AnnuAL REPORT OF BORD SCAnnÁn nA ... - Irish Film Board

AnnuAl RepoRt/ 

Ráitis AiRgeAdAis 

2009

COnTEnTS/ÁBHAIR 

Published by/Foilsithe ag 

Bord Scannán na hÉireann/the Irish Film Board 

Queensgate, 23 Dock Road, Galway, Ireland 

Tel +353 91 561 398, Fax +353 91 561 405 

info@irishfilmboard.ie www.irishfilmboard.ie 

Board Members/Comhaltaí 

James Morris (Chair) 

Johnny Gogan 

Barry Grace 

Lesley McKimm 

Kevin Moriarty 

Tristan Orpen Lynch 

Kirsten Sheridan 

Chief Executive/An Príomhfheidhmeannach 

James Hickey 

Business Affairs/Chúrsaí Ghnó 

Head of Business Affairs/Ceannasaí Chúrsaí Gnó 

Teresa McGrane 

Financial Controller/Rialtóir Airgeadais 

Celine Forde 

Business and Legal Affairs Executive/ 

Feidhmeannach Gnó agus Cúrsaí Dlí 

Mark Byrne 

Industry Affairs Executive/ 

Feidhmeannach Cúrsaí Tionscail 

Patrick O’Neill 

Business and Legal Affairs Co-Ordinator/ 

Comhordaitheoir Chúsaí Gnó agus Dlí 

Gillian Morrow 

Accounts Co-ordinator/Comhordaitheoir Cúntas 

Suzanne Keane 

Production & Development/Léiriúcháin 7 Forbartha 

Production Executives/Feidhmeannach Léiriúcháin 

Alan Maher and Emma Scott 

Development Executive/Feidhmeannach Forbartha 

Andrew Meehan 

Production & Development Co-ordinator/ 

Comhordaitheoir Léiriúcháin agus Forbartha 

Sarah Dillon 

Applications & Schemes Co-ordinator/ 

Comhordaitheoir Iarratas agus Scéimeanna 

Jill McGregor 

Marketing/Margaíochta 

Marketing and Communications Executive/ 

Feidhmeannach Margaíochta agus Cumarsáide 

Louise Ryan 

Irish Film Commission/Coimisiún Scannán na hÉireann 

Film Commissioner/Coimisinéir Scannán 

Naoise Barry 

Deputy Film Commissioner/Leas-Coimisinéir Scannán 

Mags O’Sullivan 

Administration/Riarachán 

PA to CEO/Cúntóir Pearsanta ag an 

bPríomhoifigeach Feidhmiúcháin 

Niamh O’Reilly 

Office Assistant/Cúntóir Oifige 

Aileen McCauley 

PREAMBLE .............................................................................................................. 2 

RÉAMHRÁ ................................................................................................................ 3 

AnnuAL REPORT OF BORD SCAnnÁn nA hÉIREAnn ........................ 8 

BORD SCAnnÁn nA hÉIREAnn’S OBJECTIvES AnD POLICIES ...... 9 

FInAnCE ................................................................................................................. 10 

STATEMENT OF BOARD RESPONSIBILITIES .............................................................. 11 

STATEMENT OF INTERNAL FINANCIAL CONTROL .................................................... 12 

REPORT OF THE COMPTROLLER AND AuDITOR GENERAL ...................................... 13 

ACCOuNTING POLICIES .............................................................................................. 14 

FINANCIAL STATEMENTS OF BORD SCANNáN NA hÉIREANN/ 

THE IRISH FILM BOARD YEAR ENDED 31 DECEMBER 2009 ...................................... 15 

NOTES TO THE FINANCIAL STATEMENTS .................................................................. 19 

APPEnDICES 

1. CAPITAL COMMITMENTS 2009 ................................................................................ 26 

2. OuTSTANDING COMMITMENTS 2009 ..................................................................... 29 

3. DETAILS OF LOAN CONDITIONS.............................................................................. 32 

4. PRINCIPLES & CRITERIA......................................................................................... 33 

5. LOCATION SERvICES ............................................................................................... 36 

BORD SCAnnÁn nA hÉIREAnn RÁITIS AIRGEADAIS .......................... 37 

CuSPóIRí AGuS BEARTAIS BORD SCAnnÁn nA hÉIREAnn ............ 38 

AIRGEADAS ............................................................................................................. 39 

RáITEAS AR DHuALGAIS CHOMHALTAí AN BHOIRD .................................................. 40 

RáITEAS FAOI CHóRAS RIALAITHE INMHEáNAIGH AIRGEADAIS ............................. 41 

TuAIRISC AN ARD-REACHTAIRE CuNTAS AGuS CISTE ............................................. 42 

BEARTAIS CHuNTASAíOCHTA ..................................................................................... 43 

RáITIS AIRGEADAIS BORD SCANNáN NA hÉIREANN 

DON BHLIAIN DAR CHRíOCH 31 NOLLAIG 2009 ......................................................... 44 

NóTAí AG GABHBáIL LEIS NA RáITIS AIRGEADAIS.................................................... 48 

AGuISíní 

1. TIOMANTAIS CHAIPITIL 2009................................................................................... 55 

2. TIOMANTAIS GAN íOC 2009 ..................................................................................... 58 

3. SONRAí NA GCOINNíOLLACHA IASACHTA ............................................................. 61 

4. PRIONSABAIL & CRITÉIR ........................................................................................ 62 

5. SEIRBHíSí SuíMH .................................................................................................... 65 

FEATuRE FILMS/FADSCAnnÁIn 1993 - 2009 ......................................... 66 

01

02 

EAMON 

PREAMBLE 

InTRODuCTIOn / HIGHLIGHTS 

Throughout 2009, the Irish film industry received significant 

recognition and acclaim at some of the worlds most renowned 

festivals and industry awards. 

Highlights include the A-list Toronto International Film 

Festival, where a record eight Irish films were selected, two 

Emmy awards (Dearbhla Walsh, director and Brendan Gleeson, 

actor), two Golden Globe awards (Colin Farrell and Gabriel 

Byrne), an Academy Award nomination for the IFB short film 

New Boy, two awards at the Sundance Film Festival for Five 

Minutes of Heaven and a Best Actor award at the Tribeca Film 

Festival for Ciaran Hinds for his role in The Eclipse. 

Irish animation talent was applauded as Tomm Moore was 

awarded the Director of the Year prize while Cartoon Saloon 

picked up the Producer of the Year prize at Cartoon Movie for 

The Secret of Kells, meanwhile Brown Bag Films was named 

European Producer of the Year at Cartoon Forum. 

These selections, nominations and awards are a testament to 

the high esteem in which Irish film and filmmaking talent are 

held internationally and reinforces the industry’s reputation for 

both creativity and professionalism. 

FunDInG 

In 2009 Bord Scannán na hÉireann/the Irish Film Board (IFB) 

received a 5.8% decrease in funding which meant the agency’s 

budget decreased from €23.2 million in 2008 to €21.84 million 

in 2009. 

This funding together with improvements to Section 481, the 

Irish tax incentive for film and television production, allowed 

13 Irish features, five co-productions, three animations and 

a dozen documentaries with theatrical ambitions to go into 

production in the year. 

Government funding, provided directly to the sector through 

the IFB is a key component of the entire audiovisual content 

industry. The 2010 budget for the IFB will ensure that the core 

work of the agency to support the development and production 

of indigenous film to be sustained at 2009 levels. 

InITIATIvES 

2009 saw the agency engaging in a number of projects such as 

a strategic plan for the future of Ireland’s content production 

industry, the ‘Give Me Direction’ Screen Writing Conference, 

the PGA ‘Produced By’ Conference and the continued 

development of the Art House Cinema Network. 

