HOW FILMTO SET FESTIVAL UP A

HowtosetupaFilm Festival How to set How to Set Up a Film Festival has been written in response to the increasing number of film festivals being set up in the UK. up a Film It is not exhaustive but is intended to provide a broad framework for planning and to guide you through some of the Festival questions you need to consider when starting out. Edited by Pippa Eldridge and Julia Voss

Contents

Getting started 1 Organisation and Constitution 2 Partnerships 4 Programme 5

Many people contributed in different ways to Operational Issues 8 How to Set up a Film Festival and the editors are extremely grateful to them all. In particular Technical Considerations 12 we would like to mention the following: Education and Special Events 14 Simon Allen/bfi, François Ballay/European Co- ordination of Film Festivals, Cary Bazalgette/bfi, Press and Marketing 15 Richard Boyd/bfi, Paul Brett/bfi, Stephen Brown/ Steam, Anna Butler/bfi, Chris Chandler/Film Council, Rose Deenah/bfi, Jo Denham/bfi, Helen Access 18 De Witt/bfi, Catharine Des Forges/bfi, Chris Fell/ Leeds International Film Festival, Ann Griffiths/bfi, Budgeting and Cash Flow 19 Briony Hanson/Script Factory, Sandra Hebron/ London Film Festival and London Lesbian and Gay Raising finance 21 Film Festival, Sue Howard/Ripon Film Festival, Andrew Kelly/ Bristol Cultural Development Evaluation 25 Partnership, Bill Lawrence/ National Museum of Photography Film and Television, Bradford, Useful contacts 26 Jonathan Morris/bfi, Cathy Poole, Bristol Brief Encounters Film Festival, Charles Rubenstein/ Turkish Film Festival, Lottie Wake/bfi, Keith Useful publications 28 Welch/bfi, Jo Wingate, ¡Viva! Spanish Film Festival. Useful websites 28

The editors have made every effort to ensure Appendices 29 that information in this guide is accurate and up to date. If there are any schemes, projects or omissions which you wish to be considered for inclusion in the next edition, please contact the Exhibition Development Unit on 020 7815 1419.

Copies of the bfi’s How to Set up a Film Festival are available on the bfi’s website and from the bfi Exhibition Development Unit, Regional Arts Boards, Media Development Agencies and national film bodies.

ISBN: 0 85170 836 6 Cover photo: © Copyright bfi Run Lola Run Leeds International Film Festival HOW FILMTO SET FESTIVAL UP A IS MY FESTIVAL ORIGINAL? FESTIVAL MY IS FOR? IT IS WHO AND FESTIVAL FILM OF KIND WHAT FESTIVAL? FILM A WHY

Getting Started

The UK is overflowing with film festivals! Whereas a decade ago there was a strictly limited number of long-established events marking the seasons of each year, it now seems that every week a new film festival springs up somewhere in Britain. In an overcrowded marketplace you need to ask yourself three basic questions:

1. Why a film festival? 3. Is my festival Would a film season original? or film society be Originality is sometimes a difficult quality to define but fundamentally, you do not more appropriate? want to do something that someone else is If you are starting from scratch you may doing in your area or has done in the well want to test the water with a season recent past. The useful contacts and of films to assess the audience potential further information section should help rather than going for a full scale festival with getting a broader picture of what is Film distribution difficulties event at the outset. If you want to give on offer. Festival listings are published by Well established festivals always get people in your area access to a broad Screen International and the British first choice on titles as distributors range of films on a more regular basis, you Council. or sales agents will be confident that may wish to investigate the possibility of the film is going to be seen by a large establishing a film society. In this case, you Duplication is likely to damage your ability number of people. should contact the British Federation of to run a successful festival for the Film Societies (BFFS) for help and advice. following reasons: (see useful contacts) Limited amount of both private and If, having thought about the above issues public funding you are still determined to proceed, matters such as deciding a date for your 2. What kind of festival In a climate of so many competing festival and funding are covered further festivals funders are unlikely to back a on in this guide. might be appropriate festival if they perceive it to be similar to and who is it for? another event. This is mainly due to limited resources and a need to balance provision. Does your area need a specialist festival to broaden the range of films for certain key Competition for audiences from other audience groups for example, Asian established festivals audiences? Or does your area simply not Most people will not travel long distances have access to any kind of film provision to go to see films except in the case of the so that your audience would be happy to very large or specialist film festivals, so go and see films covering a wide range of the issue of competition for audiences may film genres? be less critical than competition for film prints from distributors. 1. 2. 3. 1 HOW FILMTO SET FESTIVAL UP A

Organisation and Constitution Do you need a formal Setting up a Limited structure? Company Many film festivals operate as unincorporated Registering as a company can offer associations i.e. an informal group of advantages although this has to be people who come together to set up and balanced against some of the costs. To do run a festival. They undertake all activities so creates a legal separation between as private individuals, applying for grants personal and business finances, limits and entering into contracts in their own liability in the case of financial (and other) names. For most purposes, particularly for disasters, can give credibility to ones a new festival this is probably a activities and can be used to regulate satisfactory way forward and you may not relations within partnerships in a corporate need to consider incorporation as a rather than personal capacity. In general, company until such time as the festival is the larger the project you intend to properly established. Informal associations embark upon, the larger the amounts of can still benefit from the drawing up of a money you will need to complete it, the constitution that outlines their main more useful it becomes to operate as a objectives and the way in which business limited company. If you are entering into will be conducted. When selecting people contracts or agreements with organisations to be on your steering group, board of such as public sector funders, distributors, directors or trustees, make sure you get a banks and so on, being a registered company good mix of specialist skills. Marketing and can give you not only credibility but also finance are the two areas where it is some additional protection against error or sometimes difficult to find people and sharp practice. Most particularly, it is the these areas are critical to the success of company, not you personally, which must your festival. fulfil contracts or meet liabilities: as long as company directors have acted properly It may also be worth thinking about and responsibly, your liability for financial registering as a charity at some point. and other penalties can be limited. It is Charitable registration is open to both also worth noting that most National constituted companies (limited by Lottery distributors and some other guarantee, see below) and unconstituted funders do not make grants to individuals. organisations. Both charity and company registration can be expensive and time The Companies Act 1985 lays down strict consuming and it can be problematic if you regulations governing what companies wish to dissolve your organisation in the may and may not do. The Act is enforced future, so careful consideration should be and monitored by Companies House. It given to the need to register. imposes reporting and operating restrictions which some individuals or groups may regard as onerous. Much of this is to do with the frequency and administration of company meetings, the filing of annual results and auditing of accounts. Failure to file the appropriate returns and accounts on the due dates can

Leeds Leeds International Film Festival lead to quite substantial fines.

2 Psycho HOW FILMTO SET FESTIVAL UP A

CONSTITUTION/RULES STRUCTURE SKILLS

If you think a limited company structure regeneration; the relief of unemployment; might be an advantage, the first thing to Forming a Charity other charitable purposes for the benefit do is contact Companies House for its Operating as a charity can bring benefits of the community. Most charities active in guidance notes on incorporation and to an organisation and may assist with the arts or media operate under the registration and read them thoroughly. fundraising. Charities enjoy corporation educational head. These are invaluable: without them you will tax and council tax benefits and charitable invariably get something wrong. Only form status can bring credibility in the eyes of a company if you are certain that it is the funders, other organisations and the best option for you and you are confident in general public. It can also be easier to the people you wish to work with. A company raise funds from certain sources including must have at least two directors - you cannot grant-making trusts and local government. form one as an individual. If in doubt, seek While the Charities Act 1992 restricts the advice from a solicitor, company formation freedom which charities have to trade agent or similar professional. beyond the strict remit of their charitable objectives, lost flexibility can be restored As to the actual process of creating a by the creation of a trading company company, there is a standard registration operating outside the scope of charity law fee (currently £20). However, you may also but covenanting profits back to the charity. need professional help to draw up your The legislation governing the Memorandum and Articles of Association establishment and activities of charities is, which give details of the company, its however, as stringent as that governing activities and how it will operate as a legal limited companies. The Charity entity. Companies House takes all of this Commissioners maintain a register, It is also illegal for the trustees of a very seriously, even to the extent of investigate misconduct and abuse, and charity to benefit from it financially - for restricting the use of certain words in otherwise administer the charities sector example, a trustee cannot also be an company names. To all intents and in England and Wales. The law is different employee of the charity. It is possible to be purposes there are two options for the in Scotland. There are separate rules prosecuted for running a charity sort of company you might form: limited governing the published annual accounts improperly. by guarantee or limited by shares. To produced by charities known as SORP simplify greatly, a company limited by (Statement of Recommended Practice) and The Charity Commissioners publish a shares would have the objective of trading it can be costly to employ a specialist booklet, So You Want to Start a Charity?, in order to make profits to distribute to its accountant to draw these up. which gives advice and explains the law. shareholders. A company limited by There are more than 150,000 registered guarantee is the format available to Under law, charities exist to fulfil a charities already operating and it may be charities and other groups which do not specified purpose and are, by definition, possible - or even desirable - to join forces seek to distribute any profits to company voluntary organisations: that is, the board with an existing organisation. The Central members. of management must not be remunerated Register of Charities (which can be (although staff can be paid). The definition consulted at Charity Commission offices) of charitable purpose breaks down into six or Charities Digest both give information heads of charity: the relief of the elderly, on existing charities. vulnerable or hardship; the advancement of education; the advancement of religion; the promotion of urban or rural

3 HOW FILMTO SET FESTIVAL UP A Sheffield Sheffield International Documentary Film Festival

Partnerships American Movie

PICK YOUR PARTNERS WITH CARE AND IMAGINATION IDENTIFY MUTUAL BENEFITS 1 + 1 + 1 + 1 = 10!

Partnership has become something of a can help you access particular development agencies; media development buzz word in recent years. In theory, niche audiences agencies; other arts organisations (for developing partnerships should lead to potential cross-artform collaborations in occasionally lead to sponsorship synergies i.e. the whole is greater than the particular new media and music); arts sum of its parts. Most successful film marketing agencies; film archives; film and festivals are a complex network of There are many types of partners that may video production agencies/workshops; collaborations and contributions but these be relevant to your festival. The following training agencies; screen commissions; require careful management if they are to list is not comprehensive but should give funding bodies; press (national/local); be sustained over time and yield benefits you some ideas: broadcasters; webcasters; narrowcasters; to both parties. The potential benefits of retailers (books, films, restaurants). partnerships are that they : Cultural Institutes (especially if you are programming foreign language films) Partnership is a two way process and you add credibility to your festival e.g. Instituto Cervantes, Goethe Institute will need to establish what the potential provide information and advice or skills or Institute Français; venues; educational benefits to both parties are before you absent from your management team bodies/establishments; community and make contact. The important thing is to be voluntary sector organisations (especially imaginative with who you approach as this inform your programming and special and minority interest groups); can often yield unexpected results. marketing activity campaigning groups; charities; film societies; can provide in kind support (speakers local authorities; health authorities; local or workshop leaders for example) businesses; international businesses; arts 4 HOW FILMTO SET FESTIVAL UP A

