The annual deadlineis in August.

Japan Foundation Film Production Support Program

Film Production Support Program provides nancial support for the pro-duction of lms, TV programmes and other audio-visual materi-als thatserve to further an understanding of Japan and Japanese culture abroad.Individuals or organisations with proven experience of lm making areeligible to apply. Films and programmes can be in English but shouldhandle a Japanese subject. Assistance will usually take the form of sub-

sidies for production costs, up to a maximum of 5 million (approximately25,000) or halt of production costs, whichever is the lower. Grants arepaid retrospectively.

Soros Documentary Fund

The Soros Documentary Fund supports international documentary lmsand videos on current, signicant issues in human rights, freedom of expression, social justice and civil liberties. Priority is given to projectsaddressing contemporary issues. Individuals from around the worldmay apply. Two project levels are considered: seed funds and produc-tion/post-production funds. Seed funds are available for lm makers withprojects in the development or research phase and grant awards rangefrom $10,000 to $15,000. Production/post-production funds are availablefor projects already in production. A work in progress sample is requiredfor consideration in this category and grant awards range up to $50,000.Applications are accepted on an on-going basis there are no deadlines.Initial review of applications takes four to six weeks. Final decisions aremade by an advisory board on a quarterly basis. The Soros DocumentaryFund is highly competitive.

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Arts Council of EnglandVisual Arts Department14 Great Peter StreetLondon W1P3NQTel: 0171 9736410Fax: 0171 9736581E-mail:[email protected]

Website:www. artscouncil.org.uk

Visual Arts Ofcer (Artists Film and Video):Gary Thomas

National Disability Film andVideo ProjectWest Midlands DisabilityArts ForumUnit 007,The Custard FactoryGibb StreetDigbethBirmingham B9 4AATel: 0121 2422248Fax: 0121 2422268

Co-ordinator: Zoe Partington

ENGLAND

Arts Council of England

ACE is reviewing the way it works and from 2000/2001 project funding,including production funding for individual artists, will be the responsibil-ity of the RABs (or MDAs). The Visual Arts department will continue towork with national agencies for artists lm and video and there may beopportunities for commissioning. For the latest information, send an SAEmarked Artists Film and Video.

Artists Film and Video Production AwardsOffers support of up to 15,000 to individual artists for production. Dead-line in October 1999.

Animate!A collaboration with Channel Four to commission innovative and ex-perimental animation for television from individual animators and artists(including those living in Northern Ireland, Scotland and Wales). The nextdeadline is expected to be in Winter 1999/2000. For further informaiionsend an SAE marked Animate!.For ACE Lottery Department, se? lalional Lottery

National Disability Film and Video Project (NDFVP)

Funded by ACE the NDFVP supports the production of lm, video anddigital media projects by disabled people. Proposals should deal witharts subjects and/or issues arising from the activities of disabled people.

Projects ranging through documentary, mixed-genre pieces and experi-mental lm, video or digital art are all eligible. Applications will be judgedon the basis of creativity and originality, artistic and technical strengthof the applicants previous work, the likelihood that the project can berealised within the budget and schedule and that the completed work willgain an audience. Awards are available for research and development (upto 2,000) and production (up to 19,000). Two production awards areavailable for projects of up to ten minutes with budgets of up to 25,000,the balance of funding to be obtained from other sources.

NDFVP will not fund feature lms, drama projects, community or educa-tion projects, recordings of events or live performances or lm and videointended for use as a part of a live performance. Students are not eligible.

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Cultural Diversity ProgrammeCommunity RelationsCounci l6 Murray StreetBelfast BT1 6DNTel: 01232 439953Fax: 01232 235208Project Ofcer:Joannne Murphy

Northern Ireland FilmCommission21 Ormeau AvenueBelfast BT2 8HDTel: 01232 232444Fax: 01232 239918Email: [email protected]

Website: www nifc.co.uk

Chief Executive:Richard Taylor

Head of Locations andInformation: Andrew Reid

Northern Visions MediaCentre4 Lower Donegal Street PlaceBelfast BT1 2FNTel: 01232 245495Fax: 01232 326608

see following page for contacts)

Media Grant Scheme

The Cultural Diversity Programme supports professional independenttelevision/lm projects which can contribute to a better understanding of cultural diversity and community issues within Northern Ireland. Althoughcinema projects are not ruled out, the Group is primarily interested inreaching the television audience within Northern Ireland. Projects sup-ported vary from year to year. In 1996 the scheme supported a CD ROMproject and a series of animated short lms. In 1998-99 the Media GrantsScheme was dedicated to the support of programmes for television for three-to-seven-year-olds which challenge sectarianism and addressdiversity

Northern Ireland Film Development Fund

The Northern Ireland Film Development Fund (NIFDF) offers loans toproduction companies for the development of feature lms or televisiondrama series or serials that are intended to be produced pri-marily inNorthern Ireland. The subject matter does not have to be related to North-ern Ireland but the maximum exposure on screen of Northern Irelandlocations in any eventual production will be an Important consideration.The producer should be able to demon-strate a signicant track record infeature lm or television drama production and must have obtained - or be able to obtain - a minimum two-year option on the underlying rights tothe project to be developed. NIFDF offers interest-free loans of up to 50%of the cost of developing projects. Loans are unlikely to exceed 40,000

for a television drama series or serial or 15,000 for a single feature lm.In many cases loans will be for less than these sums. Loans are repay-able if projects go into production.