THE ECLIPSE 

REAMHRÁ 

RÉAMHRÁ/BuAICPHOInTí 

I gcaitheamh na bliana 2009, bhain tionscal na scannán in Éirinn 

amach aitheantas agus ardmholadh ag cuid de na searmanais 

bhronnta gradam féiltí agus gradam tionscail is iomráití ar fud an 

domhain. 

I measc na mbuaicphointí bhí an mórfhéile, Féile Scannán 

Idirnáisiúnta Toronto, ag ar roghnaíodh curiarracht d’ocht 

scannán Éireannach, dhá ghradam Emmy (Dearbhla Walsh, 

stiúrthóir agus Brendan Gleeson, aisteoir), dhá ghradam Golden 

Globe (Colin Farrell agus Gabriel Byrne), ainmniúchán le 

haghaidh Gradam Academy don ghearrscannán de chuid IFB New 

Boy, dhá ghradam ag Féile Scannán Sundance do Five Minutes of 

Heaven agus bhuaigh Ciaran Hinds gradam don Aisteoir is Fearr 

ag Féile Scannán Tribeca dá ról sa scannán The Eclipse. 

Tugadh moladh don chumas beochana in Éirinn nuair a bhuaigh 

Tomm Moore an duais le haghaidh Stiúrthóir na Bliana agus nuair 

a bhuaigh Cartoon Saloon an duais don Léiritheoir is Fearr le 

haghaidh The Secret of Kells ag Cartoon Movie. Ainmníodh Brown 

Bag Films mar Léiritheoir Eorpach na Bliana ag Cartoon Forum. 

Cruthúnas is ea na roghnúcháin, na hainmniúcháin agus na 

gradaim sin ar an ardmheas a léirítear go hidirnáisiúnta ar 

scannáin agus ar scannánaíocht Éireannach agus cuireann sé le 

clú an tionscail ó thaobh cruthaitheachta agus proifisiúntachta de. 

MAOInIÚ 

Sa bhliain 2009 fuair Bord Scannán na hÉireann/the Irish Film 

Board (IFB) laghdú de 5.8% ina chuid maoiniúcháin, rud a 

chiallaigh gur tháinig laghdú ar bhuiséad na gníomhaireachta ó 

€23.2 milliún sa bhliain 2008 go €21.84 milliún sa bhliain 2009. 

Thug an maoiniú sin, i dteannta feabhsuithe i dtaca le hAlt 481, 

an spreagadh atá in Éirinn le haghaidh léiriú scannáin agus 

teilifíse, an deis chun léiriúchán a thosú ar thrí phríomhscannán 

déag Éireannach, cúig comhléiriúchán, trí scannán beochana 

agus dosaen scannán faisnéise, a bhfuil sé mar sprioc iad a 

thaispeáint in amharclanna, i rith na bliana. 

Tá maoiniú ón Rialtas, a sholáthraítear don earnáil go díreach tríd 

an IFB, ina phríomhpháirt den tionscal lánais chlosamhairc ar 

fad. Cinnteoidh buiséad an IFB don bhliain 2010 go gcoimeádfar 

príomhshaothar na gníomhaireachta, ‘sé sin scannáin 

dúchasacha a fhorbairt agus a léiriú, ag leibhéil na bliana 2009. 

TIOnSCnAIMH 

Sa bhliain 2009 ghabh an ghníomhaireacht i mbun líon áirithe 

tionscadal ar nós plean straitéiseach do thodhchaí an tionscail 

léiriú lánais in Éirinn, an Comhdháil Scriptscríobh ‘Give Me 

Direction’, an Comhdháil PGA ‘Produced By’ agus forbairt 

leanúnach ar an Líonra Cineama Sainealaíne. 

03

04 

CHERRYBOMB 

Following the recommendations in the Report of Special Group 

on Public Service Numbers and Expenditure Programmes (‘An 

Bord Snip Nua’) for the abolition of Bord Scannán na hÉireann/ 

the Irish Film Board in 2009, a detailed examination of the 

strategic importance of the Irish film and television sector was 

carried out. This process resulted in a clear affirmation of the 

economic importance of Ireland’s content production industries 

in the context of the emerging Smart Economy in Ireland and the 

key role the IFB plays in developing this sector. 

The continuation of Section 481, the Irish tax incentive for 

film and television will also further help to restore Ireland’s 

competitive edge as a location for international film production, 

generating economic activity well in excess of any cost incurred. 

Strategic Plan 

Following from the results of the PwC report which recognised 

significant economic growth potential for the industry, the 

Department of Tourism, Culture and Sport engaged with the 

IFB in 2009 and 2010 in a strategic plan to enable the domestic 

audiovisual content production sector to develop into an 

internationally traded sector for products and services, over a 

five year period 2011 – 2016. 

This growth potential of the audiovisual content industry, as an 

essential component of the Smart Economy strategy, represents 

strong prospects of employment for young people seeking jobs 

in the future. 

The industry supports an ecology that generates many other 

indirect employment benefits arising out of production activities 

around the country. The funding provided through the IFB in 

turn allows Irish companies working within the sector to attract 

additional international investment, which is spent on Irish jobs 

and local services. The audio visual industry is an important 

aspect of the Irish economy and has the potential to create 

growth and jobs in the future. 

Give Me Direction 

The inaugural ‘Give Me Direction’ Script Writing Conference 

took place in Dublin which focused, through a mix of informal 

discussions, sessions and screenings, on the art and science of 

writing for the screen. 

Attended by a mix of Irish and international guests it was an 

opportunity to champion great and original writing for the 

screen and to deepen the IFB’s engagement in addressing 

industry concerns. 

LA Trade Mission and the Producers Guild of America 

‘Produced By’ Conference 

The IFB led a delegation of Irish producers to Los Angeles to 

meet uS producers and to promote improvements to S481 and 

Ireland as a film location. The IFB delegation all attended the 

inaugural ‘Produced By’ conference, hosted by the Producers 

Guild of America at Sony Pictures Studios. The IFB took a booth 

at the PGA event, under the Ireland on Screen banner, where IFB 

staff and Irish producers met with delegates advocating Ireland 

as an international film location. 

Development of the Art House Cinema network 

The Cultural Cinema Consortium (CCC) is a joint initiative 

between the IFB and the Arts Council with the aim to expand 

out the audience for art house cinema. In 2008 this initiative 

yielded results with the opening of the Light House Cinema in 

Dublin while in 2009 construction of the new art house cinema in 

Galway, Solas, began. By the end of 2009 eleven cinema screens 

had been updated with digital equipment financed by CCC. 

CRACKS 

Tar éis na moltaí a rinneadh i dTuarascáil an Ghrúpa Speisialta 

um Chlár Foirne agus Caiteachais na Seirbhíse Poiblí (‘An Bord 

Snip Nua’) go gcuirfí deireadh le Bord Scannán na hÉireann/the 

Irish Film Board i 2009, rinneadh iniúchadh mionsonraithe ar 

thábhacht straitéiseach earnáil na scannán agus na teilifíse 

in Éirinn. Dheimhnigh an próiseas sin go soiléir tábhacht 

eacnamaíochta na dtionscal léiriú lánais i gcomhthéacs an 

Gheilleagair Chliste atá ag teacht chun cinn inÉirinn agus 

dheimhnigh sé an príomhról atá ag an IFB maidir leis an earnáil 

sin a fhorbairt. 

Cabhróidh leanúint Ailt 481, an spreagadh cánach i gcomhair 

scannáin agus teilifíse, chun níos mó cabhrach a thabhairt chun 

faobhar iomaíoch a thabhairt ar ais go hÉireann mar shuíomh 

léiriúcháin le haghaidh scannán idirnáisiúnta, rud a ghinnfidh 

gníomhaíocht eacnamaíóchta a bheidh i bhfad níós mó ná na 

costais a tabhófar. 