Programme Dancer in the Dark Edinburgh International Film Festival

Whatever the motivation for your festival, able to secure, in order to avoid setting up Venice, or Berlin, and the kind of festival the single most important element of the false expectations with your sponsors, you might be planning, is that these major marketing mix is the programme itself. You funders, supporters and audience. Until events are focused on the film industry. may need to bring in expert help for the you have established a reputation, you They have markets attached where films programme if you are not a specialist may find that you are overlooked for are bought and sold for theatrical and yourself. This distinction between new or previews or films with a buzz. specialist product will have a major effect on the potential audience for your event and will impact on every aspect of the Open submissions planning process from marketing to the When programming your festival, in order likely longevity of the festival. to ensure you can access a very broad range of films to choose from you may You or your programmer should expect to want to invite submissions. This needs to go to (or at least monitor) other film happen well in advance of the festival and festivals in order to find films to screen at involves placing an advertisement in the your own. Trade magazines like Screen relevant media. In the first instance you International or Variety not only produce will ask for a video viewing copy on VHS handy annual guides to the world’s before you decide to use the film in the Leeds International Film Festival festivals, but also review festival screenings festival. See the checklist below on what comprehensively. The internet is now also information you will need from submitting Wonderland Wonderland a significant resource for research on film filmmakers, agents or distributors: titles. Many festival screenings are other forms of exhibition and distribution. negotiated through contacts with Name and address of director and This is in contrast to audience-focused distributors which are established over producer festivals which seek to present a broad time. This is one of the many reasons it Name and address of production company range of films to an audience which might may be useful to employ a specialist (if applicable) not otherwise have access to such festival programmer who can form these Name and address of print source if not material. Distributors will attend market relationships on your behalf. from above festivals to buy product for release Title of film internationally in the coming year. Some It is also important to be realistic at the Title of film in original language if foreign festivals (for example the Sheffield outset about the films you may be able to Country of origin International Documentary Film Festival) include in your festival. Remember that Date made seek to cover both angles, attracting you will not be able obtain all the films you Brief synopsis specialist buyers and sellers but also would like, either because of print Film print gauge appealing to a large general audience with availability or due to the amount of Aspect ratio a particular interest in the documentary competition between festivals for Sound genre. It is unrealistic to expect to attract particular films. There is inevitably a Publicity stills buyers and sellers to a new or recently ranking of festivals both nationally and established festival as it takes years to internationally, with filmmakers and Below is a rough guide to some of the establish the credibility and reputation of a distributors choosing to send their films to more popular categories of film festivals. film festival. well known festivals where they think they will get the most exposure. The most important thing is that you are able to give Markets a realistic projection of the range, depth The biggest distinction between major and profile of the programme you will be international film festivals such as Cannes,

5 HOW FILMTO SET FESTIVAL UP A GENRE WORLD CI CIVIC EV MINORITY

Festivals based on a Festivals based on films specific genre of films from a particular country Think very carefully before choosing to go or area of the world down this road! Most festivals are planned as annual/bi-annual events whose longevity Festivals of national cinema are popular and is based on the principal of audience have the potential to build audiences very development. With a genre festival you successfully for little-seen work. A number would expect to be able to programme a of national festivals have expanded so much number of older/archive/international titles that they now tour to other towns and cities on a particular theme but you will also across the UK including The Latin American need relevant previews of new releases to Film Festival, and the ¡Viva! Spanish Film generate press and audience attention. The Festival. These festivals have the advantage major downside of genre festivals is that of being able to access a much broader they can run out of product in the short to range of material than that associated with medium term. Ask yourself if there is really a genre with the only unifying theme being enough rich material on your chosen theme that of language. Again, it is critical to be to sustain a festival over a period of years? able to identify exactly what you are trying Will it need new highlights or previews to to achieve with the festival before you entice an audience and is this type of film make a selection, because when faced with still regularly produced? e.g. if your festival the contemporary and archive material is based around Westerns, will you be able available from an entire country, it is easy to find a regular supply of new Westerns in to end up with an unfocussed programme. order to enhance your programme? Even the It might be prudent to identify sections of most high profile, seemingly bottomless, interest (e.g. five new directors; the output genre festival can suffer from a lack of of a specific studio; the work of women product. The London-based Fantasm writers or a particular star) to give some festival (horror, sci-fi and fantasy) petered focus to the programme. out in the late 1990s having reached the end of the road with exploration of its Be careful if you are thinking of establishing particular genres. It is of course possible a festival of films from under-represented to identify a genre or niche which has countries: there may be a reason for their endless life. Bristol’s hugely popular Brief scarcity perhaps related to the lack of Encounters Film Festival celebrates short quality product, the costs related to films, while Sheffield’s International importing prints, or the cultural make-up Documentary Festival has raised beyond of a particular country, which may make expectation the potential for theatrical programming problematic. If you are exhibition of documentaries. setting up a foreign language festival you will find it invaluable to have someone on your staff who speaks the language in order to help with contacting filmmakers and sales agents as well as giving better insight into the programme. A useful way to begin researching this kind of festival might be to find out whether your town is Leeds International Film Festival twinned with a town in another country

and make use of this partnership. East is East 6 NEMA ENT NICHE East is East Leeds International Film Festival

Festivals catering to a Festivals which take specific cultural or place with the minority audience location/city as a focal There has been a considerable increase in point which screen a festivals focusing on race, gender, sexuality and disability in recent years. variety of new releases However, they are not without their problems! It is vital to think about how the as previews cultural or artistic aspect of the festival sits alongside the social aspect to make This is the most common type of festival, sure that the finished product satisfies usually staged as a civic event (e.g. the sponsors, funders and audiences. Targeted Leeds International Film Festival, the minority festivals often find relationships Birmingham International Film & TV with distributors tricky: a programmer and Festival, Chichester Film Festival). Most a distributor or sales agent might have festivals which are based around this idea different ideas about the audience for a take a broad theme, the best of new particular film. The distributor might not contemporary international cinema or choose to be associated with the similar, and within this, programme a range programmer’s target audience for fear of of predominantly new films. The festival negative impact on the market for the film. will normally divide between previews of Lesbian and gay film festivals for example, forthcoming new films, and new work are ever-expanding with over 100 such which has been championed by the festival festivals now regularly staged across the but is unlikely to secure a subsequent world. However, lesbian and gay festival release in the UK. It is essential to balance programmers all too frequently have their the programme. You might need previews requests for films met with a firm ‘no - we to grab your press and audience attention, don’t want it to be seen as a gay film’ but more challening work will gain you response. It goes without saying that critical reputation and assert your minority festivals need planning in close difference from alternative festivals. consultation with members of the specific community you are hoping to explore. Finally, beware of making assumptions about your potential audience. You don’t have to be Jewish to appreciate the films in a Jewish festival and the fact that you are a disabled person does not necessarily mean you will be interested in a disability- Positive Negatives Positive Film Festival focused event. The The Hurricane

7 HOW FILMTO SET FESTIVAL UP A International Film Festival of Wales International Film Festival Operational Issues Beautiful Creatures Beautiful Creatures

There are two practical tools you can use in with an annual event such as the The Planning cycle when planning your festival: the cash flow Manchester Mardi Gras festival; or keep it The old adage fail to plan, plan to fail forecast (covered further on in the budgeting separate if you think you cannot compete applies particularly to film festivals. Your section) and the gantt chart, an example of for an audience which will be faced with aim is to produce the best programme of which is shown in Appendix 4. This lists all lots of other fun things to do at this time. films and attract as many people as the key tasks which go to make up your possible to see them. Both these aims are plan and schedules them over a 52 week If you are planning a specialist genre compromised without a sufficiently long period in the order and at the earliest time festival your audience may be prepared to lead-in time which will allow you to they should happen. The example is not travel long distances in order to attend, in procure the films you want and generate definitive but should give you a fair idea of which case it may be worth staging it over enough press and audience interest. the main processes involved in planning a a weekend. Be sure to check holidays. film festival and can be adapted to suit Would it help or hinder your event to have All of the larger festivals have a year your individual circumstances. a bank holiday in the middle? How long round staffing operation and once their should your festival last? Do you have festival is over, begin work immediately on Timing enough material and cash to sustain two the following year’s event. If you can, allow days and if so is this enough time to be at least 12 months for planning, Choosing a time of year for your festival is sure you can make an impact; conversely fundraising, finding prints and sorting out very important. In order to avoid will your audience lose interest if you keep the operational details of the event. A key competition for titles and audiences it will going for two weeks? issue here is organisational capacity. If you pay to conduct research at a very early are planning a festival as part of the stage and find out which festivals run What are your optimum screening times? overall programme of work of an when both nationally and internationally. Are you catering for an after-work or a organisation which does other things, it is daytime audience? What is local transport important not to underestimate the Consider your audience and if for example like? Will your audience be able to get amount of time the planning process can you are trying to appeal to young people home when your screenings end? Will the take. While it is an advantage to operate by offering school screenings, you might standard schedule of two evening from within an organisation which already schedule within term time. If, on the other screenings per night during the week and has an administrative set-up, you may find hand, you wish to pitch the festival as a all day screenings during weekends suit it takes much longer to plan unless you family event school holidays would be your audience? 8 recruit dedicated project staff. preferable. You may want to tie the festival WHEN? WHERE? HOW?

and rights holders dating back to the 1950s. include valuable national and regional Scheduling/Booking The distribution company Hollywood publicity; an opportunity for the distributor Film/video makers and distributors need to Classics own the rights to many classic to test the film with an audience or a be contacted at least 2-4 months prior to titles and can usually offer advice on chance to increase the profile of the film. your marketing deadlines to confirm a play finding further information on those titles date. You will need to follow up the initial which they do not distribute. The booking to ensure that distributors remember Programme Unit can undertake print their promise and send the film to arrive in research on your behalf but a charge is good time. You will need to be clear about made for this service. the distinction between sales and marketing departments within larger distribution You need not confine your search to the companies when you originally secure an bfi’s databases or to the UK. Other agreement to screen a film i.e. you need to potential sources of information are: ensure that the booking you made with the Distributors (some act as agents for marketing department has been conveyed archive collections) to the sales or booking department so that Cinemagic Film Festival someone actually gives your print to the The internet courier. Before booking any films it is a good Overseas distributors idea to map out a provisional schedule Life Life is Beautiful with a few date options in case you cannot Other festivals around the world get the film on the day that you want it. As with most aspects of programming, it is A good strategy is to visit all the major and important to build relationships with independent distributors and introduce people. The international film festival Print Research yourself in person to the sales person for community is generally very friendly and your area. For a distributor, regional film If you are considering anything other than helpful and smaller, niche festivals are festivals are often interchangeable and new releases, you need to think about how usually very keen to offer advice and support procuring a key title for your festival may you will approach the thorny problem of and can help you find prints. This is well depend on your personal relationship print research. There is no single place in especially useful if you are focusing on a with particular individuals. the UK which collates information about different national cinema each year. rights holders and prints for every film If you are starting a new film festival you ever released in the UK and if you are may need to demonstrate that you have done considering screening archive films you Relationships with solid research into potential audiences and will need to do some detective work. Distributors provide a sound marketing and press plan for the festival. Be aware that many The bfi Collections Department includes the If you are intending to show new feature distributors will charge you to show preview cataloguing section for the National Film releases relationships with distributors are titles particularly if the festival is not an and Television Archive (NFTVA) which should absolutely crucial to the success of your established event, and this is sometimes as be your first port of call for help with festival. It is very important to understand high as 50% of box office income. research on specific filmmakers and titles. the distributor’s priorities for any Non commercial users may be able to view particular title and consider how your titles from the NFTVA which are not festival could help deliver a good outcome Staffing generally available on video or any other for them. Distributors are often wary of format. However, this normally requires two giving a new release too much exposure The principal role that you will need to to three weeks notice and there is a charge. outside key festivals such as London and consider is a manager/director who has an Edinburgh so you have to be persuasive overview of the whole festival and will lead The Programme Unit at the bfi has a about the advantages that a screening in the process. This person should also be database and card index of print sources your festival would bring. This might responsible for ensuring that the festival 9 HOW FILMTO SET FESTIVAL UP A