The NIFC also runs a short lm scheme which over the past three yearshas promoted 15 short lms.

Belfast Community Video Awards

Four documentary awards are made annually of 3,000 plus free use of digital camcorders and non-linear editing equipment up to the value of 3,000. The Awards are themed and guidelines are available each year,for an autumn deadline. Eligibility is restricted to those living in the BelfastCity Council area. Applicants may submit only one proposal and musthave been resident in Northern Ireland for the past ve years. Full-timestudents are ineligible.

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E-mail:[email protected]

Website:http://www. northernvisions.org

Contact: Marilyn Hyndman

SCOTLAND

Glasgow Film Fund

249 West George StreetGlasgow G2 4RB Tel: 01413021757 Fax: 0141 3021714Contact: Judy Anderson

Scottish Screen249 West George StreetGlasgow G2 4RBTel: 0141 302 1700Fax: 0141 302 1711Email: [email protected]

Website: http://www.scottish-screen.com

Information Ofcer:Isabella Edgar

Community/Individual Equipment SubsidySubsidies are available for the use of Northern Visions equipment for video projects that have received partial funding, sponsorship or nancialsupport from other agencies. Each application is assessed on its ownmerit. There are no restrictions regarding age, genre, format or language.Northern Visions will conside, applications for this scheme on a 32

country basis provided the video is shot in Northern Ireland and providesbenets to Northern Irish crew/trainees. The scheme is not normally opento full-time students for any projects that are part of course work. Applica-tions are not normally considered when one of the funders of a project isa television broadcaster. This is a rolling scheme with no single deadline,

The Glasgow Film Pund

The Glasgow Film Fund (GFF) provides production funding for companiesmaking lms in the Glasgow area or produced by Glasgow-based produc-tion companies. Applications are accepted for lms intended for theatri-cal release, with budgets of at least 500,000 The maximum investmentmade by the GFF in any one project is normally 150.000, However,where there is an exceptionally high level of local economic benet theOFF may consider raising its max-imum investment to 250.000.Production credits include Shallow Grave, Smalt Faces, Carlas Song,Regeneration. Orphans, My Name is Joe, The Acid House and The DebtCollector.

Scottish Screen

Scottish Screen is responsible for developing all aspects of screenindustry and culture in Scotland through script and company develop-ment, short lm production, distribution of National Lottery lm productionnance, training and the Film Commission location sup-port service,

Scottish Screen ProductionScottish Screen currently works on four short lm production schemes inpartnership with other bodies. It is also in the process of developing ananimation production scheme.

CineworksCineworks is a joint initiative with Glasgow Film and Video Workshop andEdinburgh Film and Video Access Centre with nancial support from theNational Lottery to develop the skills of aspiring lm and video makers inScotland, giving them early opportunities to make innovative and interest-ing work.

Tartan ShortsTartan Shorts is a joint initiative with BBC Scotland and is also sup-portedby the Scottish Arts Council (SAC) National Lottery Fund. The schemehas been running for seven years and creates opportunities for Scotlandslm making talent to produce cinematic short iilms. Each year, three

projects are awarded up to a maximum of 60,000 to produce a 35mm

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New Found Land

New Found Land (working title) Is a collaboration with the Scottish MediaGroup and the SAC National Lottery to enable new lm makers to work onlonger form drama. Six half-hour projects will be commissioned with budg-ets of approximately 45,000.

A new Gaelic-language short lm scheme, to be supported by the ComataidhCraolaidh Gaidhlig, is currently being nalised.

Scottish Screen Development

Main Development AwardsIn the rst instance Scottish Screen can make single awards of up to 20,000per project. These are primarily targeted at script development Further sup-port is possible and would be targeted at producer support for the creativeand nancial packaging of proj-ects. Up to an additional 20,000 can be

offered as second stage investment. Main Development Awards are onlyavailable to bona de production companies and clarity has to be providedas to the chain of underlying rights to each project. Decisions are taken byScottish Screens Development Panel which meets ve times a year.

Interim AwardsBetween Development Panel meetings small discretionary awards up to5,000 can be made against stated criteria.

Writers AwardsUp to 5,000 can be allocated for Writers Awards. Writers can applydirectly and there is no need to apply with a producer or through aproduction company.


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WALES

SgrnThe Bank10 Mount Stuart SquareCardiff BayCardiff CF105EETel: 01222 333300Fax: 01222 333320E-mail: [email protected]. uk

Website: http://www.sgnn-wales.demon.co.uk

Head of Production:Pauline LarkkomDirect Line: 01222 333311

Production Co-ordinator:Gaynor Messer PriceDirect Line: 01222 333307

Sgrn

Sgrn is responsible tor the development and implementation of aco-ordinated strategy for lm, television and new media in Wales.