Plean Straitéiseach 

De bharr thorthaí an tuarascála PwC a d’aithin go raibh acmhainn 

thábhachtach chun fáis eacnamaíochta ag an dtionscal, chuaigh 

an Roinn Turasóireachta, Cultúir agus Spóirt i gcomhpháirt leis 

an IFB i rith 2009 agus 2010 i bplean straitéiseach lena chur ar 

chumas an earnála inmheánaigh a raibh lánas closamhairc á 

léiriú aici forbairt a dhéanamh mar earnáil a mbeadh trádáil 

idirnáisiúnta aici dá cuid táirgí agus seirbhísí le linn tréimhse cúig 

bliana ó 2011 go dtí 2016. 

Leiríonn an acmhainn chun fáis sin atá ag an dtionscal lánais 

closamhairc, mar pháirt riachtanach de straitéis an Gheilleagair 

Chliste, go bhfuil ionchas láidir fostaíochta ann do dhaoine óga a 

mbeidh postanna á lorg acu amach anseo. 

Tugann an tionscal tacaíocht d’eiceolaíocht a ghineann sochair 

indíreacha fostaíochta a éiríonn as gníomhaíochtaí léiriúcháin 

ar fud na tíre. Cuireann an maoiniú a chuirtear ar fáil tríd an IFB 

ar chumas chuideachtaí Éireannacha atá ag obair laistigh den 

earnáil infheistíocht bhreise a mhealladh ar a uain, infheistíocht 

a caitear ar phostanna in Éirinn agus ar sheirbhísí áitiúla. 

Gné tábhachtach de gheilleagar na hÉireann is ea an tionscal 

closamhairc agus tá an acmhainn aige fás agus fostaíocht a 

chruthú sa todhchaí. 

Give Me Direction 

Tionóladh an chéad chomhdháil scríbhneoireacht scripte ‘Give Me 

Direction’, i mBaile átha Cliath agus dhírigh sé sin, trí mheascán 

de phlé agus seisiúin neamhfhoirmeálta agus taispeáint scannán, 

ar an ealaíon agus an eolaíocht a bhaineann le scríbhneoireacht 

don scáileán. 

D’fhreastail meascán d’aíonna Éireannacha agus idirnáisiúnta 

ar an ócáid agus bhí deis ann scríbhneoireacht iontach agus úr 

don scáileán a chur chun cinn agus chun rannpháirtíocht an IFB 

maidir le aghaidh a thabhairt ar chúraim na hearnála a neartú. 

Misean Trádála go LA agus An Chomhdháil ‘Produced By’ 

de chuid The Producers Guild of America 

Bhí an IFB i gceannas ar thoscaireacht de léiritheoirí Éireannacha 

a chuaigh go Los Angeles chun casadh le léiritheoirí ó Stáit 

Aontaithe Mheiriceá agus chun feabhsuithe ar an S481 agus Éire 

mar shuíomh scannáin a chur chun cinn. D’fhreastail toscaireacht 

iomlán an IFB ar an gcéad comhdháil ‘Produced By’ a raibh an 

Producers Guild of America ina óstach aige agus a tionóladh 

ag stiúideónna Sony Pictures. Ghlac an IFB seilbh ar stalla ag 

an ócáid PGA sin, faoin mbrat ‘Ireland on Screen’ áit ar bhuail 

foireann an IFB agus léiritheoirí Éireannacha le toscairí a bhí ag 

moladh Éireann mar shuíomh scannáin idirnáisiúnta. 

Forbairt an Líonra Cineama Sainealaíne 

Comhthionscnamh idir an IFB agus an Chomhairle Ealaíón is 

ea an Cuibhreannas Cineama Cultúrtha (CCC) a bhfuil sé mar 

aidhm aige an lucht féachan le haghaidh cineama sainealaíne a 

mhéadú. Sa bhliain bhí oscailt an pictiúrlann Light House i nBaile 

átha Cliath mar thoradh ar an dtionscnamh sin agus tosaíodh 

ar thógáil Solas, an pictiúrlann nua do cineama sainealaíne i 

nGaillimh le linn 2009. Faoi dheireadh na bliana 2009 bhí 11 

scáileán scannáin feabhsaithe le trealamh digiteach le cabhair 

airgeadais ón CCC. 

05

06 

TRIAGE 

InTERnATIOnAL PRODuCTIOn 

The enhancement of the Section 481 tax incentive net benefit to 

28% became legislation in April 2009. These new changes will 

assist the IFB and the sector to raise the profile of Ireland as an 

international film and television location and attract Hollywood 

productions to locate to Ireland. 

2009 had a quiet beginning while the enhancements were being 

made legislation but production soon got going and Hollywood was 

back with the major uS feature film Leap Year starring Amy Adams 

filming on location in Ireland. 

The fourth and last series of Showtime’s award-winning show The 

Tudors was shot on location in Dublin, Wicklow and at Ardmore 

studios during the summer of 2009. 

By the end of the year there were a number of new projects in 

the pipeline for 2010 including the popular ITv series Primeval 

which was confirmed for production in Ireland with a budget of 

€15 million and Steven Soderbergh’s (Ocean’s Thirteen, Erin 

Brockovich) latest feature film Knockout, which was written 

specifically for Dublin. 

The benefits of high levels of film and television production in 

Ireland include increased international investment in the economy, 

increased employment, positive spin-off effects for promoting 

Ireland as a tourist location and the improvement of Ireland as an 

industrial location for all aspects of creative endeavors. 

CORPORATE GOvERnAnCE 

The Irish Film Board fully complies with the Code of Practice for 

the Governance of State bodies. In line with section 10.2 of the 

code, I affirm to the best of my knowledge that: 

(i) There were no commercially significant developments 

affecting the body in 2009 other than those mentioned in 

the operational review of the year given above. 

(ii) All appropriate procedures for financial reporting, 

internal audit, procurement and assets’ disposals are 

being carried out. 

(iii) A Statement on the System of Internal Financial Control 

is given in page 12 of the Annual Report. 

(iv) The Codes of Business Conduct for Directors and 

Employees are in place. 

(v) The Government policy on the pay of Chief Executives and 

all State body employees is being complied with. 

(vi) The Government guidelines on the payment of Directors’ 

fees are being complied with. 

(vii) No significant post balance sheet events occurred. 

(viii) The Guidelines for the Appraisal and Management of Capital 

Expenditure Proposals are being complied with. 

(ix) The Code of Practice for the Governance of State bodies 

has been adopted and is being complied with. 

James Morris 

Chairman 

FIvE MINuTES OF HEAvEN 

LÉIRIÚCHÁn IDIRnÁISIÚnTA 

Ritheadh an reachtaíocht chun sochar glan na dreasachta 

cánach in Alt 481 a mhéadú go dtí 28% in Aibreán na bliana 2009. 

Cabhróidh na hathruithe sin leis an IFB agus leis an earnáil 

próifíl na hÉireann mar shuíomh idirnáisiúnta scannáin agus 

teilifíse a ardú agus chun léiriúcháin Hollywood a mhealladh 

chun scannáin a dhéanamh in Éirinn. 

Bhí cúrsaí ciúin go leor ag tús na bliana 2009 nuair a bhí na 

feabhsuithe á ndéanamh ar an reachtaíocht ach ní fada go raibh 

cúrsaí léiriúcháin faoi lánseol nuair a tháinig Hollywood ar ais 

agus an mórphríomhscannán Leap Year ina bhfuil Amy Adams 

mar phríomhaisteoir á léiriú ar an suíomh in Éirinn. 

Rinneadh an scannánaíocht ar an gceathrú sraith agus agus 

an ceann deiridh den seó gradambhuaiteora ‘The Tudors’ 

ar an suíomh i mBaile átha Cliath, i gCill Mhantáin agus ag 

stiúideónna Ardmore i rith an tsamhraidh i 2009. 