either an outright hire for the period of Venue(s) the festival, or a percentage which can be Venues are a crucial element in making between 25 to 50% of the box office. From Birmingham International Film and TV Festival your festival a success and you will need your point of view, a percentage would be to consider whether to use one or more. a better deal as there is less financial risk Large festivals use several venues, but to you and you will not have to pay any unless your festival is of significant size money up front. You need to negotiate you may find that it loses its identity and whether the venue will include your Eat Eat Drink Man Women can become too complicated and confusing festival in any of its own publicity; they if you use more than one. A good rule of may charge for this, or they may see it as financing is in place; it is useful to have thumb is to start small and if after a an in kind contribution to your festival if it consistency of contact with your funders, successful first year, you feel you need to fits in with their cultural remit. sponsors and filmmakers as it helps build expand to more venues, you can do so having relationships and establish a profile. already tested the water. Before the festival starts you will need to work out a way of communicating with the The other key areas you need to consider The location and existing audience profile cinema manager and the projectionist are the programme, press and marketing of the venue are also important and you exactly what is to happen on every single and administration. Smaller festivals which will need somewhere that is in easy reach day. In order for the screenings to take are run on a shoestring budget will not be of your main target audience. A 30 minute place smoothly, you must ensure that the able to employ many members of staff and drive time is a good guide, but big cities projectionist and front of house manager may have to rely on volunteers, which will have other issues such as public transport are fully briefed as to what is going to not normally be hard to find as people are or parking. It is also worth considering happen and when. The best way to do this often keen to gain experience working on other local amenities. If the audience is is to have two separate logs: one for the this kind of project. However, it is very likely to stay for more than one projectionist (see print transportation important that the people you have performance in succession, good food and below) and one for the front of house staff. working on the festival, whether paid or drink facilities are vital, either in the venue Both logs should include the titles of all voluntary, are clear about their role and (which will add to the atmosphere of the the films, their running order, their running are properly guided and supervised. festival) or nearby. length, their format or gauge, their aspect ratio, whether sound or silent, and any Film Festivals involve a lot of administrative Another consideration is whether the other technical information you have. You work at every stage, from filling out funding venue has a reputation for a particular will also need to include whether you have applications to sending out contracts to kind of programming. If its programme guest speakers, how many, whether they film distributors. If your festival is open profile is similar to that of your festival will they be introduced and whether there access (i.e. it tries to attract films directly then you will find that the venue will be a will be a discussion or a question and through public advertisement) you will great help in bringing in the audiences for answer session afterwards. Will you need need to have someone to administer the your festival. If, on the other hand, you chairs and microphones afterwards for a submission process from placing the choose a cinema that only plays first-run discussion? Don't forget that your advertisement inviting submissions to the movies, then you cannot necessarily rely speakers may like a glass of water! sending material for the programmer to on their audience coming to your festival. Remember that events, especially when view and dealing with rejection or guests are involved can be very tense so acceptance correspondence. Be aware that most cinemas programme a communicate all the information to the long time in advance and ideally you cinema staff well in advance. In this way You may consider the possibility of recruiting should start to talk to your chosen venue lots of problems on the night can be a dedicated festival programmer, particularly at least 6 to 8 months, or maybe even a anticipated and avoided. if your festival caters to a specialist audience. year, before the event actually takes place. You will need to confirm dates and terms with the cinema. The usual terms are 10 WHEN? WHERE? HOW?

Show Me Love Showcomotion

Talk to your venue about the terms of their Licences licence (these vary from area to area) and Touring If you are planning to hold your festival be prepared to go to your Local Authority Some festivals tour a sample of their anywhere but an existing cinema you will licensing committee to secure a temporary programme to other cinemas in the UK need to apply for a Cinema Licence from licence or exemption certificate. You or the enabling local audiences to access films the Licensing Service of your Local Authority. cinema operator may be required to that they might never get a chance to see Costs, regulations and the amount of notice provide a letter/disclaimer that the films otherwise. Touring is sometimes offered by you need to give are likely to vary between being screened do not breach cinema the larger film festivals with larger one local authority and another. There will licensing acts. This is not as daunting as it budgets. Offering a tour may be a good be several checks the building will need to sounds but it does require forward means of securing sponsorship but should go through before the licence is granted, planning. Most Local Authorities need at not be seen as a way of increasing festival involving fire safety and noise levels. If you least two months to meet and clear a revenue as transporting films is very are holding your festival in an unusual certification application and may, in very expensive and the organisation of a tour venue such as a cathedral or a park you extreme circumstances, require you to needs dedicated staffing. can apply for a one off Occasional Licence organise a private screening for their and if you want to have bar facilities you committee in order to ascertain whether It is also much harder to secure films from will have to apply for an Alcohol Licence. the material you want to show is suitable. distributors for a tour. You will need to The hours you will be allowed to open will If the Council is unable to view a copy of allow time for other venues to add be dictated by the original planning the film beforehand then be prepared to information on the tour films into their permission granted to the building. If you advertise all screenings for over 16s only. brochures. Planning where the tour will go wish to change the hours you will need to and how the films will get there is crucial apply to the Development Control Service Insurance as poor organisation can result in films of your Local Authority. being lost in transit and arriving late which You may be required to buy insurance damages your festival profile. The bfi’s under certain circumstances, for example Programme Unit have experience in this Certification you may need to insure prints against loss area and it is worth contacting them to Regardless of the nature of your festival or damage, or you may require public gauge the feasibility of touring any of the programme, it is likely you will need to liability insurance if you are screening in a films from your festival. Touring will consider issues of certification at some space which is not covered by existing become much easier when digital point in the planning. Archive material may policies. distribution and projection technologies no longer have a relevant legal classification; become more widespread. preview material may not yet have secured a certificate; imported foreign material will not have been submitted to the classification board. Either way, you are likely to want to screen material that does not have a certificate and this may cause problems for your chosen venue.

Most cinemas in the UK have a clause in their exhibitors licence preventing the screening of material that does not have a certificate issued by the British Board of Film Classification. However, it is possible Birmingham International Film and TV Festival to circumvent this either by creating a club

or by securing a temporary local certificate. Kadosh

11 HOW FILMTO SET FESTIVAL UP A Technical

Considerations Birmingham International Film and TV Festival Blackboards Blackboards

ratio of 1.38:1 or Academy (where a Projection facilities and soundtrack has been added to the print) Silent Films Formats with a ratio of 1.33:1. Silent films were originally made with no soundtrack which means the entire frame Moving images come on a variety of To achieve true ratios the screen will need was taken up with the image. Some have formats including digital, video and film. variable side and top masking. This can be had soundtracks added at a later stage but The most common film gauges are 8mm, expensive if it is not already in situ. if the film has no soundtrack a musical 16mm, Super 16mm and 35 mm. For most accompaniment of some sort, usually a purposes, 35mm film projection facilities piano, will be needed. will suffice. However, you need to start Archive prints asking about formats when programming: You should discuss with the supplying To screen silent films you will need archive prints archive what their presentation variable speed control on your projectors requirements are, for example, do they and the cinema's installation engineer or short films allow the splicing of prints or the creation projectionist should be able to advise as to low budget films of cue dots? whether this can be done. When screening archive prints exhibitors Video Aspect ratios must be confident that the projectionists are experienced and competent at It is likely that at least some of your Most projectors used in commercial handling these prints. Replacing reels can material for presentation will be on video cinemas are only able to screen cost £300 or more and some prints are tape. This is particularly likely to be the Widescreen and Cinemascope. To screen irreplaceable. case if you are dealing with low budget other ratios you would need new aperture filmmakers, running competitions or plates and new lenses which would need to You will need to use single 2000ft spools acquiring obscure material. be tailored to the auditorium's for screening archive prints as reels of film specification (throw, screen size etc.). cannot be joined together. This means you Video comes in a variety of formats the will need two projectors. Archive prints most common of which in the UK is VHS. Film ratios are a minefield because there may be on gauges other than 35mm. Other common contemporary formats are no hard and fast rules. The following include SVHS, Betacam, Digibeta and DVD only skims the surface of this area but Procedures must be set up to ensure that (digital video discs). The quality of a video does highlight some of the pitfalls and all archive prints are handled with the best projection will depend entirely on the issues that need to be considered. possible care. The most important rules quality of the production format and are: duplication. No matter how good your Prior to 1953, the most widely used ratio projection facilities are they cannot make was Academy (1.33:1). The most common Print condition reports must be poor material look good. It is quite ratios in use today are Widescreen 1.85:1 written on make-up of the film and possible to get good results from a VHS and Cinemascope 2.35:1. However, there are after the film is screened tape if the material was originated on film, exceptions such as the Dogme films and Prints must not be put on the floor or digital or Betacam SP. DVD produces very some independent American films which any other dusty/dirty areas - racks good quality results and the equipment is will have been shot in Academy and some must be put up if they are not already good value for money. European work which will have been shot in situ on 1.66:1. Many European subtitled films will be 1.66:1 which may need different lenses Prints must be marked up with Video projectors and new aperture plates cut. chinagraph pencils - this must be There is a vast range in the quality of rubbed off once the film has been video projectors and the hire rates can Silent films will either be full frame (i.e. no shown vary from £300 to £2000 per day. If your soundtrack on the print, only image) with a chosen venue does not have a video 12 The key message is to plan the technical side of the festival at the earliest opportunity and discuss your plans with the technical staff at the venue(s) to make sure they can provide what you need.