Animate It!A Sgrn/S4C initiative to produce short lms by new animators, offeringpractical guidance by linking them with animation studios. Three lms of ve to ten minutes are commissioned annually.

Big Little PicturesA Sgrn/HTV Wales initiative to provide a stepping stone between shortsand features for writer/director/producer teams by supporting the produc-tion of 30 minute lms. Three are commissioned each year.

DM Davies AwardSgrn is one of the sponsors of this award, presented annually at theWales International Film Festival for the best short lm in a competitionfor new lm makers. The award is worth 30,000 and is organised by theFestival.

RarebitsA Sgrn/BBC Wales initiaitve to produce three 10 minute dramas. Thecompleted lms will be screened theatrically prior to TV broadcast.

The Celtic Development FundA new initiative for the development of television co-productions betweenthe INTERREG areas of Wales and Ireland. Projects can include one-off dramas, drama series, animation, documentaries and light entertainment.News, talk shows and promotional projects are not eligible. Companiesand individuals based outside the INTERREG areas can apply in col-laboration with companies within the qualifying zones. Grants will be up to20,000 or 75% of the projects development budget.

The Lottery and Film in Wales

Sgrn is responsible for assessing development and production appli-cations for feature and short lms on behalf of the Arts Council of WalesLottery Board. It also gives advice to potential applicants.

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Arts Council of EnglandLottery lm Department14 Great Peter StreetLondon SW1P 3NQTel: 0171 3120123Fax: 0171 9736571

Director of Lottery Film:Carolyn Lambert

National Lottery Funding for Films

Future DevelopmentsIf is anticipated that the ACE Lottery Film Department will be incorporatedinto the new Film Council by April 2000 at the latest. It is expected thatthe Film Council will build on the strengths of the Lottery Film Depart-

ments past activities in supporting short and feature lms. In the interim,the following schemes will continue to operate.

Film Production for CinemaFunding is available for lm production companies ordinarily based inEngland, proposing to produce lms which qualify as British under theterms of the 1985 Films Act and which are intended for cinema releasein the UK. ACE will not be the sole nancier and will expect a substantialportion of production funding to have been raised already. In most cases,ACEs contribution will be within the range of 10%-50% of total costs,although in exceptional circumstances applications will be considered for

75% Lottery funding for projects with a budget of under 750,000. Match-ing funding may come from almost any source, including: broadcasters;national funding bodies such as British Screen Finance; RABs; equityinvestors; lm distribution companies in the UK or abroad; Europeanschemes. Successful applicants will need to provide a clear and com-prehensive plan for completing the production on schedule and withinbudget. Each project is assessed in terms of creative quality and ACEarranges for the professional evaluation of each script, taking into ac-count originality, cinematic style and innovation. Lottery funding is avail-able for large and small organisations which may be constituted as limitedcompanies, public or voluntary bodies or legally constituted partnerships.Full-time students and other individual lm makers are not eligible.

Short Films for the CinemaFunding is also available for the production of short lms for the cinemawith the same qualifying criteria as for feature lms. In particular, ap-plicants must demonstrate that the lm will be seen in cinemas. Applica-tions should include an indication of which exhibitors, distributors andsales agents have been approached and copies of any letters of intent or interest. ACE does not necessarily anticipate a wide theatrical release butdoes expect short lms to be capable of a signicant cinematic life. Thiscould, for example, take the form of a tour to a network of cinemas or arun of three weeks or more accompanying a feature lm in a single cine-ma. Wider exhibition and works entering into formal distribution arrange-

ments are particularly encouraged. Single screenings at festivals do notconstitute adequate public exhibitior. ACE is unable to fund the distribu-tion costs of short lms but applicants may include the cost of up to threetheatrical prints in the production budget.

Lottery funding is not available for lms solely intended for broadcast ontelevision. ACE will ordinarily insist that short lms are not broadcast for one year from the date of delivery. In exceptional circumstances, where alm has exceeded the expectations for theatrical release, ACE may waivethe nal six months of the theatrical window.

Discounts which, in the opinion of ACE, are above the Industry norm areeligible for consideration as partnership funding. Up to 10% or 3,000 of the partnership funding (whichever is greater) may consist of waived feesor exceptional discounts.

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Artists Film and VideoFunding is available to producers, exhibitors and other commissioners of new work by artists. These may be limited companies, public or voluntarybodies or legally constituted partnerships. All moving image projects byartists of any nationality intended tor exhibition in galleries, cinemas or other public spaces in England are eligible. This includes single or multi-

screen works including digitally generated and interactive pieces. Pro-posals may be for single commissions or for a group of works. Projectsmade exclusively for television or release through home video are noteligible. Projects which require all the expenditure on production to bemade wholly or mainly outside England are not eligible. Applications mayinclude the cost of installation and of renting or purchasing capital equip-ment required for the project. Such costs may amount to 20% of Lotteryfunding. Applications can also include the cost of touring as well as pub-lishing epilogues, brochures and other contextualising material.