Faoi dheireadh na bliana bhí líon tionscadal nua socraithe 

don bhliain 2010 ina measc an tsraith móréilimh de chuid ITv 

Primeval a raibh deimhniú ina leith go léireofaí in Éirinn í le 

buiséad de €15 milliún agus an príomhscannán is déanaí le 

Steven Soderbergh (Ocean’s Thirteen, Erin Brockovich), Knockout, 

a scríobhadh go sonrach le haghaidh Baile átha Cliath. 

I measc na sochair a bhaineann le leibhéil arda léiriúchán 

scannáin agus teilifíse in Éirinn tá méadú ar an infheistíocht 

idirnáisiúnta sa ngeilleagar, méadú ar an bhfostaíocht, éifeachtaí 

dearfacha seachtháirge maidir le hÉire a chur chun cinn mar 

láthair turasóireachta agus feabhsú na hÉireann mar ionad 

tionscail do dhíchill chruthaitheacha de gach aon chineál. 

RIALACHAS CORPORÁIDEACH 

Comhlíonann Bord Scannán na hÉireann/The Irish Film Board 

an Cód Cleachtais um Rialachas Comhlachtaí Stáit ina iomlán. 

De réir Ailt 10.2 den Chód sin, deimhním, de réir mar is fearr is 

eol dom: 

(i) Nach raibh aon fhorbairtí suntasachta tráchtála a bhain 

leis an gcomhlacht le linn 2009 seachas na cinn sin atá 

luaite thuas i dtuarascáil oibríochtúil na bliana. 

(ii) Go bhfuil na nósanna imeachta ar fad maidir le tuairisciú 

airgeadais, iniúchadh inmheánach, soláthar agus diúscairt 

sócmhainní á ndéanamh. 

(iii) Go dtugtar Ráiteas maidir leis an gCóras Rialaithe 

Inmheánach Airgeadais ar Leathanach 12 den 

dTuarascáil Bhliantúil. 

(iv) Go bhfuil na Cóid maidir le hIompar Gnó do Stiúrthóirí 

agus Fostaithe i bhfeidhm. 

(v) Go bhfuil Polasaí an Rialtais maidir le pá na 

bPríomhfheidhmeannach agus na bhfostaithe ar fad i 

gcomhlachtaí stáit á chomhlíonadh. 

(vi) Go bhfuil treoirlínte an Rialtais maidir le táillí Stiúrthóirí 

a íoc á gcomhlíonadh. 

(vii) Nár tharla aon teagmhas suntasach iarchláir 

chomhordaithe. 

(viii) Go bhfuil na Treoirlínte maidir le Tograí Caiteachas Caipitil 

a Mheasúnú agus a Bhainistiú á gcomhlíonadh. 

(ix) Gur glacadh an Cód Cleachtais um Rialachas Comhlachtaí 

Stáit agus go bhfuil sé sin á chomhlíonadhh. 

James Morris 

Cathaoirleach 

07

08 

WIDE OPEN SPACES 

AnnuAL REPORT OF 

BORD SCAnnÁn nA hÉIREAnn 

Bord Scannán na hÉireann/the Irish Film Board works within the 

framework of The Film Board Act 1980 and the Irish Film Board 

(Amendment) Acts 1993, 1997, 2000, 2006. 

BOARD MEMBERS 

The members of Bord Scannán na hÉireann/the Irish Film Board 

in 2009 were: Johnny Gogan, Barry Grace, Tristan Orpen Lynch, 

James Morris (Chair), Lesley McKimm, Kevin Moriarty and 

Kirsten Sheridan. 

STAFF 

The staff of Bord Scannán na hÉireann/the Irish Film Board 

at 31st December 2009 were: Simon Perry, CEO; Teresa 

McGrane, Head of Business Affairs (Deputy CEO); Naoise 

Barry, Film Commissioner; Celine Forde, Financial Controller; 

Andrew Meehan, Development Executive; Alan Maher, 

Production Executive; Emma Scott, Production Executive; 

Mark Byrne, Business and Legal Executive; Louise Ryan, 

Marketing and Communications Executive; Jill McGregor, 

Applications and Schemes Co-ordinator; Sarah Dillon, 

Production and Development Co-ordinator; Mags O’Sullivan, 

Deputy Film Commissioner; Jonathan Loughran, vP, Irish 

Film Commissioner, uS; Patrick O’Neill, Industry Affairs 

Executive; Gillian Morrow, Business & Legal Affairs 

Co-ordinator; Suzanne Keane, Accounts Co-ordinator 

(Part-time); Niamh O’Reilly, Executive Assistant to CEO 

and Aileen McCauley, Administrative Assistant. 

MEETInGS 

The Board held 9 meetings in 2009. 

OFFICES 

Bord Scannán na hÉireann/the Irish Film Board’s head office is 

based in Galway city: 

Queensgate, 23 Dock Road, Galway, Ireland. 

Tel +353 91 561398, Fax +353 91 561405 

Email info@irishfilmboard.ie, www.irishfilmboard.ie 

The Board’s office in Dublin is located at: 

14-16 Lord Edward Street, Dublin 2. 

LITTLE FOxES 

BORD SCAnnÁn nA hÉIREAnn’S 

OBJECTIvES AnD POLICIES 


IS ESTABLISHED: 

• To promote the creative and commercial elements of Irish 

film-making and film culture to a home and international 

audience. The Board supports film projects through the 

provision of development funding and also provides 

production finance by way of debt/equity investment. 

• To encourage the development and training of technical, 

artistic and production personnel as a means of improving 

the overall skills proficiency within the industry. 

• To assist the production and marketing of Irish films within 

Ireland and abroad as a means of stimulating an interest in 

Ireland, Irish culture and Irish films. 

THE BOARD OFFERS FunDInG TO THE 

DEvELOPMEnT AnD PRODuCTIOn OF 

PROJECTS AS FOLLOwS: 

i) Development loans (repayable on the first day of principal 

photography) to a limit of €100,000 per project, as research, 

development and feasibility loans. Any funding above 

€50,000 to any one project must be matched by funding from 

other sources 

ii) Production loans for projects with budgets 

• In excess of €100,000 and not more than €1.5M, 

BSÉ/IFB can provide up to 65% of the production budget 

• In excess of €1.5M and not more than €5M, BSÉ/IFB 

can provide up to €1M or 40% of the budget, whichever 

is greater 

• In excess of €5M, BSÉ/IFB can provide up to €2 million 

or 25% of the budget, whichever is greater 

BOTH DEvELOPMEnT AnD PRODuCTIOn 

LOAnS ARE ASSESSED By A nuMBER 

OF CRITERIA: 

i Additionality 

ii Cultural Priorities, Industrial Priorities 

iii Making Cinema 

iv Originality 

(See appendix 4, page 33.) 

09

10 

THE WAKE WOOD 

FInAnCE 

RECOuPMEnT 

The Board shares in and recoups profits from revenues 

generated from sales for cinema, television, video etc. The 

Board advanced a total of €17,303,244 in feature development 

and production loans during 2009. In the same period, the 

Board recouped €1,380,377. This figure brings to 11% the 

recoupment rate on production feature loans advanced since 

the re-incorporation of BSÉ in 1993. 

ECOnOMIC DATABASE 

The Audiovisual Federation of IBEC, in conjunction with the 

Board and representatives of the Department of Arts, Sport 

and Tourism, Screen Producers Ireland, TG4 and RTÉ 

publishes annually the Economic Database. This report covers 

film and television projects made in Ireland each year. 

SCREEn TRAInInG IRELAnD 

During 2009, the Board made available €532,000 to FáS Screen 

Training Ireland for the direct provision of Industry Training. 

COnTRIBuTIOn TO EuROPEAn AGEnCIES 

BSÉ/IFB contributes financial support to the following 

organisations: 

Eurimages 

Eurimages, founded by the Council of Europe, provides 

production finance for European co-productions. Ireland has 

participated in the scheme since 1992. Brendan McCarthy 

represented Ireland on the Eurimages committee in 2009. The 

Board paid Ireland’s subscription in 2009, which was €291,669. 