Night of the Hunter Purbeck Film Festival/Kobal

projector, purchase could be considered sound processor for the main auditorium them having to invoice you for charges. and good quality, small projectors are sound system is located in the projection You also need to provide a set of increasingly available at reasonable prices box and the mixing desk will need to be instructions on how to pack and mark the of around £3,500. connected to this. films so that you are not charged any customs duty on them and to make the job If you are having live debate and of tracking down missing prints easier. For Video players discussion avoid radio microphones if overseas shipping you need to take into You will need to ensure either that the possible - they are difficult to get right and account the time scale for delivery which video players in the projection box can can produce embarrassing results when can take up to two weeks. play the relevant formats or that films they go wrong. They are only necessary if arrive in a format you can project. If the you will be having speakers who need to You will find it helpful to make up a festival is showing films from around the move around whilst talking although they despatch log which should detail the title world it is especially important to indicate are useful if question and answer sessions of the film or video, where it is coming that films must comply with local with the audience are involved. from, on what date and at what time, when standards. This will avoid the need to it will be collected and where it needs to hire/buy in several different machines or go to. You should include full details of the copying across from NTSC (the American Storage of films sending and receiving location and a system) or SECAM (the French system) to Depending on how many films you are contact person in case the projectionist PAL (the European system). showing you will need a space to store all needs to chase the print if it has not of them safely and a space where they can arrived in time. You should also include a If you do need to copy onto VHS or some be sorted and packed before screening. place for signing the log when the print other format, reputable facilities houses Many projection boxes are very small and arrives and is collected. By doing this you for duplication can be found in the bfi Film independent cinemas tend to be fairly will then know who last saw the print in and Television Handbook. cramped on the whole. case it goes missing along the way. Finally, always make sure that the films are If using video, you will need to ensure the When films arrive at the chosen venue insured. venue’s sound processor is able to procedures must be put in place to check accommodate it. the films in. Often there are several different prints of the same film (for Outdoor screenings example a subtitled version), and the While film screenings away from the Auditorium facilities correct one must be identified as soon as conventional venue setting sometimes Apart from the obvious comfort and size possible. seems like a good idea (for example considerations it is imperative that the outside on the wall of a building or drive-in auditoria in which the films will be shown Films should be stored vertically and you movies in car parks) the technical have been chosen with the acoustics and will need lots of room. The environment demands of such an enterprise need sound system in mind, especially if you are that film is stored and used in must be careful consideration. You will need to hire having discussion panels or speakers. clean and free from any dust particles. special equipment and this can be Editing gloves are often used when incredibly expensive. Outdoor screenings To use microphones, you will need a mixing handling prints. can cost up to £20,000 per day and the desk and an amplifier. These can be hired decision to put these on should be purely and vary from basic models for just two budget based. If you calculate the cost per mics to more sophisticated versions. Given Print Transportation seat, you will probably find it is not worth the relative costs involved, it is worth If you are going to be showing films from doing except for a very large scale event. noting that speakers rarely need a other countries it makes sense to register dedicated microphone and if you have a with a courier company. This way you can panel discussion speakers can easily share provide your account details to filmmakers one between two or three of them. The so they can send the films and it will save 13 HOW FILMTO SET FESTIVAL UP A ¡Viva! Spanish ¡Viva! Film Festival All About My Mother Education and Special Events Staging a film festival provides an speakers will also be informed by these issue) and gives them a chance to see the opportunity to offer something much more needs. You may have managed to secure a material. Never show a film as part of an exciting than just a programme of films. A well known director to present an event but education event that you have not seen special events and education programme will they be able to communicate well with yourself. can add value, broaden the appeal of a type an audience of seven to eight year olds? bfi of cinema and can create a more Education are able to supply information on In the case of formal provision, teaching packs cineliterate audience who will come back approved tutors and their Associate Tutor can be used during the event and then taken for more. Scheme gives valuable information on how away by teachers for use in the classroom. to select appropriate people to run It is not generally cost effective for smaller Depending on the theme of your festival education events. Always meet speakers in organisations to produce teaching packs. there are many activities which can offer advance to discuss the event and give them There may already be a pack in existence for routes to a more in-depth understanding of clear objectives. Speaker costs vary the film you want to use so it is worth ringing the films. It is important to look beyond depending on who the person is but you other festivals to find out or contacting Film traditional, formal education processes. should expect to pay at least £50 for a half Education or bfi Education. Having videos of Informal education activity can be day event, plus expenses. films used in the events is invaluable for approached in a number of ways, for example: teachers. Local filmmakers are normally If you wish to offer formal education events, happy to provide these if requested, for a Introductions to screenings and good relationships with teachers and small charge but for larger films you will programme notes maintaining an up-to-date knowledge of the need to contact distribution companies. Debates by filmmakers and academics curriculum and syllabus is fundamental. For advice on making contacts with relevant If you are running education events for the Master classes in film making skills such teachers and departments in schools contact first time or there is a low level of interest as script writing, production or costume Film Education (the organisation which runs you may well consider offering them free of design National Schools Film Week) or bfi Education charge. In most other cases where you are When you are planning your education in the first instance. Formal education events offering workshops and other activities programme the crucial factor is your target need much more detailed planning and people should expect to pay a small amount. audience for these events. Your learning longer lead in times so close communication Your keenest market in terms of activity will objectives for each activity should tie in with the festival programmer is vital. be student groups on exam courses from with the ethos of the festival. There should GCSE upwards. In this case you could charge be a good reason for wanting to work with As the programme often tends to be finalised from £3 to £5 per head for a half day session. primary school groups if you are running a at the eleventh hour some festivals choose horror festival for example! to use films screened at the previous years Do not forget to include education in your festival or use a film which may not be in evaluation processes. Partnerships for Objectives must also be based on a clear the programme but is in the spirit of the Learning published by the Arts Council of idea of the age and needs of the festival. This allows teachers to plan ahead England is a useful guide to evaluating arts participants. The way you choose your (allowing time out of school is often an education projects. 14 HOW FILMTO SET FESTIVAL UP A

Press and Marketing

You should plan your press and marketing how to reach them with your marketing activity in some detail well in advance campaigns. Research should also be used based on an assessment of what is required to monitor and evaluate the festival (see to really make the event a success. You will later section). Methods of research include then feed this into fundraising targets. This questionnaires, focus groups, one to one is an area people tend to cut when budgets interviews and observation. The bfi’s come under pressure, but this is usually a Exhibition Press and Marketing Department false economy. Remember that no matter should be able to give guidance on how to how good your programme, without research your market. Be careful about your

audiences your festival cannot thrive. A ambitions for the first festival, especially if Out of Sight useful rule of thumb is that you should it caters to a specialist audience. expect to allow 10 to 20 % of your total festival budget for marketing activity. Blithe Spirit Marketing informs your festival from its Branding inception and does not stop until you have The festival 'brand' should reflect the community-based festival and how much evaluated the event. nature and ethos of the event. The brand is can your audience afford? It is worth conveyed primarily through the logo and selling a pass for multiple screenings at a publicity material. Allow plenty of thinking reduced rate and offering concessions to Marketing objectives time with designers to come up with a groups, students, OAPs, the unemployed It is essential to set clear marketing concept that suits the festival - it is often and students. If you are offering sign objectives for your festival and make sure a very time consuming process. interpreted or audio described screenings they are agreed by and communicated to it is customary to offer a discount on the colleagues. These might be quantitative or Ensure every element of your marketing disabled persons ticket plus one if their qualitative, for example: campaign (and educational/programme companion is not a friend but a personal materials, staff T-shirts or badges etc.) assistant whom the disabled person is To achieve 50% capacity over all screenings reflects the brand as this reinforces paying for. Ticket pricing is also a awareness and allows easier recognition. consideration in terms of access as you To achieve x number of attendances may wish to target particular audience To achieve x column cm of press If your logo is full colour make sure it can groups who are much more price sensitive coverage: 50% local, 25% national, also be reproduced in black and white. than other groups. 25% specialist film Make sure any text can be read even if the logo is reproduced at a small size.. Think You may want to do a price or other To provide a better understanding of long term - will your logo and brand promotion on tickets to target a certain Spanish cinema and its history develop over future years (will the logo specialist group. This could be supported through bilingual production of all look dated in two years?) or will you make by your sponsors if they have the same publicity material provision for a new look each year, in target audience as you. It may be a means To attract 500 first time attenders to which case will there be any elements for you to encourage a particular audience the festival which continue to allow easier recognition? group that is not familiar with your venue.

If you want to offer a pre-booking service Market research Ticket pricing it is advisable to do this with credit cards. A number of factors will affect pricing Reserving tickets with names over the phone Market Research is a useful tool to establish policies including costs (it is important to is risky as many people do not show up to that there is a need for your festival and establish your breakeven point), local collect their tickets unless they have paid. identify who you want to target. You need to cinemas’ pricing (so you can match or It is usual to put aside a small number of gather as much information as possible undercut local competition) and the nature complimentary tickets for press, speakers, about your target audiences, and find out of the festival e.g. is it a student/ sponsors and staff. 15 HOW FILMTO SET FESTIVAL UP A

International Film Festival of Wales International Film Festival AUDIENCE AUDIENCE Time Time Code

For your brochure and leaflets you need to your target market. For example, should it Campaign Management allow time for distribution well in advance be bilingual? ¡Viva! produces an English/ Plan your marketing campaign in an of the festival. Before this can happen you Spanish bilingual brochure. Translation integrated way. A simple campaign outline need to: should be handled carefully and by more than one party. is illustrated below. Confirm your film bookings

Set objectives Access still images of the films If the festival involves previews or very

new releases it may be difficult to get hold Identify market segments/target If necessary clear rights for the use of of good images and press packs. Patience audiences still images and tenacity are needed to source Work out lead times and deadlines - Write copy materials and it may require finding some discuss and communicate these to all graphic solutions. parties involved, including colleagues, Design and proof designers, printers, advertisers, sponsors Print Always include a disclaimer that the Work out budget for campaign programme may be subject to change. Design issues you may want to consider are: Problems often arise with guests who cannot make it or film prints not turning up. Are your leaflets/brochures 'user Whenever possible direct your audience to Select methods of promotion friendly' (for example do they meet your website which is a more up-to-date Printed material guidelines on print size for visually and immediate medium. Website impaired people?) Advertising Direct mail/direct marketing Do they fit easily in leaflet racks? You will have to consider acknowledgements and credits from contributors, sponsors Press and media plan Do they fit in standard envelopes? and funders - whether to have a long list Organise distribution of printed materials Are they easy for customers to fit in involving all contributors or a broad thank Monitor success of campaign their pocket? you. Make sure this is checked by all staff and organisations involved - it is easy to Can people find their way around the offend by omitting people. Public sector brochure? Publicity Materials funders normally produce guidelines on Apart from a generic brochure you may how and where their contribution should Producing a brochure tends to be the most want to produce specific targeted flyers be acknowledged so make sure you get a common means of promoting a film festival. for particular sections of the festival. For copy of these before you start designing The biggest problem with festival brochures example the 1999 ¡Viva! Spanish Film Festival print. is that they often have inadequate space had a generic brochure but also undertook and inadequate reviews. It is very hard to a campaign for a Spanish horror film with Do not be tempted to cut corners with the persuade an audience to come to a film separate flyers, press and web activities. design. If you do use suppliers such as they have never heard of with a cast of printers or designers for in kind unknowns if you only attempt to describe It is often worth checking with your target sponsorship, it is important that they see it in 50 or so words. Also beware of vanity market what they think of the design and the job as high priority and if you are publishing. A number of film festivals seem you should try to build in time to test this. dissatisfied in any way it may be difficult intent on producing glossy, bound booklets It may involve organising a focus group or to express this if the work was for free. which they sell for large sums and have simply passing it by friends you think are Likewise student designers may have other numerous copies remaining at the end of of the suitable age, background or special priorities and feel less accountable. If you the festival. It can be much more cost interest. do go down this route make it clear you have effective to produce a cheap, photocopied the same expectations as a paying client programme and make programme notes Make sure the publicity meets the needs of and outline the benefits they have in return. available at each screening. 16 AUDIENCE