In most cases ACEs Lottery contribution will be within the range of 10%-50% of total costs. In exceptional circumstances, for projects requiringLottery funding of 150,000 or less, you may apply for up to 75% of Lot-tery funding: you will need to explain why the project merits a higher-than-normal level of support. Partnership funding may come from almost anysource. Funding from other Lottery distributors cannot count as partner-ship funding. You do not have to have all the partnership funding in placeat the time of application but ACE will not provide any funding until allproject nance is in place. Successful applicants will need to provide aclear and comprehensive plan for completing the production on scheduleand within budget. Installations and similar works will be expected to beexhibited for at least six weeks; single screen works will be expected totour at least ve venues in England.

Students and other individuals are not eligible.

Film Production FranchisesACE announced the awarding of three feature lm production franchisesin May 1997. All are required to consider proposals from independentproducers. For further information, please contact the franchisees indi-vidually.

DNA Films

DNA Films intends to make three lms per year. Each lms budget will beup to 4 million and will be fully funded by DNA Films. Development fund-

ing is also available.

DNA will award development/production funding on the basis of the treat-ment/script. All the lms will be British and there are no genre restrictions.Projects are not required to have a director or producer attached. Projectsmust demonstrate commercial potential.

Treatments or screenplays are only accepted from agents, producers or production companies.

DNA Films30 Oval RoadCamden TownLondon NW1 7DETei:0171 4854411Fax: 0171 4854422

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The Film Consortium

Formed by a group of independent production companies (GreenpointFilms, Parallax Films, Scala Productions, Skreba Films) and VirginCinemas Group, The Film Consortium (TFC) aims to make four to vefeatures a year with budgets in the range of 1.5 - 6 million. It intends

to produce high quality, popular British lms, and has a commitment toencourage the development of new writers, producers and directors. TFCwill accept proposals from production companies for feature lm projectsseeking either development or production funding. Experienced produc-ers will be expected to have already raised at least a third of the matchingfunding required by ACE. New producers (those who have not previouslyproduced a feature lm) do not have to have nance attached to theproject but will have to meet quality criteria and be able to demonstratethe nancial viability of the project. All scripts and treatments will be read.Applications from writers or writer/director learns without a productioncompany already on board cannot be considered, neither will short lm or television projects. Detailed guidelines are available from TFC.

Pathe Pictures

The largest of the franchises, Pathe intends to make ve to six lms ayear with an average budget of 2 million to 7 million. Although it has nopublicised policy in this area, submissions to the Lottery include projectsby established and new talent.

National Lottery Fund - Film Finance Programme

Applications will be accepted for lm and video development and pro-duction. Film in this context Includes all genres, formats and lengths of lm and video production to be made in Northern Ireland, with particular emphasis on encouraging indigenous writers, directors, producers andproduction companies and to applicants who make a signicant commit-ment to production and spend in Northern Ireland. All genres and subjectmatter are welcomed, including single feature lms, drama series, shorts,experimental, documentary and animation. The Arts Council of NorthernIreland (ACNI) is advised by the Northern Ireland Film Commission andothers in assessing lm applications,

Lottery funding is available for lm production companies whose princi-

pals live, work and are resident in Northern Ireland for tax purposes andfor companies elsewhere in the UK intending to produce a lm in North-ern Ireland. ACNI will not be the sole nancier of any project. Funding isnot available for completion.

The projects will be assessed primarily against the contribution they arelikely to make to a vibrant and successful Northern Irish lm industry, tothe development of local talent, and towards reaching the widest possiblenational and international audiences. All projects must meet the ACNIcriteria, which include that projects must be for the public good, be nan-cially viable and high in quality.

In most cases ACNIs contribution to a production budget will be withinthe range of 10%-50% of total costs. It is unlikely that ACNI will normallycontribute more than 200,000 to any one production and in many casesthe gure will be considerably lower. The maximum amount available for

The Film Consortium6 Flitcroft StreetLondon WC2H 8DJTel: 0171 691 4440Fax:0171 691 4445

Head of Production andDevelopment: Colin Vanes

Pathe PicturesKent HouseMarket PlaceLondon W1N8ARTel: 0171 3235151Fax: 0171 631 3568

Contact: Andrea Calderwood

Arts Council of Northern IrelandLottery DepartmentMacNeice House77 Malone RoadBelfast BT9 6AQTel: 0-1232 667000Fax: 01232 664766

Lottery Director:Tanya Greeneld

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the development of one project is 20,000, or 75% of the total develop-ment costs, whichever is lower. Applications for sums of less than 2,000are unlikely to be considered. Individual lm makers and students are noteligible.

Specic distribution and low budget categories will be introduced together

with a two-phase application process for feature lms under ACNIs newStrategy tor the Distribution of National Lottery Arts Funding in NorthernIreland.