MEDIA Desk Ireland 

MEDIA Desk Ireland provides information and advice on the 

MEDIA Programme, Eurimages, Eureka Audiovisual and 

also on Eu audiovisual policy. In 2009, the Board contributed 

€57,011 to the running of the Desk. The office is located in the 

Irish Film Centre, 6 Eustace Street, Dublin 2, and is open to 

enquiries and consultancy meetings from Monday to Friday. 

MEDIA Antenna 

The MEDIA Antenna is located in Galway Film Centre, Cluain 

Mhuire, Monivea Road, Galway and serves as a regional MEDIA 

office. It also has a particular remit to provide information and 

services to the growing Irish language audiovisual community. 

In 2009 the Board contributed €12,200 to the running costs of 

the Antenna. 

European Audiovisual Observatory 

The Observatory is an information network, which collects and 

distributes legal, economic and practical information on the 

audiovisual industry in Europe for the benefit of professionals 

and companies within the fields of television, film and video. 

The Board paid Ireland’s subscription fee of €19,737 in 2009. 

THE HANGED MAN 

STATEMEnT OF BOARD MEMBERS’ RESPOnSIBILITIES 

Section 20 (1) of the Irish Film Board Act 1980, requires the members of the Board to prepare Financial Statements 

in such form as may be approved by the Minister for Tourism, Culture and Sport with the consent of the Minister for 

Finance. In preparing those Financial Statements, the Board is required to: 

• Select suitable policies and then apply them consistently. 

• Make judgements and estimates that are reasonable and prudent. 

• Prepare the financial statements on the going concern basis unless it is inappropriate to presume 

that Bord Scannán na hÉireann/the Irish Film Board will continue in business. 

• State whether applicable accounting standards have been followed subject to any material departures 

disclosed and explained in the financial statements. 

Bord Scannán na hÉireann/the Irish Film Board is responsible for keeping proper books of account which disclose with 

reasonable accuracy at any time the financial position of Bord Scannán na hÉireann/the Irish Film Board. It is responsible 

for taking such steps as are necessary to safeguard the assets of Bord Scannán na hÉireann/the Irish Film Board and to 

prevent and detect fraud and other irregularities. 

James Morris Lesley McKimm 

Chair Board Member 

24 November 2010 

11

12 

MISS REMARKABLE AND HER CAREER 

STATEMEnT On InTERnAL 

FInAnCIAL COnTROLS 

On behalf of Bord Scannán na hÉireann/the Irish Film Board, 

I acknowledge our responsibility for ensuring that an effective 

system of internal financial control is maintained and operated. 

The system can only provide reasonable and not absolute 

assurance that assets are safeguarded, transactions authorised 

and properly recorded, and that material errors or irregularities 

are either prevented or would be detected in a timely period. 

Key Control Procedures: 

The Board has put in place the following key internal 

financial control procedures to ensure an appropriate control 

environment exists: 

• An organisation plan exists which defines and 

allocates responsibilities to staff and identifies lines of 

reporting for all aspects of the Board’s operations. 

• Procedures and security measures exist to ensure the 

safe custody of the Board’s assets and assurance 

against unauthorised use or disposition. 

• A strong culture of openness and accountability is 

encouraged throughout the organisation. 

The Board has also established processes to identify and 

evaluate business risks: 

• Identifying the nature, extent and financial 

implication of risk facing the body including 

the extent which it regards as acceptable in 

different functions. 

• Assessing the likelihood of identified risks occurring 

and assessing the Board’s ability to manage and 

mitigate the risks that do occur. 

• Carrying out regular reviews of the Board’s strategic 

plans to ensure that these plans address the current 

business environment. 

• Setting short and long term targets for each unit 

within the Board and reviewing progress against same. 

• Establishing and enforcing standard procedures 

under which financial assistance may be made 

available to projects and reviewing these procedures 

where necessary. 

The Board reviewed its business risks in 2009 and is currently 

addressing any identified weaknesses. 

The system of financial controls is based on a framework of 

regular management information, administrative procedures 

including segregation of duties, authorisation, and a system of 

delegation and accountability. In particular it includes: 

• A comprehensive budgeting system with an annual 

budget which is reviewed and agreed by the Board. 

• Regular reviews of periodic and annual financial 

reports which indicate expenditure against forecasts. 

• Setting targets to measure financial and 

other performances. 

The Board has also established an Audit Committee which 

consists of representatives of the Board and the Executive with a 

view to furtherance of internal controls. 

Review of Internal Financial Control: 

The Board monitors the effectiveness of the system of internal 

financial controls by regular management review and periodic 

inspection and review studies by external consultants. 

The Board carried out a review of its internal financial controls 

for 2009. 

On behalf of the Board 

James Morris 

Chair 

A SuBTLE MOvEMENT OF AIR 

REPORT OF THE COMPTROLLER AnD 

AuDITOR GEnERAL FOR PRESEnTATIOn TO 

THE HOuSES OF THE OIREACHTAS 

I have audited the financial statements of the Irish Film Board 

for the year ended 31 December 2009 under the Irish Film 

Board Act 1980. 

The financial statements, which have been prepared under the 

accounting policies set out therein, comprise the Accounting 

Policies, the Capital Income and Expenditure Account, the 

Administration Income and Expenditure Account, the Statement 

of Total Recognised Gains and Liabilities, the Balance Sheet, the 

Cash Flow Statement and the related notes. 

Respective Responsibilities of the Board and the 

Comptroller and Auditor General 

The Irish Film Board is responsible for preparing the financial 

statements in accordance with the Irish Film Board Act 1980 and 

for ensuring the regularity of transactions. The Irish Film Board 

prepares the financial statements in accordance with Generally 

Accepted Accounting Practice in Ireland. The accounting 

responsibilities of the Members of the Board are set out in the 

Statement of Board Members’ Responsibilities. 

My responsibility is to audit the financial statements in 

accordance with relevant legal and regulatory requirements and 

International Standards on Auditing (uK and Ireland). 

I report my opinion as to whether the financial statements give 

a true and fair view, in accordance with Generally Accepted 

Accounting Practice in Ireland. I also report whether in my 

opinion proper books of account have been kept. In addition, I 

state whether the financial statements are in agreement with the 

books of account. 

I report any material instance where moneys have not been 

applied for the purposes intended or where the transactions do 

not conform to the authorities governing them. 

I also report if I have not obtained all the information and 

explanations necessary for the purposes of my audit. 

I review whether the Statement on Internal Financial Control 

reflects the Board’s compliance with the Code of Practice for the 

Governance of State Bodies and report any material instance 

where it does not do so, or if the statement is misleading or 

inconsistent with other information of which I am aware from my 

audit of the financial statements. I am not required to consider 

whether the Statement on Internal Financial Control covers 

all financial risks and controls, or to form an opinion on the 

effectiveness of the risk and control procedures. 

Basis of Opinion 

In the exercise of my function as Comptroller and Auditor 

General, I conducted my audit of the financial statements in 

accordance with International Standards on Auditing (uK and 

Ireland) issued by the Auditing Practices Board and by reference 

to the special considerations which attach to State bodies in 

relation to their management and operation. An audit includes 

examination, on a test basis, of evidence relevant to the amounts 

and disclosures and regularity of the financial transactions 

included in the financial statements. It also includes an 

assessment of the significant estimates and judgements made in 

the preparation of the financial statements, and of whether the 

accounting policies are appropriate to the Board’s circumstances, 

consistently applied and adequately disclosed. 

I planned and performed my audit so as to obtain all the 

information and explanations that I considered necessary 

in order to provide me with sufficient evidence to give reasonable 

assurance that the financial statements are free from material 

misstatement, whether caused by fraud or other irregularity or 

error. In forming my opinion I also evaluated the overall adequacy 

of the presentation of information in the financial statements. 