'hook' to persuade people along - and a to emailing lists. Again this may depend on Publicity distribution suitable level of hospitality. A preview the nature of the festival, but for instance Have a plan of what goes where and in what screening of a festival film is often if your market includes a high percentage quantities in advance of delivery, prioritising incorporated into the launch. Make sure of students this is a really useful the most suitable targeted outlets. It may you have materials to hand out including mechanism for reaching them. be difficult to anticipate the rate at which pre-prepared press packs with plenty of flyers are picked up at festival venues so images. A photo call is always a good idea Direct mail ensure you have enough to get through the especially for local press. whole festival as it is easier to gain repeat Targeted and well managed direct mail can visits from existing customers. be very effective, but be aware of data WWW protection rules. It is now not acceptable It is increasingly important to have a to send information which is unsolicited, Press website. There are many 'off the shelf' so subscribers must have given their It is imperative to have good materials for packages such as Dreamweaver which consent to receiving information. Make the press. Still images are necessary. If you enable a DIY approach to web design. This sure you add this year’s attenders on to a have problems getting hold of a range of may also be an area where a willing mailing list (postal or electronic) for next images, get a couple duplicated so that they 'techno wizard' may do voluntary work just year! can be sent to journalists as soon as they to be involved in an exciting project. ask for them. Obviously if you can store and Advertising send them digitally this is more cost effective. Think carefully about the purpose of the site and discuss it with colleagues. Is it Budgets may be restricted for this area so purely a replication of the brochure for be creative and do not be afraid to Deadlines promotional purposes or would you like to bargain. Media sponsorship is often actually showcase clips from the work If you aim to get national press coverage relatively easy to obtain and could include involved or use it as an educational allow at least four months for monthly a mail out to their subscribers. Ad swaps resource? Could it be used to set up a magazines. The areas most likely to attract or heavily discounted space in magazines bulletin board or 'chat room' to discuss interest from journalists are previews and are often easy to negotiate. Many content of the festival or issues around it ? premieres and special guests - directors, publications have some space left getting actors etc. close to deadline and will sell it off really Once you have a site, establish as many cheaply. You may be able to identify a links as possible with other relevant sites. complementary arts organisation in your Press Launch This is one of the most effective ways of area such as a theatre with a season promoting your site. Make sure you register brochure who will agree to an ad swap. You may want to think about a press with as many search engines as possible. It launch. This would need to take place at takes time for the registration to go through least a month in advance of the festival. so allow as much time as you can. If you These can be very useful in order to have cannot find the resources to create a web dialogue with journalists to answer site it may be worth sending information questions directly and are often popular on your festival to relevant sites such as with sponsors. The festival programmer filmfestivals.com, artsline.co.uk and should attend the press launch. It is also 6degrees.co.uk (see useful contacts). important to invite patrons, funders and sponsors. You may want to use the launch Emailing lists are also used increasingly. to tie in with delivery of the festival Software can be downloaded from the brochure. With so many demands on internet (Listbot is a useful package) and people’s time you will need a suitable up-to-the-minute information can be sent

17 HOW FILMTO SET FESTIVAL UP A

DISABILITY DISCRIMINATION ACT PHYSICAL ACCESS SENSORY ACCESS PSYCHOLOGICAL ACCESS Edinburgh International Edinburgh Film Festival

Ratcatcher Ratcatcher Access

Increasingly nowadays arts activity is being people who have become totally blind have opened up to disabled people. This section Sign Interpreted visual memory. Contact the Royal National covers a few basics but for a comprehensive Screenings Institute for the Blind (RNIB) for further booklet on how to offer the best access to details. disabled people contact the Arts Council of Whereas an induction loop or subtitling will England (ACE) for a copy of Guidelines for offer hard of hearing audiences access to a If you wish to offer this kind of provision Marketing to Disabled Audiences, which film, a sign interpreted screening will be the most important thing at the outset is contains some useful checklists. available to Deaf people. British Sign consultation and you should contact your Language is a language in its own right local disability arts group and get Many venues are equipped with the barest and many Deaf people use it as a first information on their needs: this will help minimum of facilities which include: disabled language and English as a second prevent you making assumptions and parking, an adapted toilet, a lift, a hearing language. Deaf people are often willing to embarrassing mistakes. Disability arts induction loop fitted in the auditorium and travel further than most if this facility is groups can offer disability awareness a minicom in the box office. on offer. Remember to give the name of training for your staff. You may want to set the interpreter in your publicity as Deaf up a disability advisory group as part of The Disability Discrimination Act 1995 people have different preferences in the evaluation of your festival. established firm guidelines for organisations interpreter’s style. Also, try to reserve the to comply with and a target implementation seats which have the best view of the To market your festival to specific groups date of 2004. Many new venues are already interpreter for your deaf customers. you will need to find out which properly equipped to provide suitable access. Contact the Royal National Institute for the publications and other media they have You may have more difficulty with older, Deaf (RNID) for further guidelines. access to as there are many specialist converted buildings but there are ones available. You need to allow plenty of organisations where you can apply for time for this as many magazines have a bi- funding to provide better facilities (see the Audio Described monthly or quarterly circulation. Your useful contacts section for information). Screenings festival brochure should be available on a However, there are other things you can do wide range of formats such as braille, tape at little or no cost, for example you could Audio description works by providing a and large print. Outreach work and direct provide water for guide dogs and consider commentary on the action in between the contact are often the most powerful contracting personal assistants to help blind dialogue of a film. Blind and visually publicity tools. The brochure should also and visually impaired people navigate from impaired people are given a headset at the carry detailed information about access. A vehicles to venue. start of the screening and the information checklist for this is contained in the ACE is relayed live by an audio describer. The publication mentioned above. Always make Access should also be considered in terms description is impartial and highlights aspects sure your staff, particularly your box office of psychological access i.e. is your venue a such as the colour of peoples clothes as and bar staff are properly briefed so they friendly, welcoming place where the audiences many people with a visual impairment can are confident in providing assistance to you are trying to attract feel comfortable? still see colours and shapes and some disabled customers. 18 HOW FILMTO SET FESTIVAL UP A

Budgeting and Cash flow (see Appendices 1, 2, 4 and 5)

Having worked up a reasonable business The visibility of the venue i.e. its T-shirts etc.). However, it would be unwise plan covering the programming and ability to attract passing trade or to invest too much into this area for a new marketing aspects, you will need to work crossover audiences festival as you may end up with unsold out how much money you need to make it stock. The appeal of your programme locally, happen. Firstly you need to establish how regionally and nationally and much your festival will cost in an ideal competition from other leisure world. You can then start looking at the alternatives revenue side of the equation. Press coverage Revenues The size of your venue(s) Sources of revenue fall into three main Your ability to attract a star (i.e. categories: box office, public sector income someone of high profile who will and private income. Once you have set attract people to your event who your ticket price and calculated how much would not otherwise come) revenue you will earn from sales there will Weather

inevitably be a funding gap which you can Negatives Positive Film Festival close by raising funds from these different Ticket price and availability of special sources. If you look at the budget of any offers successful film festival you will find it is Your market research will have indicated The Hurricane made up of a large number of different how big the market is and it may be worth sponsors and supporters and managing talking to organisers of other similar these relationships and sometimes festivals, particularly if they have operated Costs/Expenditure competing interests can be time from the same venue. Assuming that your consuming and expensive. Having worked Costs will vary wildly between festivals and chosen venue(s) has staged film festivals depend on the length and ambition of the out what the funding gap is, you may in the past, it may be possible to get some decide to scale down your festival to set project. idea of attendance levels for other similar Below is a check list of possible costs and more realistic targets. While you may be events. You might also use the occupancy able to balance your budget actually these have been classified into programme/ rate (calculated as the number of seats education/marketing/administration and managing the financing of the operation sold as a percentage of the seats can still prove to be problematic. A cash other costs. You will find many funders available). Clearly this is going to be require this kind of presentation. It is flow forecast is therefore a key next step different for each film or event, depending after the budgeting exercise, especially if impossible to provide a definitive financial on its popularity, day of the week and time model for a festival as each one is so your organisation does not have access to of screening. For many cinemas, average funds to bank roll festival activity. different. Instead, we have included sample occupancy rates are as low as 15 or 20% budgets in the appendices from three which gives you some indication of the different festivals (a larger festival, a Demand forecasting effort you need to invest in marketing. Box medium one and a very small one). These office income is then calculated as the will give you some idea of the kind of In the case of a new festival, it will be number of tickets sold multiplied by the items you need to include and what difficult to gauge how many people are average ticket price. information you need to find out e.g. what going to turn up. On the one hand you want a specialist programmer would charge or to set your sights high and on the other you film rental fees. cannot afford to be overly optimistic. The Other sales revenues following factors will all have a bearing: There may be opportunities to generate The extent of your marketing effort additional trading revenues, for example and size of your budget from bar/catering facilities, souvenir programmes, merchandising (videos, 19 HOW FILMTO SET FESTIVAL UP A

CALCULATE ALL YOUR COSTS (Y) WORK OUT YOUR BOX OFFICE INCOME POTENTIAL (X) BRIDGE THE GAP WITH FUNDRAISING (Z)

In practice, most smaller festivals manage the advertising and promotion budget. This Core costs vs project their cash flow by deferring payments to may have the knock on effect of reducing costs staff and others working on the festival, audiences which in turn will reduce your extending credit terms to the maximum and box office revenues. If a festival is attached to an organisation requesting early draw down of any funds which does other things, inevitably the raised from external sources. Inevitably this A cash flow statement looks at when funds time of other staff and central resources highly unsatisfactory compromise which will be received and when expenditure will be consumed (for example the Festival relies heavily on the goodwill and enthusiasm occurs for your project in order to identify Co-ordinator will occupy a desk and use of staff and volunteers, cannot be maintained any potential cash shortages and develop the telephone for a period of time). It is in the longer term. However, it is often a strategies for dealing with this. A cash flow certainly worth trying to apportion some choice between doing this or not having a forecast is different from an income and of these costs to the festival budget. Most festival at all. There is also an element of expenditure budget because it takes into arts organisations now try to recover some risk, in that box office targets may not be account these timing differences and deals contribution to their overhead costs from met and funders may take some considerable with actual flows of cash and not just costs project work. You should work out what time to pay over funds or may not pay and revenues, so it should include things these costs are even if you are not over the full amount if audience targets like VAT. successful in raising funds to cover them. have not been met. Where income targets Again, these can be included as in kind cannot be met, the tendency is often to cut support from the sponsoring organisation.

Cash flow (see Appendix 4 for example) As with any business, budgeting is a critical element of the planning process and will serve to highlight some of the operational constraints facing your organisation. One of the key considerations here is cash flow. The two potential sources of revenue (ticket sales and funds raised through sponsorship) flow into the organisation either at the point of sale or retrospectively i.e. during or after the festival. Most of the costs associated with running a festival are incurred in the months running up to the festival, costs such as programme printing, advertising, research, development and running a festival office. If the festival is being run by a larger organisation, it may be possible to bank roll the event through the organisation’s main finances. For a small organisation set up solely for the purposes of running a film festival the cash position is much more difficult to Shots in the Dark manage, particularly if the festival is new

and has no track record. Get Carter 20 X - Y = Z HOW FILMTO SET FESTIVAL UP A

Raising Finance

find out the name of the person you are Private Sources writing to, or which products the company Sponsorship sells. The more you know about an Commercial sponsorship offers the organisation, the better the position you potential to attract some significant will be in to offer them an appealing financial and in kind support but do not package. Remember that company underestimate the amount of time you will sponsorship is a payment for the need to spend organising sponsorship promotion of goods and services. At all deals. Sponsorship is normally part of the costs avoid offering a sponsor something general promotional expenditure of a you are unable to deliver. Equally, don’t business and although that can encompass allow sponsors to feel that they can a sense of corporate or social influence the creative integrity of your responsibility, it is not philanthropy or a festival project; if you feel uncomfortable gift. Some companies do make with the extent of involvement sought by a philanthropic donations but sums tend to sponsor, it might be better to look be small and often access is restricted to elsewhere for support. community groups. It is also worth investigating the It is important to think carefully about organisation Arts and Business (formerly what you may have to offer each company ABSA). Although not a funder in the first you approach. Local companies might be instance, it does operate New Partners, a prepared to put modest sums into festivals new programme to help maximise business in return for comparatively minor support. New partners is an investment promotional credit in the local area. More programme designed to promote the often, companies are likely to be attracted development of new, sustainable and by an on-screen credit. Companies will be mutually beneficial partnerships between most interested in supporting projects business and the arts. You need to contact which are aimed at an audience section to your regional Arts and Business Manager which they are trying to market their and information is available on their products. They might, for example, be website: www.AandB.org.uk interested in the student market as this is

a more difficult market for them to reach. Often companies may be more willing to Sheffield International Documentary Festival Companies should usually be approached provide support in kind by providing goods via public relations or marketing and services. For example, you may be able departments, although it is always worth to find a brewery who will provide beer for playing on any direct contact with the your opening night launch party or an management you might be able to airline who will fly your speakers for free. establish. Don’t expect to receive a rapid Clearly, you cannot enter the in kind response or necessarily any response at support into your accounts. However, it is all. It is good practice to follow up an worth totting up the value of in kind initial letter with a telephone call. Be support as this can sometimes be used as aware that sponsorship is a game of partnership funding and it is always useful delicate negotiation and not something to know the real costs of running the Jr A Mr Leuchter, Death: of The Fred Rise and Fall that will happen overnight. festival for future reference.