Film Production Scheme

The aim of the Film Production Scheme is to enhance the quality rangeand number of Scottish lms made. There are no limits on the kind or length of lms which are supported. Community projects can be sup-ported if they involve suitably experienced lm makers. Priority in theselection process is given to lms which are either by Scottish-based lm

makers (dened as those who live, work and are resident in Scotland for tax purposes) or have relevance to or directly benet Scotland. The inten-tion of the scheme is that in most cases both applicant and project will bebased in Scotland. However international co-productions (which in thiscase includes the rest of the UK) are eligible provided they involve a Scot-tish lm maker and/or have relevance to or directly benet Scotland.

All proposals must show creativity and originality and have a realisticdistribution/marketing plan. Whilst the Scottish Arts Council (SAC)encourages collaboration with terrestrial or satellite broadcasters, supportfor television programmes per se is not available. Each project must beable to show that it has distribution possibilities beyond terrestrial, satel-lite or cable television. In the case of productions which are intended torealise a prot, the probability of them doing so is a criterion.

As a general guide no more than 75% of the costs of any production willbe provided from Lottery funds. Applications are currently accepted for awards of between 5,000 and 500,000. Awards for up to 25,000 areconsidered by the Directors Committee which meets monthly and for over 25,000 by the Film Production Committee which meets quarterly.

Film Exploitation Fund

This is to help Scottish lms nd an audience. The scheme will prioritisethe promotion of shorts, documentaries and the back catalogue of SAC

Lottery-funded lms, helping them to nd appropriate markets and audi-ences. Awards are up to 25,000. Applications are accepted on a rollingbasis.

Film Project Preparation Scheme

This is intended to provide further support for lm makers lling the gapbetween the existing Scottish Screen Development Scheme and theSAC Film Production Scheme. Awards will be from 5,000 - 50,000 for feature lms, documentaries and animation. The scheme is open to ap-plications from companies to assist develop-ment where the script is at anadvanced stage and can include fees, research, travel and preparation of

budgets and nance plans. There will be four deadlines each year.

Scottish Arts CouncilLottery Department12 Manor PlaceEdinburgh EH3 7DDTel: 0131 2266051Fax: 0131 4777240Help Desk: 0131 243 2443/2444,Email:

[email protected]:http://www.sac.org.uk

Lottery Director:David Bonnar

Senior Film Ofcer:Jenny Attala

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Film Producer Preparation Scheme

The partners in the scheme are Scottish Screen and Scottish Enterpriseand it is intended for companies wishing to develop a slate of projects.Awards of up to 50,000 will be available during 1999.

Future Developments

It is anticipated that a Low Budget Feature Film Scheme will be intro-duced during 1999 with an announcement expected at the Edinburghinternational Film Festival in August. It is also probable that responsibilityfor Lottery lm production funding in Scotland will transfer from SAC toScottish Screen at some point during 1999/2000. It Is not likely that thiswill lead to any immediate changes in policy or strategy.

Film Production

Lottery funding for lm production in Wales is intended to increase theoverall level of lm production in both Welsh and English; contribute tothe growth of a national lm industry reecting Wales society andculture; enhance public access to a wide range of lms which reectWales diverse cultural heritage and promote a vivid and contemporarycultural identity; increase the range of investment opportunities and thevariety of genres in which investment may be encouraged; and spreadthe burden of risk for investors by the provision of secure nancial supportand so attract a greater range of new investors into the industry. Sgrin,the media agency for Wales, is responsible for assessing developmentand production applications for feature and short lms on behalf of ACW.

Lottery funds will assist in the production of lms in association with rec-ognised partners. The Arts Council of Wales will not be the sole nancier.Lottery funding Is available for large and small lm production companiesordinarily resident in Wales (i.e. owned and run by people who live, workand are resident in Wales for tax purposes) proposing to produce a lmwhich qualies as British under the terms of the 1985 Films Act and whichis intended for cinema release and/or other means of widespread distri-bution in Wales, within the UK and, where appropriate, internationally.Exceptions to the residency requirement may be made where the major part of the creative input is by Welsh artists and the production makessignicant use of resources and talent indigenous to Wales. All genresand subject matter are welcome, including shorts, documentary lms andanimation. Script development funding will be available on a loan basis.

Loans will be repayable on the rst day of principal photography on thesubsequent production. The following three broad criteria apply to bothproduction grants and script development loans: benet to the public inWales, nancial viability, and partnership funding. Full-time students andindividual lm makers are not eligible.

Arts Council of WalesLottery Unit9 Museum PlaceCard Iff CF103NXTel: 01222 376500Fax: 01222 395284Email:[email protected]

Website:http://www.ccc.acw.org.uk

Lottery Director:Robert Edge

Contact: Anneli Jones

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Croydon Film and Video Awards

Three awards of approximately 1,300 are available for lms of up to tenminutes. The scheme has a strong training component, with applicantsinvited to apply for writing, directing or producing places. Producer/director teams are formed and select scripts written by the writers on the scheme.It is jointly funded by Croydon Borough Council and LFVDA.First time or experienced lm makers who live, work or study in Croydonare eligible. Full-time students of lm making are ineligible.