Opinion 

In my opinion, the financial statements give a true and fair view, 

in accordance with Generally Accepted Accounting Practice in 

Ireland, of the state of the Board’s affairs at 31 December 2009 

and of its income and expenditure for the year then ended. 

In my opinion, proper books of account have been kept by the 

Board. The financial statements are in agreement with the books 

of account. 

________________________ 

Andrew Harkness 

For and on behalf of the Comptroller and Auditor General 

23 December 2010 

13

14 

RASAí NA GAILLIMHE 

ACCOunTInG POLICIES 

A. Basis of Accounting 

The financial statements consist of two Income and Expenditure 

Accounts and a Balance Sheet. 

• The Capital Income and Expenditure Account records 

the disbursement of the Board’s development and 

production loans and its contribution to Screen 

Training Ireland, the national training agency for the 

film industry in Ireland. 

• The Administration Income and Expenditure Account 

records the administrative transactions in respect 

of the Board. 

The financial statements are prepared under the historical 

cost convention and in accordance with Generally Accepted 

Accounting Practice (GAAP) on an accruals basis except as 

stated below. Financial Reporting Standards recommended 

by the recognised accounting bodies are adopted as they 

become applicable. 

B. Income 

Income shown in the financial statements under Oireachtas 

Grants represents the actual cash received. Other income is also 

taken to account on a cash receipts basis. 

C. Loans 

Production loans are made by the Board to assist in the 

production of films. Repayments and returns are dependent 

upon the commercial success of the related films. 

Development loans are made to filmmakers for the purpose 

of developing film projects. Repayments become payable in 

accordance with the terms of the loan agreements. 

These loans are not normally subject to interest charges, but 

include measures for recoupment and profit participation. 

Loans are reviewed by the Board on a periodic basis and 

appropriate provision is made against loans outstanding, based 

upon the historical performance of the Board’s loanbook. The 

provision is accounted for through the Capital Reserve. 

D. Capital Reserve 

The Capital Reserve represents the funding invested in 

films and Fixed Assets after provisions and amortisation. 

E. Tangible Fixed Assets 

Tangible Fixed Assets are shown at original historical cost. 

Assets over €250 are capitalised. 

Depreciation is provided at rates calculated to write off the 

original cost less the estimated residual value of each asset on 

a straight-line basis over its expected useful life. The rates of 

depreciation are as follows: 

• Office Furniture and Equipment 20% per annum 

• Computer Equipment 33% per annum 

F. Pension Costs 

The Board operates a defined benefit pension scheme which is 

funded annually on a pay as you go basis from monies available 

to it, including monies provided by the Department of Tourism, 

Culture and Sport. The Scheme is operated on an administrative 

basis pending approval of the Minister of Finance. 

Pension Scheme liabilities are measured on an actuarial basis 

using the projected unit method. 

Pension costs reflect pension benefits earned by employees 

in the period and are shown net of staff pension contributions 

which are treated as refundable to the Department in 

accordance with agency financing arrangements. An amount 

corresponding to the pension charge is recognised as income to 

the extent that it is recoverable and offset by grants received in 

the year to discharge pension payments. 

Actuarial gains or losses arising from changes in Actuarial 

assumptions and from experience surpluses and deficits are 

recognised in the Statement of Total Recognised Gains and 

Losses for the year in which they occur and a corresponding 

adjustment is recognised in the amount recoverable from the 

Department of Tourism, Culture and Sport. 

Pension Liabilities represent the present value of future pension 

payments earned by staff to date. Deferred pension funding 

represents the corresponding asset to be recovered in future 

periods from the Department of Tourism, Culture and Sport. 

ABBI’S CIRCLE 

FInAnCIAL STATEMEnTS OF BORD SCAnnÁn nA hÉIREAnn/THE IRISH FILM BOARD 

yEAR EnDED 31 DECEMBER 2009 

Capital Income and Expenditure Account 

Year ended 31 December 2009 

notes 2009 2008 

Income I I 

Oireachtas Grants 1 18,817,000 20,000,000 

Contributions from Other Parties 152,350 440,850 

Other Income 72,428 224,224 

Repayment of Loans Transferred from Capital Reserve 3 1,380,377 2,538,358 

Total 20,422,155 23,203,432 

Expenditure 

Screen Training Ireland (532,000 ) (1,331,818 ) 

Production Loans 14 (15,101,659 ) (18,547,084 ) 

Development Loans 14 (2,201,585 ) (3,251,496 ) 

Other Capital Payments 4 (1,271,028 ) (1,596,508 ) 

Total (19,106,272 ) (24,726,906 ) 

Surplus/ (Deficit) 1,315,883 (1,523,474 ) 

Balance at Beginning of Year 3,048,716 4,572,190 

Balance at end of year 4,364,599 3,048,716 

The Accounting Policies and Notes 1-17 form part of these Financial Statements 




15

16 

HELEN 

Administration Income and Expenditure Account 


notes 2009 2008 

Income I I 

Oireachtas Grant 1 2,975,926 3,144,409 

Other Income 45 10,923 

Net Deferred Funding for Pension Costs 10c 346,494 250,250 

Transfer (to)/from Capital Reserve 13 74,650 (18,128 ) 

Total 3,397,115 3,387,454 

Expenditure 

Administration 5 2,074,400 2,384,911 

Organisations, Subscriptions and Research 7 194,905 16,142 

Marketing Costs 8 619,715 639,055 

Education 196,253 137,809 

Pension Costs 10a 299,420 205,659 

Total 3,384,693 3,383,576 

SuRPLuS/DEFICIT 12,422 3,878 

Balance at Beginning of Year (18,624 ) (22,502 ) 

Balance at end of year (6,202 ) (18,624 ) 





Statement of Total Recognised Gains and Losses 


notes 2009 2008 

Surplus for the year I I 

Administration Account 12,422 3,878 

Capital Account 1,315,883 (1,523,474 ) 

Total 1,328,305 (1,519,596 ) 

Experience Gains on Pension Scheme Liabilities 10d 90,900 (53,735 ) 

Changes in Assumptions underlying the Present value of the Pension Scheme Liabilities 162,302 (274,822 ) 

Actuarial gain/(loss) on pension liabilities 10b 253,202 (328,557 ) 

Adjustment to Deferred Pension Funding (253,202 ) 328,557 

Total recognised gain for the year 1,328,305 (1,519,596 ) 





THE TREMBLING vEIL OF BONES 

Balance Sheet 


notes 2009 2008 

Fixed Assets I I 

Tangible Assets 11 143,359 218,010 

Investment in Films 

Production Loans 3 1,207,134 1,422,505 

Development Loans 3 150,380 218,776 

1,357,514 1,641,281 

Current Assets 

Cash at Bank 4,556,381 3,243,654 

Prepayments/Debtors/ Accrued Income 129,888 383,228 

Creditors 

4,686,269 3,626,882 

Amounts Falling Due within Oneyear 12 (327,871 ) (596,790 ) 

nET CuRREnT ASSETS 4,358,398 3,030,092 

Total Assets Less Current Liabilities Before Pensions 5,859,271 4,889,383 

Deferred Pension Funding Asset 2,002,199 1,908,907 

Pension Liabilities (2,002,199 ) (1,908,907 ) 

net Assets 5,859,271 4,889,383 

Capital and Reserves 

Capital Account 4,364,599 3,048,716 

Administration Account (6,202 ) (18,624 ) 

Capital Reserve 13 1,500,874 1,859,291 

Total 5,859,271 4,889,383 





17

18 

AN PáISTE BEO BOCHT 

Cash Flow Statement 


2009 2008 

Reconciliation of Surplus to net Cash Inflow from Operating Activities I I 

Surplus/(Deficit) on Capital Account 1,315,883 (1,523,474 ) 

Surplus/(Deficit) on Administration Account 12,422 3,878 

1,328,305 (1,519,596 ) 