As with any type of fundraising it is vital to If you wish to pursue this source of do your research: nobody is going to take funding, a particularly useful publication is 21 you seriously if you haven’t bothered to the Guide to UK Company Giving published by the Directory of Social Change. This HOW FILMTO SET FESTIVAL UP A

should be available in most public libraries as it is expensive to purchase. A brief overview of the Regional Arts Boards UK arts and film funding Regional Arts Lottery Programme Raising Money from Charitable Trusts (RALP) Money from charitable trusts is often system Support is available for arts projects, small available, particularly for voluntary groups The Arts Council of England (ACE) was scale capital and organisational and organisations wishing to work on restructured in 1998 and much of its development. Grants can range from community projects. Many large companies funding has been delegated to the ten £2,000 to £100,000, or perhaps higher for create trusts which are often most active English Regional Arts Boards (RABs), while projects involving all three elements. The in the region in which their head office or most funds for film have been transferred programme aims to support five areas of manufacturing base is located. to the national body for film - the Film work: access, education, production and Council. At the time of going to press distribution, investment in artists, and the Different trusts have varying and often further structural changes are under way development to help build sustainability of very precise rules of eligibility: many will which aim to merge ACE with the RABs. arts organisations. not consider your application unless you are yourself a registered charity and an The Scottish Arts Council, Arts Council of Applications will be assessed according to even greater number won’t make grants to Wales and Arts Council of Northern Ireland five criteria: quality of artistic and individuals. As with sponsorship you have some schemes for which film festivals educational activity; public benefit; ability cannot necessarily expect a quick would be eligible. You should contact each to manage the project; contribution to turnaround on your application - some organisation directly if you are based outside regional and national priorities; and trusts may hold their meetings as England and they will be able to give details financial viability. Each RAB has set its own infrequently as once or twice a year. of the relevant funding programmes. priorities for the scheme and you should contact your local Board to find out what If you are interested in this source of The four nations (of the United Kingdom) these are. Applicants must be formally funding, a number of useful publications have funded agencies dedicated to constituted as an organisation with a bank exists, in particular the Directory of Grant- supporting industrial and cultural film account. Making Trusts and Funding Digest, a production and exhibition: the Film Council, monthly publication aimed primarily at Scottish Screen, Sgrîn (in Wales) and the There are no deadlines for applications voluntary organisations. Both are often Northern Ireland Film Commission. At the and decisions will be taken within four available in public libraries. time of writing the regional arrangements months. for film in England are in the process of Public Sector Sources being developed. It is anticipated that New Audience Programme there will be an integrated screen agency £4 million has been made available to the When you are approaching any publicly in each of the Government Office regions, RABs to work with partner organisations funded body for support it is worth funded directly by the Film Council. These who target communities with fewer remembering that you will need to prepare will assume a similar remit to the two opportunities to access the arts than most. your case for funding in as much, if not existing regional agencies in London and Detailed guidelines on this scheme are more, detail as you would for a private the South West - the London Film and available from the RABs. sponsor. Sometimes there is an assumed Video Development Agency and the South leniency by organisations that apply for West Media Development Agency. Both Other schemes public funding. If anything, these bodies these organisations offer various The English RABs may have other funding are more stringent in their monitoring as exhibition based schemes and you should schemes available for which film festivals they have to be publicly accountable for contact them directly for up to date would be eligible. Contact your local Board any monies spent and often have to information. To find out about progress on for details. produce performance analyses of their the other regional screen agencies you funded clients. should contact the Film Council.

22 Birmingham International Film and TV Festival A Room For Romeo Brass Romeo Brass A Room For

Awards for All New Opportunities Fund The two main routes of application are: Individual bids coming from either a Awards for All is a scheme jointly run by (NOF) cinema or a school. the Heritage Lottery Fund, ACE, Sport England and the National Lottery Charities The New Opportunities Fund was established Education Authority co-ordinated bids Board. The scheme offers a one-stop-shop to enable Lottery funds to be spent in the for work taking place in a number of service, distributing grants of between areas of health and education. Any projects schools. funded from Lottery funds must be additional £500 and £5,000 to community and Applicants should ensure that they speak to existing statutory provision. Under voluntary groups for arts, charities, sports to their Study Support Officer at their existing schemes and priorities, there is or heritage activities. Priority will be given Local Education Authority before applying only one fund which may have some to organisations with a turnover of less for funding directly. than £15,000 per annum. There are no application to film festivals as follows and deadlines for the scheme and it aims to this is time limited so you will need to reach decisions within 3 months of contact NOF for up to date information. Local Authority Funding submission of an application. Local authorities in the UK contribute substantially more funding for the arts than Awards for All is a national programme but Out Of School Hours Learning any other agency. The funding sources and operates through nine regional offices in £205 million is available in total: £180 budgets vary significantly from one council England. Each region has some areas of million across the UK for out of school to the next and in some authorities arts special interest it wishes to focus on. hours learning activities and £25 million for budgets have been cut significantly where Details are provided in the application summer school activities. NOF will fund any they are not regarded as a priority. The pack. kind of activity which enhances and complements the school curriculum, names of departments you will need to contact also vary but festival funding is Further information is available on 0845 whether arts, sports, maths, or a standard often accessed via arts, tourism and 600 2040, or from the website homework club. The education programme leisure departments or economic www.awardsforall.org.uk of a film festival qualifies as this kind of activity. Activities do not have to be narrowly development. Support can either be curriculum based. They must, in the available in the form of grants or in kind, broadest sense, enhance motivation, self such as access to free training or use of esteem and improve pupil performance. council facilities.

23 HOW FILMTO SET FESTIVAL UP A

SPONSORS ARE NOT JUST PHILANTHROPISTS Le Le Dernier Rève (The Last Dream) Brief Film Encounters Festival CONTACT YOUR LOCAL AUTHORITY

CONTACT YOUR NATIONAL ARTS COUNCIL IN SCOTLAND, WALES OR NORTHERN IRELAND

CONTACT YOUR REGIONAL ARTS BOARD OR MEDIA DEVELOPMENT AGENCY IN ENGLAND

There are certain conditions attached to secured quite significant sums. For the European Funding and membership of the Co-ordination and only smaller organisation, it is probably support the larger UK film festivals tend to qualify. advisable to contact your Regional Arts However, a new corporate membership Board or screen agency in the first scheme has been developed to enable instance. In many areas, local authorities MEDIA PLUS Media Development Agencies to access and other organisations have worked in MEDIA PLUS follows on from MEDIA I and information about key issues regarding partnership to secure funds for media or MEDIA II. It is a European Union funding film festivals in Europe on behalf of cultural industries development. To find programme managed by the European smaller film festivals in their regions. out more about European funding contact Commission in Brussels. MEDIA PLUS runs your local Government Office. It should be from January 2000 until December 2005. Contact www.eurofilmfest.org for up to noted that European structural funds are MEDIA PLUS will include funding provision date information about its activities and likely to dry up in the UK as membership of for film festivals but the kind of support projects. the EC is expanded to include the countries and budgets had not been finalised at the of Eastern Europe. time of writing. To subscribe online for more information contact the web-site European Regional www.mediadesk.co.uk. Development Fund European Co-ordination (ERDF) and INTERREG These are both structural funds which of Film Festivals work towards the goal of achieving economic and social cohesion in the The European Co-ordination of Film European Union. ERDF money is allocated Festivals is a membership organisation over Objective 1 and 2 areas in the UK. which aims to develop and strengthen the INTERREG money is used for border areas sector through promotion and in the UK. European funding is a very collaboration. It is not a funding body but complex area and although there are it provides support for members through precedents for funding film festivals from ECFF programming projects, conferences this source, these have tended to be the and staff training. larger, established festivals which have

24 HOW FILMTO SET FESTIVAL UP A International Film Festival of Wales International Film Festival

The Low The Down Low Evaluation

You should start planning the evaluation Quantitative evaluation assesses process at the outset so that it becomes numerical outputs such as numbers of an integral part of the planning cycle attendances which involves all members of the team. Some examples of the evaluation methods Begin by identifying your objectives and you could use are: expectations for the festival - both your own and those of other stake-holders. Your Research (Including questionnaires, sponsors and funders will probably have feedback groups and one to one

specific expectations. With your sponsors it interviews) Film Festival Foyle is imperative to have a written record of Documentation - this could include

the relationship and expectations of both Saltwater photographs of guest speakers, events parties. Your audience, your partners, your or video recordings of education work, sponsors and your staff should all press cuttings and finished work for Presentation of results participate in the evaluation. example if the festival has award The evaluation format may be dictated to winners Allow adequate planning time, staffing and you by your funders or supporters and financial resources for this process. It is Comments boxes they may provide a form to fill in. Other easy amidst the pressure of a festival for possible formats include report, video and Meetings with stakeholders and evaluation processes to be neglected. If CD Rom. You will need to think about who partners undertaking audience research it maybe an the feedback will go to and whether there idea to use a specialist to design Observation - listen to the are any specific requirements e.g. should it questionnaires and conduct their analysis. observations and opinions of front of be large print or bilingual? house staff - they can provide You need to consider two types of evaluation: customer feedback on how easy it was For more information on evaluation to find the venue, what they thought processes we would recommend Guide to Qualitative evaluation assesses quality of the facilities and the films etc. Evaluation published by the Arts Council of of experience for example, what did England designed to support their Artists participants gain? in Sites for Learning Scheme, by Peter Mosley.