Eastern Arts BoardRegional Arts Lottery Programme

The regional delegated Arts Lottery Programme includes support for lmand video production and development projects, artists lm and video andmultimedia projects Involvinc: artists working in a range of contexts.From Autumn 1999, EAB specialist lm and video production, scrlptwrit-ing. co-commissioning funding and development services will be deliveredthrough rst take lms

rst take lmsrst take lms is a partnership between EAB and Anglia Television. itsprincipal function is to facilitate, encourage and promote the creative artsof lm, video and moving image in the East of England

First TakeThe First Take series is Anglia TVS annual showcase for up-and-coming

new directors. Submissions are usually accepted in February.

East of England Regional Production FundTo be launched in Autumn 1999, this fund seeks to assist innovative prac-tice and creative experimentation in a range of genres, styles and formats.It offers seed funding for the realisation, devel-opment and production of one-off moving image projects. It will concentrate on three areas: scriptreading and development services, development bursaries and productiondevelopment awards.

rst take also runs the EAB Write Lines script reading service and devel-opment programme. Other recent projects include a series of short ctionsmade with Anglia, EAB and British Screen and documentary commissionsfor Channel Four.

ENGLISH REGIONS

Croydon Film and Video AwardsCroydon Clocktower ArtsKatherine StreetCroydon CR9 1ETTel: 0181 7605400E-mail: [email protected] Ofcer: Mark Wilcox

Eastern Arts BoardCherry Hinton HallCherry Hinton RoadCambridge CB1 8DWTel: 01223 215355Fax: 01223 248075E-mail:[email protected]

Website:http.//www.arts.org.uk

Cinema and Broadcasting Ofcer:Martin Ayres

Media Assistant: Helen Dixon

Offers funding to people resident inthe counties of Bedfordshire. Cam-

bridgeshire, Essex, Hertfordshire,Norfolk and Suffolk, and the unitaryauthorities of Luton, Peterborough,Rochford and Thurrock

rst take lmsAnglia TelevisionAnglia HouseNorwich,Norfolk NR1 3JGTel: 01603 615151Fax: 01603 767191Email:

[email protected]

Chief Executive and SeriesProducer: Caroline Norbury

Administrator:Annette Culverhouse

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East Midlands Arts BoardMountelds HouseEpinal WayLoughboroughLeicestershireLEU OQETel: 01509 218292Fax:015092622-i4E-mail:[email protected]

Website:http://www.arts.org.uk

Film, Digital Arts and Broadcast-ing Ofcer: Annette Sotheran

Offers funding to peopleresident in Derbyshire(excluding High Peak),Leicestershire, Lincolnshire,NortnamptonshireNottinghamshire and Rutland.

East Midlands Media Initiativec/oIntermedia Film and Video

19 Heathcote StreetNottingham NG1 3AFTel: 0115 955 6909Fax: 0115 955 9956

Media DevelopmentConsultant: Peter Carlton

East Midlands Arts Board

New Work and Commissions SchemeAimed at establishing and maintaining an independent production econ-omy delivering innovative, culturally diverse product to a high standardcapable of interacting in the audio-visual culture as a whole. The scheme

includes:

Script Development Awards of up to 500 to assist with the develop-ment of scripts to a stage where projects may attract further devel-opmentfunds or production funding.

Materials Awards of up to 1,500 for materials in support of new andinnovative projects, including equipment hire, lm/video stock and labora-tory costs.

Completion Awards of up to 1,500 to cover costs of lm prints, videoon-lines, duplication and clearance fees where theatrical or broadcastdistribution is intended.

Screen Test , a script appraisal service for short scripts.

Co-Production Challenge Awards of up to 15,000 for short lms for cinema release.

First Cut broadcast initiative with Central Television for short projectsoffering funding of up to 10 000.

East Midlands Media Initiative (EMMI) Development

Applications for awards of between 1,000 and 10,000 may be made.Films for cinema of any length or type, television, artists lm and videoor multimedia works are all eligible. Applications may be from individuallm makers, artists, writers or production companies. Applicants shouldnormally be living or working in the East Midlands or will need to show aconsiderable potential production spend in the region.

Co-ProductionApplications can be made for co-nancing one-off productions of factual,drama and experimental work for television or theatrical release. EMMIwill consider making investments of up to 25% of the total budget to amaximum of 100,000. Following on from 1998s short drama scheme,

The Deal, EMMI will again be running co-production schemes with other funders, including short lms with East Midlands Arts.

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London Film and VideoDevelopment Agency114 Whiteld StreetLondonW1P5RWTel: 0171 3837755Fax: 0171 3837745Email:[email protected]

Chief Executive:Gill Henderson

Contact: Maggie Ellis

Offers funding to people residentin the 32 boroughs and City of London.