Adjustment for non-operating items 

Bank interest (72,428 ) (224,224 ) 

Transfer to/(from) Administration Income and Expenditure Account (74,650 ) 18,128 

Loss on Disposal of Assets - - 

(147,078 ) (206,096 ) 

Adjustment for non-cash items 

Depreciation 96,180 126,500 

(Increase)/Decrease in Debtors 253,340 88,251 

Increase/(Decrease) in Creditors (268,919 ) 106,255 

net cash inflow from Operating activities 1,261,828 (1,404,686 ) 

Cash Flow Statement 

Net Cash Inflow from Operating activities 1,261,828 (1,404,686 ) 

Bank Interest 72,428 224,224 

Payments to Acquire Assets (21,529 ) (144,627 ) 

Inflow/Outflow 1,312,727 (1,325,089 ) 

Reconciliation of net Cash Flow to movement in Cash and Cash Equivalents 

Increase/Decrease in Cash in Period 1,312,727 (1,325,089 ) 

Net Funds as at 1 January 2009 3,243,654 4,568,743 

net Funds at 31 December 2009 4,556,381 3,243,654 





uNCLE MAx II 

nOTES TO THE FInAnCIAL STATEMEnTS 

1. Oireachtas Grants 

The Oireachtas grant in respect of the Board’s capital expenditure is funded under the Productive Sector Operational Programme and the 

Employment and Human Resources Development Operational Programme of the National Development Plan 2007-2013. 

2009 2008 

Current Purposes I I 

Irish Film Board 3,023,000 3,189,000 

Less Pension Contributions (47,074 ) (44,591 ) 

Total 2,975,926 3,144,409 

Capital purposes 

Investment in Film 18,817,000 20,000,000 

2. Limitation of Monies Provided by the Board 

under Section 10 of the Irish Film Board Act, 1980 as amended, the maximum amount of any investments, loans, grants and guarantees 

(less recoveries) shall not exceed €200,000,000. At the 31st December 2009, an amount of €174,780,208 had been provided (At 31/12/2008, 

€156,327,322 had been provided). 

3. Investment in Films 

Production Development 

Loans Loans TOTAL 

notes I I I 

Advanced During the Year 15,101,659 2,201,585 17,303,244 

Recoupment During the Year (905,702 ) (474,675 ) (1,380,377 ) 

Provision for Year (14,411,328 ) (1,795,306 ) (16,206,634 ) 

Movement in the Year 13 (215,371 ) (68,396 ) (283,767 ) 

Balance at 1 January 2009 1,422,505 218,776 1,641,281 

Balance as at 31/12/09 1,207,134 150,380 1,357,514 

19

20 

THE SECRET OF KELLS BIG TIME 

4. Other Capital Payments 

In addition to the payments made to Production and Development Loans, the Board made the following other capital payments in the year. 

2009 2008 

European Organisations I I 

Eurimages 291,669 278,346 

European Film Promotion 9,905 4,100 

European Observatory 19,737 19,746 

Media Antenna 12,200 12,200 

Media Desk 57,011 57,011 

Other 7,000 10,000 

Industry Guilds 

Irish Playwrights and Screenwriters Guild 80,000 80,000 

Screen Directors Guild 80,000 95,000 

Film Market/Industry Event Support 

Dublin International Film Festival 30,000 20,000 

Galway Film Fair 40,000 35,000 

Guth Gafa Film Festival 10,000 10,000 

Stranger Than Fiction 5,500 12,500 

Celtic Film Festival - 20,000 

Lights Out - 12,750 

Dingle Film Festival 5,000 5,000 

Sarajevo Film Festival - 10,000 

Others 6,576 - 

Others 

Cinemobile 60,000 60,000 

Digital Cinema Initiative - 500,000 

IFTA 140,000 180,000 

Other Training 48,711 - 

Scriptreaders 62,442 58,188 

Scouting/Travel Grants 50,277 46,667 

Solas Picture Palace 255,000 70,000 

Total 1,271,028 1,596,508 

5. Administration 

2009 2008 

I I 

Administration Salaries 1,038,238 1,009,061 

Temporary Staff - 6,068 

Board Member Fees* 47,250 77,895 

Staff Training 13,332 20,609 

Rent and Service Charges 285,897 370,270 

Insurance 7,579 8,285 

Light / Heat 18,432 12,071 

Telephone / Fax 67,436 94,703 

Postage / Couriers 25,705 41,181 

Office Stationery/Printing 10,266 28,659 

Repairs/Maintenance 63,583 62,776 

Staff Travel / Subsistence 155,180 229,696 

Bank Interest and Charges 2,082 2,469 

Board Meeting Expenses 6,839 12,883 

Legal Fees - 13,222 

Audit Fees 14,852 15,800 

Sundry 14,816 12,063 

Depreciation 96,180 126,500 

Consultancy** 201,818 234,110 

Recruitment Costs - 6,590 

Database Development 2,316 - 

Foreign Exchange Loss 2,599 - 

Total 2,074,400 2,384,911 

*The figure for Board fees in 2008 includes backpay of increased fees from 2006 

** Included in the figure for Consultancy is the cost of the Survey of the Audiovisual Industry in 2008 

6. Board Remuneration and Employees 

The average number of employees including the Chief Executive, during the year was as follows: 

2009 2008 

Number Number 

Chief Executive 1 1 

Employees 15 14 

The CEO’s remuneration package for 2009 was made up as follows: annual basic salary €120,382 (2008: €117,948). The CEO also 

received a performance related bonus of €22,275 relating to 2008 in 2009. (In 2008 a performance related bonus of €21,367 relating to 

2007 was paid). No performance related bonus was awarded for 2009. The CEO’s pension entitlements do not extend beyond the standard 

entitlements in the public sector defined benefit superannuation scheme. Expenses of €47,359 were incurred in respect of the CEO and 

include the following categories: accommodation, airfares, mobile phone charges, subsistence, taxis and train fares. The CEO spent 98 

days abroad on official business in 2009 in order to raise international finance for the IFB slate of feature films, to market Ireland as a 

film location and to promote awareness of Irish film internationally. The CEO is also required to attend extensive meetings in Dublin as 

part of his role. 

Pension levy deductions from staff salaries of €53,848 were paid to the Department of Arts, Sport and Tourism in 2009. 

Payments to Board Members in 2009 were as follows: 2009 

I 

Fees 47,250 

Expenses 5,497 

Total 52,747 

The Chairman’s fee was €9,450 and each of the six board members received €6,300. Board expenses comprised domestic travel €2,843, 

Foreign Travel €1,823, Meals and Subsistence: €831. 

7. Organisations, Subscriptions and Research 

2009 2008 

I I 

IBEC 13,925 5,637 

Subscriptions to Publications 7,211 5,667 

Special Purpose Funding - 4,838 

Irish Film Archive 104,000 - 

uS Ireland Alliance 49,769 - 

Cinema Northwest 20,000 - 

Total 194,905 16,142 

8. Marketing 

2009 2008 

I I 

Festival Promotion 154,644 105,095 

Advertising 53,777 83,305 

Events/PR 67,625 109,878 

Publications 30,060 49,144 

Marketing Materials 64,544 9,025 

Web Site Redesign 38,252 9,286 

Locations Services 11,908 25,555 

Overseas Marketing 31,258 71,568 

LA Office* 167,647 176,201 

Total 619,715 639,055 

* This represents staff costs of €139,349 and overhead costs of €28,296 (In 2008, staff costs were €146,896 with overhead costs of €29,305). 

21

22 

COLONY 

9. Lease of Premises 

The Board has commitments until 2016 in respect of its office in Galway at Queensgate, 23 Dock Road. The annual cost of this lease is 

€76,350 plus vAT. The Board also has commitments until 2017 in respect of its offices at 14-16 Lord Edward St, Dublin 2 at an annual cost 

of €116,000 plus vAT. 