PLAN EVALUATION AT THE OUTSET INCLUDE QUALITATIVE AS WELL AS QUANTITATIVE MEASURES

INVOLVE STAKEHOLDERS AND STAFF PUBLISH THE RESULTS

25 HOW FILMTO SET FESTIVAL UP A Useful Contacts

NATIONAL BODIES BFFS Midland Group Charities Commission Media Antenna Wales Arts Business The Villas (England & Wales) c/o Sgrîn 31 St. Martins Lane 86 School Lane Harmsworth House The Bank London WC2N 4ER Cookshill 13-15 Bouverie Street 10 Mount Stuart Square Tel: 020 7420 9700 Caverswall ST11 9EN London EC4Y 8DP Cardiff Bay Website: www.ablconsulting.com Tel: 08703330123 Cardiff BFFS North West Group Website: www.charity- Wales CF10 5EE Arts Council of England 14 Croft Gate commission.gov.uk Tel: 029 2033 3304 14 Great Peter Street Preston PR2 806 Website: www.sgrin.co.uk London SW1P 3NQ Cinema Exhibitors Association Tel: 020 7333 0100 BFFS Scottish Group 22 Golden Square New Opportunites Fund Website: www.artscouncil.org.uk Tweedle Court London W1R 3PA Dacre House 14 High Street Tel: 020 7734 9551 19 Dacre Street Arts Council of Northern Ireland Edinburgh EH1 1TE London SW1H 0DH MacNeice House Companies House Tel: 0845 000 0121 77 Malone Road BFFS South West Group Crown Way Belfast BT9 6AQ 6 Devonshire Road Cardiff CF14 3UZ Society of Film Distributors Tel: 02890 385 200 Westbury Park Tel: 02920 380 801 22 Golden Square Website: www. artscouncil-ni.org Bristol B56 7NJ Website: companieshouse.gov.uk London W1R 3PA Tel: 020 7437 4384 Arts Council of Scotland BFFS Student Group Directory of Social Change 12 Manor Place 133/6 Dalkeith Road 24 Stephenson Way REGIONAL ARTS BOARDS, Edinburgh EH3 7DD Edinburgh EH16 5AH London NW1 2PD MEDIA DEVELOPMENT Tel: 0131 226 6051 Tel:0131 667 4181 Tel: 020 7209 4949 AGENCIES, NATIONAL Website: www.sac.org.uk Website: www.bffs.org/uk/student/ Website: www.dsc.org SCREEN AGENCIES Eastern Arts Board Arts Council of Wales British Film Commission English Regional Arts Boards Cherry Hinton Hall Holst House 10, Little Portland Street 5 City Road Cherry Hinton Road 9 Museum Place London W1N 7JG Winchester Cambridge CB1 8DW Cardiff CF10 3NX Tel: 020 7224 5000 Hampshire SO23 8SD Tel: 01223 215 355 Tel: 02920 376 500 Website: www.filmcouncil.org.uk Tel: 01962 851 063 Website: www.eab.org.uk Website: www.ccc-acw.org.uk Website: www.arts.org.uk British Film Institute East Midlands Arts Board Artsline 21 Stephen Street European Co-ordination of Film Mountfields House 8 St Clements Street London W1P 2LN Festivals Epinal Way Winchester SO23 9DR Tel: 020 255 1444 64 rue Phillipe le Bon Loughborough Tel: 01962 864 411 Website: www.bfi.org.uk B-1000 Bruxelles Leicestershire E11 0QE Website: www.artsline.co.uk Tel: +32 2 280 13 76 Tel: 01509 218 292 bfi Collections Website: www.arts.org.uk British Board of Film Classication Film Council 3 Soho Square Cataloguing (NFTVA) 10 Little Portland Street London Arts Board London W1D 3HD Tel: 020 7957 8971 London W1W 7JG Elme House Tel: 020 7440 1570 Email:[email protected] Tel: 020 7861 7861 133 Long Acre Website: www.bbfc.co.uk Website: www.filmcouncil.org.uk London WC2E 9AF Archive bookings (NFTVA) Tel: 020 7240 1313 British Council Tel: 020 7255 1444 Film Education Website: www.arts.org.uk/lab Films & Television Department Email:[email protected] Alhambra House 11 Portland Place 27-31 Charing Cross Road London Film & Video Development London W1B IEJ bfi Education Department London WC2H 0AH Agency Tel: 020 7389 3065 Alpa Patel/Kate Fielder Tel: 020 7976 2291 114 Whitfield Street Website: www.britfilms.com Tel: 020 7957 4787 Website: www.filmeducation.org.uk London W1T 5EF Tel: 020 7383 7755 British Federation of Film bfi Exhibition Department Media Desk England Website: www.lfvda.demon.co.uk Societies (BFFS) Pippa Eldridge (Interim contact details) The Ritz Building Tel: 020 7815 1419 249 West George Street Northern Arts Board Mount Pleasant Campus Glasgow G2 4QE Central Square Swansea SA1 6ED bfi Exhibition Press & Marketing Tel: 0870 0100 791 Forth Street Tel: 01792 481170 Department Website: www.mediadesk.co.uk Newcastle Upon Tyne Fax: 01792 462219 Charlotte Allibone NE2 1NZ Tel: 020 7815 1306 Media Antenna Scotland Tel: 0191 255 8500 BFFS Eastern Group 249 West George Street Website: www.arts.org.uk/nab Kennel Cottage Glasgow G2 4QE Burton Tel: 0870 0100 791 Nr Lincoln LN1 2RD Website: www.mediadesk.co.uk 26 Northern Ireland Film Commission Yorkshire Arts Board Film Four Twentieth Century Fox Film Co 21 Ormeau Avenue 21 Bond Street 76-78 Charlotte Street 20th Century House Belfast BT2 8HD Dewsbury WF13 1AX London W1P 1LX 31-32 Soho Square Tel: 02890 232 444 Tel: 01924 455 555 Tel: 020 7868 7700 London W1V 6AP Website: www.nifc.co.uk Website: www.arts.org.uk Website: www.filmfour.com Tel: 020 7437 7766 Fax: 020 7734 3187 North West Arts Board DISTRIBUTORS Hollywood Classics Manchester House Alliance Atlantis & Momentum 8 Cleveland Gardens UIP (United International 22 Bridge Street Pictures London W2 6HA Pictures(UK)) Manchester M3 3AB 2nd Floor Tel: 020 762 4646 12, Golden Square Tel: 0161 834 6644 184-192 Drummond Street London W1A2JL Website: www.arts.org.uk/nwab London NW1 3HP ICA Projects Tel: 020 7534 5200 Tel: 020 7391 6900 12 Carlton House Terrace Tax: 020 7636 4118 Scottish Screen London SW1Y 5AH 249 West George Street Artificial Eye Tel: 020 7930 0493 Warner Bros Distributors Glasgow G2 4QE 14 King Street Website: www.ica.org.uk 153 Wardour Street Tel: 0141 302 1700 London WC2E 8HN London W1V 4AP Website: www.scottishscreen.com Tel: 020 7240 5353 Icon Film Distribution Tel: 020 7734 8400 Website: artificial-eye.com The Quadrangle Fax: 020 7437 2950 Sgrîn 4th Floor The Bank Buena Vista International (UK) 180 Wardour Street Winstone Films 10 Mount Stuart Square Beaumont House London W1V 3AA 18 Craignish Avenue Cardiff CF10 5EE Kensington Village Tel: 020 7494 8100 Norbury Tel: 02920 333 300 Avonmore Road Website: www.icon-online.com London SW16 4RW Website: www.sgrin.co.uk London W14 8TS Tel: 020 8765 0240 Tel: 020 7605 2890 Lux [email protected] South East Arts Board Fax: 020 7605 2827 2-4 Hoxton Square 3rd Floor London N1 6NU ACCESS Union House Cinenova Tel: 020 7684 2782 Adapt Fund Tunbridge Wells 113 Roman Road Website: www.lux.org.uk Cameron House Kent TN4 8HF London E2 0QN Abbey Park Place Tel: 01892 507 200 Tel: 020 8981 6828 Metro Tartan Dunfermline Website: www.arts.org.uk/seab Website: www.cinenova.org Atlantic House Fife KY12 7PZ 5 Wardour Street Tel: 01383 623 166 Southern Arts Board Columbia Tristar Films (UK) London W1D 6PD 13 St Clement Street Europe House Tel: 020 7494 14000 National Disability Arts Forum Winchester 25 Golden Square All Saints Church Hants SO23 9DQ London W1R 6LU Metrodome Akenside Hill Tel: 01962 855 099 Tel: 020 7533 1111 110 Park Street Newcastle NE1 2EW Website: www.arts.org.uk/sab Fax: 020 7533 1105 London W1K 6NX Tel/minicom: 0191 261 1628 Tel: 020 7408 2121 South West Arts Board Downtown Pictures Website: www.metrodomegroup.com RNIB (Royal National Institute for Bradninch Place St. Georges House the Blind) Gandy Street 4th Floor Optimum Releasing 224 Great Portland Street Exeter EX4 3LS 14-17 Wells Street 1st Floor London W1N 6AA Tel: 01392 218 188 London W1P 3FP 143 Charing Cross Road Tel: 020 7388 1266 Website: www.swa.co.uk Tel: 020 7323 6604 London WC2M 0EE Tel: 020 7478 4466 RNID (Royal National Institute for South West Media Development Entertainment Website: www.optimum.com Deaf People) Agency 27 Soho Square 19-23 Featherstone Street 59 Prince Street London W1V 6HU Pathé London EC1Y 8SL Bristol BS1 4QH Tel: 020 7439 1606 Kent House Tel: 020 8808 0123 Tel: 0117 927 3226 14-17 Market Place minicom: 080 8808 9000 Website: Feature Film Company London W1N 8AR www.swmediadevagency.co.uk 68-70 Wardour Street Tel: 020 7323 5151 British Deaf Association London W1V 3HP Website: www.pathe.co.uk 1-3 Worship Street West Midlands Arts Board Tel: 020 7734 2266 London EC2A 2AB 82 Granville Street www.featurefilm.co.uk Redbus Film Group Tel: 020 7588 3520 Birmingham B1 2LH 17-18 Henrietta Street Website: www.bda.org.uk Tel: 0121 631 3121 Film & Video Umbrella London WC2 E8QH Website: www.arts.org.uk/wmab 2 Rugby Street Tel: 020 7836 2030 London WC1N 3QZ Website: www.films.redbus.co.uk Tel: 020 7831 7753 Website: www.fvumbrella.com 27 HOW FILMTO SET FESTIVAL UP A