Media Arts - cre8Town Hall StudiosRegent CircusSwindon SN1 1QFTel: 01793 463226Fax: 01793 463223Contact: Steve Chapman

London Film and Video Development Agency (LFVDA)

London Production FundThe London Production Fund (LPF) is supported by Carlton Television andChannel Four for the production of independent lm and video projects.LPF is interested in supporting as diverse a range of lm and video as

possible, from experimental work to narrative ctions and documentaries,as well as welcoming projects which cut across these categories. Onlylm and video makers living or working in London may apply. Full-timestudents are not eligible. Applications for production funding are invited inthe spring of each year, and for development and completion funding inthe summer. No retrospective awards will be made. 180,000 is availableannually in the following categories:

Development AwardsSupport of up to 3,000 to assist development of scripts, story-boards,project packages.

Production AwardsSupport of up to 15,000 for production or part-production costs. Featurelms are not eligible.

Completion AwardsSupport of up to 15,000. Completion awards are designed to fundprojects already underway, not complete funding packages for projects indevelopment.

The LPF occasionally produces artists lm and video programmes for television.

First Stop Media Production Awards

The scheme exists to encourage new and creative projects, particularlythe work of rst-time lm or video makers. First Stop is open to all who liveand work in the Swindon area and people from other areas who would liketo involve local people or whose project can benet Swindon. Funding isnot available for student or commercial productions.

Grants are available of up to 3,000 in equipment hire credits and 500cash towards production expenses. The scheme may also be able to helpwith script development, budgeting, production management, crewing,casting and technical training.

First Stop ExpressThe First Stop Express scheme operates in the same way as First StopMedia Production Awards. It is aimed at rst-time lm makers and groupswho want to do simple, small-scale projects.

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MIDA(Moving Image DevelopmentAgency)109 Mount PleasantLiverpool L3 5TFTel: 0151 7089858Fax. 0151 7089859E-mail:[email protected]

Director: Poonam Sharma

Production Executive: PaulaCuddy

Northern Arts Board9-10 Osborns TerraceJesmondNewcastle-upon-TyneNE2 1NZTel and Minicom: 0191 2816334Fax: 0191 281 3276Voice Mail: 0191 281 2866

E-mail:[email protected]

Head of Film, Media andLiterature: Janice Campbell

Administrator:Stella Carmichael

Offers funding to people residentin Cumbria Durham,Northumberland, Teesside andTyne and Wear.

MIDA

MIDA Is primarily a funding organisation, which enables productionthrough the management and distribution of production funds. MIDA man-ages public funds, working in partnership with organisations such as NorthWest Arts Board, British Screen, Granada, BBC and Channel Four.

Merseyside Film Production FundOffers top-up nance to producers intending to produce feature lms inthe Merseyside area. Producers based in the area and outside produc-ers wishing to lm in the area are eligible to apply for fully-developed lmprojects of at least 60 minutes duration with production budgets of at least500,000. Terms of investment will be negotiated individually.

North West Film and Video Production FundAn initiative of North West Arts Board, managed by MIDA. The Fund sup-ports short lm, creative documentaries, animation, artists lm and videoand multimedia. See also the entry for North West Arts Board.

Northern Arts Board

Northern Production FundThe aim of the Northern Production Fund (NPF) is to support the produc-tion of short and long form drama for lm, television, animation, creativedocumentaries, and all forms of experimental lm making, including workfor gallery exhibition. The foremost concern is for the quality of the produc-tion. NPF seeks to support productions that are Imaginative, innovative,thoughtful, courageous and powerful. NPF normally holds three meetingseach year to consider applications under all categories: company supportapplications are normally considered once a year. NPF occasionally offersfunding to lm makers originally from the region but now based elsewhere,seeking to make lms within the region.

Feature Film ProductionSupport of up to 50,000 is available for its production of feature lmprojects by limited companies formally registered in the North East Objec-tive 2 area. Applicants must demonstrate measurable economic benetsin terms of production spend, job creation, use of facilities and services.Out-of-region applicants must register a company in the Objective 2 areaprior to application and demonstrate that they will spend a minimum of sixtimes the grant awarded in the designated area.

Production

Support of up to 30,000 for production or part-production costs or com-pletion costs.

DevelopmentSupport of up to 5,000 to assist development of scripts, story-boards, fulltreatments, pilot production and so on. This includes research and devel-opment for feature lm, short drama, animation, documentary projects andinnovative television drama.

Feature Film DevelopmentsA maximum of 10,000 for feature lm development will be available eachyear. These awards will normally be made to Northern region productioncompanies, working with an established writer, which are able to dem-onstrate their ability to match the Northern Arts contribution. Partnershipfunding may include the cost of feature lm development expertise and/or the contribution of another funding partner.

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Company SupportSupport for bona de companies based in the Northern region is availableto assist in the development of a programme of work.

Co-funding and Broadcaster Partnership SchemesNPF implements and co-funds many projects, initiatives and schemes

for the benet of writers, producers and directors in the region, workingacross a range of forms and genres. To this end, MPF works with a vari-ety of organisations including broadcasters. For details of projects whichwill operate in 1999/2000, please con-tact the Administrator

North West Arts Board

The North West Film and Video Production FundThis fund supports lm, video and television broadcast and coversprojects at development, production and completion stages. The fundcovers short ction, creative documentary and animation. This fund ismanaged on behalf of NWAB by MIDA (see above) to whom initial

enquiries should be made,Artists Film and Video Production FundThis new fund will be established in 1999/2000 to support artists workingin lm, video and digital media. This will be administered by NWAB andwill prioritise work which has a clear exhibition/distri-bution strategy.Artists, galleries, vcilues and promoters will be eligible to apply. Research,development and production costs will be supported through this scheme.