FILM ARCHIVES The South West England Film & Government Office for the West Directory of Grant Making Trusts NATIONAL FILM ARCHIVES: Television Archive Midlands 1999/2000 National Film & Television Archive New Cooperage 77 Paradise Circus Price: £89.95 21 Stephen Street Royal William Yard Queensway (Contact the Directory of Social London W1P 1LN Stonehouse Birmingham B1 2DT Change for further info: Tel: 020 7255 1444 Plymouth Tel: 0121 212 5343 www.dsc.org.uk) Website: www.bfi.org.uk Devon PL1 3RP Tel: 01752 202 650 Government Office for Yorkshire A Guide to UK Company Giving Scottish Film & Television Archive Website: www.geocites.com/athens/ and Humberside Price: £25.00 1 Bowmont Gardens atlantis/1802/fta.htm City House (Contact the Directory of Social Glasgow G2 9LR PO Box 213 Change for further info: Tel: 0141 337 7400 Wessex Film & Sound Archive New Station Street www.dsc.org.uk) Website: www.scottishscreen.com Hampshire Record Office Leeds LS1 4US Sussex Street Tel: 0113 283 5452 Guide to Evaluation Wales Film & Television Archive Winchester S023 8TH by Pete Mosley Unit 1, Aberystwyth Science Park Tel: 01962 847 742 TECHNICAL (Please contact Arts Council of Cefn Llan Cinema Services Ltd England for further details: Aberystwyth Yorkshire Film Archive (Specialists in screens, curtains and www.artscouncil.org.uk) Dyfed SY23 3AH College of Ripon & York wall drapes) Tel: 01970 626007 St. John College Road Unit 32 Guidelines for Marketing to Ripon HG4 2QX College Street Disabled Audiences Imperial War Museum Film and Tel: 01765 602 691 Kempston (Please contact Arts Council of Video Archive Bedford MK42 8UL England for Further Details) Lambeth Road REGIONAL GOVERNMENT Tel: 01234 326 574 London SE1 6HZ OFFICES Funding Digest Tel: 020 7416 5000 Government office for the East of Frank Powell & C RTI Publications Website: www.iwm.org.uk England (screens and masking) Suite 1.02 St Marys Centre Building A, West Brook Centre 9 Heather Close Oystershell Lane ENGLISH REGIONAL FILM Milton Road St Leonards Newcastle NE4 5QS ARCHIVES Cambridge CB4 1YG Ringwood Tel: 0191 232 6942 East Anglian Film Archive Tel: 01223 346 748 Hampshire BH24 2QJ University of East Anglia Tel: 01202 872 543 Partnerships for Learning Norwich NR4 7TJ Government Office for the East by Felicity Woolf Tel: 01603 592 664 Midlands Projection Display Services (Please contact Arts Council of Website: www.uea.ac.uk/eafa/ Belgrave Centre (outdoor projection) England for Further Details) Stanley Place Stanlake Mews Media Archive of Central England Talbot Street Shepherds Bush W12 7HS Screen Finance The Institute of Film Studies Nottingham NG1 5GG Tel: 020 8749 2201 Customer Services School of American and Canadian Tel: 0115 971 2766 Website: Informa Media Group Studies www.projectdisplay.demon.co.uk 20 Berners Street University of Nottingham Government Office for London London W1T 3NA University Park Riverwalk House USEFUL PUBLICATIONS Tel: 020 7453 2331 Nottingham NG7 2RD 157-166 Millbank Arts Business Tel: 0115 846 6448 London SW1P 4RR PO BOX 957 Screen International Fax 0115 951 4270 Tel: 020 7217 3514 Cottenham EMAP e:mail: Cambridge CB4 8AB Audit House [email protected] Government Office for the North East Tel: 01954 250 600 260 Field End Road Wellbar House Rusilip North West Film Archive Gallowgate Arts Research Middlesex HA4 9LT Manchester Metropolitan University Newcastle Upon Tyne NE1 4TD 52 Norland Square Tel: 020 8956 3015 Minshull House Tel: 0191 202 3878 London W11 4PZ 47-49 Chorlton Street Tel: 020 7229 2710 Variety Manchester M1 3EU Government Office for the North West 6 Bell Yard Tel: 0161 247 3097 Sunley Tower bfi Film and Television Handbook London WC2A 2JR Website: www.nwfa.mmu.ac.uk Piccadilly Plaza Price: £20.00 Tel: 020 7520 5222 Manchester M1 4BE (please contact bfi for further details) Website: www.variety.com Northern Region Film & Television Tel: 0161 952 4341 Archive bfi Associate Tutor Scheme USEFUL WEBSITES Blanford House Government Office for the South East (please contact Nicky North/Kate http://www.artsline.co.uk Blanford Square Bridge House Fielder at the bfi for further info) http://www.bfi.org.uk Newcastle upon Tyne NE1 4JA 1 Walnut Tree Close http://www.filmcouncil.org.uk Tel: 0191 232 6789 Guilford GU1 4GA Film Festivals and the Provision of Tel: 01483 882 281 Informal Education Opportunities http://www.filmfestivals.com South East Film & Video Archive (please contact Alpa Patel/Kate http://www.filmfestivalspro.com University of Brighton Government Office for the South West Fielder at the bfi for further info) http://www.6degrees.co.uk Grand Parade 4th floor http://www.reelscreen.com Brighton BN2 2JY The Pithay http://www.variety.com Tel: 01273 643 213 Bristol BS1 2PB Tel: 0117 900 1839 http://www.netribution.co.uk 28 Appendix 1 Small Film Festival 2000 - Detailed Budget Budget Actual Income Box Office 1,000 1655.70 Grants/Sponsorship 3,000 2067.53 Total 4,000 3723.23

Expenditure Venue Hire 800 329 Film Prints/transport 600 543.78 Equipment 700 1131.78 Speaker costs 600 450 Educational Materials 200 Marketing/pub 600 367.53 Ticket printing 100 Postage 200 Contingency 200 118.39 Catering 0 557.50 Admin/Staff 0 200 Total 4,000 3697.68 Surplus/(Deficit) 0 25.55

Appendix 2 Medium Film Festival Budget 2000 2000 2000 1999 Expenditure Revised Original Actual Premises costs 8,000 8,000 3,600 Wages 4,200 4,200 3,800 Publicity 6,750 6,750 5,127 Guest accomodation 1,200 1,200 684 Guest Travel 2,700 2,700 1,260 Guest transport 500 500 402 Hospitalitiy 800 800 375 Opening reception 500 500 0 Film Hire 6,660 9,460 1,372 Film transport 2,400 2,400 1,461 Carriage (other venues) 300 300 0 Postage 300 300 278 Phone/fax 600 600 500 Equipment Hire 0 0 50 Travel 50 50 0 Istanbul Film Festival attendance 400 400 251 Discussion animateurs/interpreters 500 500 115 Children’s play (476 plays) 0 0 157 Short film programme coordinator fee 640 840 200 Total Expenditure 36,500 39,500 19,632

Income Box office net 27,000 27,000 16,180 Grants: bfi 3,000 6,000 2,000 LFVDA 3,000 3,000 2,000 LBH 0 0 0 LBGC 000 Sponsorship 3,500 3,500 2,960 Total Income 36,500 39,500 23,140 Surplus/Deficit 0 0 3,508

29 HOW FILMTO SET FESTIVAL UP A

Appendix 3 THE SIMPLE INTERNATIONAL FILM FESTIVAL

TASK Week no 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 Board planning meeting Setting Festival Objectives Produce budget Produce cash flow Looking for partners Negotiating a venue Recruit staff Operations Meeting Print research Contact Distributors Call for submissions Raising Sponsorship Approching Sponsors Scheduling/Booking Licensing and Certification Contacting teachers Contacting speakers Writing brochure copy Accessing stills Send brochure to designer Circulate brochure/flyers Contact press Advertising Arranging print transportation Monitoring and Evaluation

Appendix 4

Cash Flow Forecast The Simple International Film Festival Festival 1234567891011 Income Box Office Receipts 35000 bfi Grant 10000 RAB Grant 22000 Sponsorship 1 1200 Sponsorship 2 200 Sponsorship 3 500 Sponsorship 4 2300 Total Income000000002Total 3400 35500 12300 Expenditure Staff 1620 1620 1620 1620 1620 1620 1620 3900 4700 4700 1620 Film rental 6000 6000 Travel & Subsistence 85 Guests 1500 2500 Design & Print 15000 Advertising 750 750 Web Development 600 Office rent 200 200 200 200 200 200 200 200 200 200 200 Utilities 56 56 56 56 Phone 250 250 250 250 Stationery 15 15 15 15 15 15 15 15 15 15 15 Photocopying 25 25 25 25 25 25 25 25 25 25 25 Recruitment 270 270 Legal 700 Insurance 500 Bank Interest 25 45 65 85 250 270 310 370 220 40 0 Audit Postage 20 20 20 20 20 20 150 150 20 20 20 Total Expenditure 2510 1981 1945 2215 17186 2420 3070 6066 8130 13750 7936 Cash Flow -2510 -1981 -1945 -2215 -17186 -2420 -3070 -6066 15270 21750 4364 30 Opening balance 0 -2510 -4491 -6436 -8651 -25837 -28257 -31327 -37393 -22123 -373 Closing balance -2510 -4491 -6436 -8651 -25837 -28257 -31327 -37393 -22123 -373 3991 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54

12 Totals 35000 10000 22000 1200 200 500 2300 0 71200 1620 27880 12000 85 4000 15000 1500 600 200 2400 224 1000 15 180 25 300 540 700 500 0 1680 600 600 20 500 2480 69689 -2480 1511 3991 1511 HOW FILMTO SET FESTIVAL UP A

Appendix 5 Large Film Festival Budget 2000/2001

Expected Income 2000/01 Qty Unit Cost Notes Core Activity Box Office 8,978 19 screenings, 62% occupancy, £3.75 av. price Conference/Seminar fees no charge for roundtable seminar sub total 8,978 Supplementary activity Interest 500 Other Sales (delegates) 40 10 400 sub total 900 Educational acitivity Briefing Series fees 900 6 events, 30/event £5.00 av. price Formal education fees 0 no charge for Ed-events Other education fees sub total 900 Sponsorship Major sponsorship 15,000 try Sony, Pathé, Stella Artois... Aardman Animation 3,500 Confirmed Atom Films 2,000 tbc - Audience Award Bank of Wales 750 tbc - Friend BBC 6,000 tbc BCC 12,500 Confirmed BFV 850 tbc - Friend Bristol & West Channel 4 2,000 tbc Orange 4,500 tbc - Launch Economic Development 1,000 tbc - Briefing Series HTV 10,000 tbc Kodak 1,500 tbc - plus printing, Regional receptim, bags NatWest Life 2,700 tbc - Educational Programme Panasonic Broadcast tbc - DepicT! prize Rushes 3,000 Confirmed - DepicT! Soho 601 3,000 tbc - Best of British WESTEC 2,000 tbc - Briefing Series sub-total 70,300 Trusts/Donations bfi Film Festival Fund 8,000 tbc - DepicT! on line project ECFF Roundtable Funding 6,927 50% costs + 4,000 euros (1.6 euros: £1) SWA 1,000 tbc SWEB 500 tbc SWMDA 4,000 Confirmed sub-total 20,427 Total Expected Income 101,505

32 Expected Expenditure 2000/01 Notes Artistic Programme Oty Cost £ Programme consulting/fees 6,500 6,000 CDF, £500 other programmers Film carriage & duties 3,000 Film rental costs 400 Equipment hire: Video projectors 2 700 1,400 16mm projector for Imax 2 100 200 Awards/prizes 2,000 1 x £1,000 (audience) 2 x £500 (jury) Facilities hire: W C1 screenings 11 200 22,00 based on 1999 A C1 screenings 7 200 1,400 based on Watershed Imax screenings 2 200 400 Estimated cost Roundtable seminar room hire 700 Estimated cost W G2 hire 4.5 650 2,925 based on 1999 w/e rate W’screen reception room hire 1 400 400 Estimated cost Late licence applications 1 50 50 Projection costs 350 Estimated cost Attendance fees/expenses 1,000 Roundtable fees/expenses 3,650 see separate bugdet - sheet 3 Refreshments at events: Drinks receptions 1 250 250 Closing night reception 1 400 400 Regional reception 1 995 995 Roundtable refreshments 2,480 see separate budget - sheet 3 Festival trailer 50 DepicT! 7,653 see separate budget sub-total 38,403 Marketing Design, artwork & printing 11,000 see separate budget PR 35 200 7,000 £200/day inc. expenses Research & Development 1,000 Entertaining 250 Guests: hotel nights 30 40 1,200 Photography & video 5 40 200 5 hours at £30/hr plus films etc. Distribution costs 600 Website 1,500 Sub-total 22,750 Education Speakers/trainers fees/expenses 1,000 Facilities hire: W’shops 1,000 6 x Briefings + 1 x Script Factory Script Factory fee 1,750 Refreshments at events: 500 Education pack: Design & Print 1,500 based on 250 produced Video production 250 1.20 300 Use of video 500 fee to film makers Folder 1,500 based on 500 produced Writer/researcher fee 1,000 expenses inlcuded in fee Interview fees 5 15 75 Depict On Line Project 8,000 see separate budget Publicity (Briefing Series Leaflet) 1,000 poss. to get paid for by Kodak Sub-total 18,125 Total carried forward 79,278 Total brought forward 79,278 Staff Salaries (inc. NI etc.) 17,176 60% Festival Manager x 12 months, Assistant x 9 months Expenses 1,200 60% of overall costs Training 500 Sub-total 18,876 Administration Postage, telephone etc3,600 60% of overall costs Audit/accountancy fees 300 60% of overall costs Stationary 12 150 1,080 60% of 150/month (inc. letterhead, envelopes etc) Bank charges 120 60% of overall costs Sundry 180 60% of overall costs Sub total 5,280 Frundraising Entertaining 250 Events: Launch room hire 1 400 400 Estimated cost Launch refreshments 180 8 1,440 2 glasses sparkling wine & canapes Sub-total 2,090 Total Expected Expenditure 103,434 Contigency of 5% 5,172 Surplus/deficit 7,101 33