SHIFT

This scheme supports research and experimentation with new tech-nologies to develop new creative work from all disciplines. The schemeprioritises projects which demonstrate a clear, innova-tive relationshipbetween creative content, the medium used and the context for presenta-tion and distribution. It also prioritises projects which use new technologyto develop new audiences for arts activity.

Southern Arts Board

Film and Video Production FundGrant aid is available to directors, producer/director and writer/director teams for ail genres of lm and video making, including drama, documen-tary, animation, experimental or any combination of these. All applicantsmust submit fully scripted/story-boarded proposals and a show reel of previous work. Applicants may also apply for completion funding for lmand video projects already in production. The nished work should havea running time of no more than 15 minutes. Co-production funding isstrongly encouraged.

David Altshul AwardA competitive award for creative achievement in lm and video productionavailable to those who live or work in the region including students. An-nual prize money of 1,000.

North West Arts BoardManchester House22 Bridge StreetManchester M3 3ABTel: 0161 8346644Fax:0161 8346969i\/linicom:0161 8349131

Email:[email protected]

Website:http://wwwarts.org.uk/

Graphic House Duke Street

Liverpool L1 4JRTel: 0151 709 0671Fax: 0151 708 9034Director. Visual & Media Arts:Howard R if kin

Administrator Media:Sherry de Wynter

Offers funding to people residentin Cheshire, Greater Manchester,High Peak District of Derbyshire,Lancashire and Merseyside

Southern Arts Board13 St Clement StreetWinchester, HampshireS023 9DQTel: 01962 855099Fax: 01962 861186E-mail: [email protected]:http.//www. arts.org.uk

Film, Video and Broadcasting Of-cer: Jane Gerson

Offers funding to people residentin Berkshire, Buckinghamshire,Hampshire, Isle of Wight and southeast Dorset.

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South East Arts BoardThird Floor Union HouseEridge RoadTunbridge WellsKentTN48HFTel: 01892 515210

Fax;01892 549383E-mail:[email protected]

Website:http://www.poptel.org.uk.arls/

Media Ofcer: Tim Cornish

Production DevelopmentManager Lighthouse Media Centre9 -12 Middle Street

Brighton BN1 1ALTel: 01273 384222E-mail:cfreeman lighthouse.org. uk

Production DevelopmentManager: Caroline Freeman

Offers funding to people residentin East Sussex, Kent. Surrey andWest Sussex.

First CutA broadcast scheme with Central Television to support lm makers new totelevision, to make short lms for broadcast. The scheme is open to thoseliving in Oxfordshire and Wiltshire.

Taped Up

A broadcast scheme with Meridian Broadcasting to support lm makersnew to television to make short lms for broadcast. Open to all applicantsliving in Hampshire, Berkshire, the Isle of Wight, Wiltshire and south eastDorset.

South East Arts Board

Production FundOffers grants of up to 10,000 for full or part-funding of lms or videos for more experienced lm makers: the more usual level of grant is around5,000, Grants of up to 1,000 are also available to those with little or no

production experience. The total amount of funding available in 1999/2000is 28,000, with 2,000 earmarked for beginners. There is one deadlinefor main production grants (in September for 1999) and two deadlines for production grants for beginners (usually in March and January).

Production SupportThe Production Development Manager offers advice, support and produc-tion management to those interested in creative production in lm, videoor digital arts in the South East. The post-holder is normally available fromMonday to Wednesday.

Lighthouse in Brighton has been awarded a substantial lottery grant 10purchase the freehold of the Media Centre. A proportion of the iiicomederived from this will be used to launch a new production fund. This fundis unlikely to come Into full operation until April 2000 and is likely to be at alevel of about 50,000.

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South West MediaDevelopment Agency59 Prince StreetBristol BS1 4HQTel: 0117 9273226Fax: 0117 9226216E-mail:[email protected]

Website:http://www,swmedi-adevagency.co.uk

Administrator:Sarah-Jane Meredith

Offers funding to people resident inCornwall. Devon, Somerset, Bris-tol, Bath and North East Somerset,North Somerset, SouthGloucestershire and all of Dorsetexcept Christchurch, Bournemouthand Poole.

Wandsworth Film and VideoMaking AwardWandsworth Arts Ofce Room224a, Town HallWandsworth High StreetLondon SW182PUTel: 0181 871 7380Fax: 0181 871 8712

Principal Arts Ofcer:Charlie Catling

West Midlands Arts Board82 Granville StreetBirmingham B1 2LHTel: 0121 631 3121Fax: 0121 6437239Email: [email protected]

Media Ofcer, Film andVideo: vacantAssistant Ofcer - Media:Abigail ClementsEmail: abigail.elements west-midlan

Documents

The Low Budget Funding Guide