10. Superannuation 

2009 2008 

a. Analysis of total pension costs charged to Expenditure I I 

Current Service Cost 271,079 188,129 

Interest on Pension Scheme Liabilities 75,415 62,121 

Employee Contributions (47,074 ) (44,591 ) 

Total 299,420 205,659 

2009 2008 

b. Movement in net Pension Liability during the financial year I I 

Net Pension Liability at 1 January 1,908,907 1,330,100 

Current Service Cost 271,079 188,129 

Interest Cost 75,415 62,121 

Actuarial Loss/(gains) (253,202 ) 328,557 

Pensions Paid in the Year - - 

net Pension Liability at 31 December 2,002,199 1,908,907 

c. Deferred Funding for Pensions 

The Board recognises these amounts as an asset corresponding to the unfunded deferred liability for pensions on the basis of the set of 

assumptions described above and a number of past events. These events include the statutory basis for the establishment of the pension 

scheme, and the policy and practice currently in place in relation to funding public service pensions including contributions by employees 

and the annual estimates process. The Board has no evidence that this funding policy will not continue to meet such sums in accordance 

with current practice. 

The Net Deferred Funding for Pensions recognised in Income and Expenditure Account was as follows: 

2009 2008 

I I 

Funding Recoverable in Respect of Current Year Pension Costs 346,494 250,250 

State Grant Applied to Pay Pensioners - - 

Total 346,494 250,250 

The deferred funding asset for pensions as at 31st December 2009 amounted to €2,002,199 (€1,908,907 in 2008) 

2009 2008 2007 2006 

d. History of defined benefit obligations I I I I 

Defined Benefit Obligations 2,002,199 1,908,907 1,330,100 1,181,523 

Experience (gains)/losses on Scheme Liabilities Amount (90,900 ) 53,735 (18,546 ) (109,770 ) 

Percentage of Scheme Liabilities -5% 3% -1% -9% 

e. General Description of the Scheme 

The pension scheme is a defined benefit final salary pension arrangement with benefits and contributions defined by reference to current 

‘model’ public sector scheme regulations. The scheme provides a pension (eightieths per year of service), a gratuity or lump sum (three 

eightieths per year of service) and spouse’s and children’s pensions. Normal retirement age is a member’s 65th birthday, and pre 2004 

members have an entitlement to retire without actuarial reduction from age 60. Pensions in payment (and deferment) normally increases 

in line with general public sector salary inflation. 

The valuation used for FRS17 (Revised) disclosures has been based on a full actuarial valuation completed in May 2010 by a qualified 

independent actuary taking account of the requirement of the FRS in order to assess the scheme liabilities at 31st December 2009. 

FADó FADó 

The Principal Actuarial Assumptions were as follows: 

2009 2008 

Rate of Increase in Salaries 3.5% 3.5% 

Rate of Increase in Pensions in Payment 3.5% 3.5% 

Discount Rate 4.3% 4 % 

Inflation Rate 2% 2% 

The mortality basis adopted allows for improvements in life expectancy over time, so that life expectancy at retirement will depend on the 

year in which a member attains retirement age (age 65). 

The mortality rates adopted are as follows: 

Life Expectancy for Male aged 65 21.6 years 

Life Expectancy for Female aged 65 23.3 years 

Life Expectancy for Male aged 45 Now (from 65) 23.9 years 

Life Expectancy for Female aged 45 Now (from 65) 25.1 years 

11. Tangible Fixed Assets 

Furniture Computers Total 

Cost I I I 

At 1 January 2009 428,893 336,131 765,024 

Additions 717 20,812 21,529 

Disposals - - - 

At 31 December 2009 429,610 356,943 786,553 

Depreciation 

As at 1 January 2009 221,837 325,177 547,014 

Charge for year 80,434 15,746 96,180 

Disposals - - - 

At 31 December 2009 302,271 340,923 643,194 

net Book value 

As at 31 December 2009 127,339 16,020 143,359 

As at 31 December 2008 207,056 10,954 218,010 

Movement (79,717 ) 5,066 (74,651 ) 

12. Creditors 

2009 2008 

I I 

PAYE/PRSI 52,351 50,057 

Other Accruals 136,839 166,533 

Withholding Tax 23,052 5,500 

Pension Contribution - 257,933 

Trade Creditors 115,629 116,767 

Total 327,871 596,790 

23

24 

THE INvESTIGATOR 

13. Capital Reserve 

notes 2009 2008 

I I 

Balance at 01/01/09 1,859,291 2,550,172 

Investment in Films 3 (283,767 ) (709,008 ) 

Movement in Fixed Asset Funding (74,650 ) 18,127 

Balance at 31/12/09 1,500,874 1,859,291 

The movement in Fixed Asset funding is comprised as follows: 

Income allocated for Capital purposes 21,529 144,627 

Amortisation (96,179 ) (126,500 ) 

Total (74,650 ) 18,127 

14. Commitments 

Feature Documentary Animation Distribution 

Production* Production Production Loans Schemes Total 

Production Loans I I I I I I 

Commitments @ 01/01/09 1,433,807 785,681 477,500 61,671 302,795 3,061,454 

Commitments in 2009 10,910,076 1,663,800 869,000 407,180 882,501 14,732,557 

Commitments expired in 2009 (15,000 ) - - - - (15,000 ) 

Total Commitments 12,328,883 2,449,481 1,346,500 468,851 1,185,296 17,779,011 

Payments in 2009 (10,977,337 ) (1,724,010 ) (1,094,700 ) (394,581 ) (911,031 ) (15,101,659 ) 

Commitments at 31/12/09 1,351,546 725,471 251,800 74,270 274,265 2,677,352 

* Included in both the commitment and payment for Feature Production is an amount of €293,860 in respect of project related expenses and production 

legal costs. 

Animation Feature Documentary 

Development Development Development MPD Total 

Development Loans I I I I I 

Commitments @ 01/01/09 80,001 261,498 20,001 495,627 857,127 

Commitments in 2009 148,000 1,842,585 - - 1,990,585 

Commitments expired in 09 - (32,500 ) (20,001 ) (22,627 ) (75,128 ) 

Total Commitments 228,001 2,071,583 - 473,000 2,772,584 

Payments in 2009 (168,000 ) (1,560,585 ) - (473,000 ) (2,201,585 ) 

Commitments at 31/12/09 60,001 510,998 - - 570,999 

15. Provisional Offers of Assistance to Film Projects 

In addition to the contracted commitments outstanding at year-end of €3,248,351, disclosed in Note 2 , an additional €4,137,500 in 

respect of provisional offers of assistance was outstanding. The major portion of such commitments, €3,830,000 is in respect of feature 

productions where offers are subject to certain terms and conditions including cast, crew, recruitment and financial structure. They 

remain valid for 12 months at which stage they are subject to review. These offers are also conditional on the availability of Board’s funds. 

The Board also had unquantified offers of assistance to a further six feature productions at the year end. 

OCCI vERSuS THE WORLD 

16. Board Members - Disclosure of Transactions 

In the normal course of business the Irish Film Board may approve assistance to film projects and enter into other contractual 

arrangements with undertakings in which Board Members are employed or otherwise interested. The Irish Film Board has adopted 

procedures in relation to the disclosures of interests by Board members and these procedures were adhered to during the year. 

In 2009 the following loans were approved in which a Board Member was employed or had an interest: 

name Company I 

Lesley McKimm newgrange Pictures 

Stella Days (Production) 600,000 

An Exact Replica of a Figment of My Imagination (Development) 25,000 

Julia Here (Development) 15,000 

James Morris Treasure Entertainment 

My Brothers (Production) 625,000 

Tristan Orpen Lynch Subotica Entertainment 

La Mula (Production) 50,000 

The Last Word (Production) 350,000 

Advance Party (Development) 70,000 

Six Days on the Road (Development) 35,000 

The Swimming Lesson (Development) 10,000 

Kirsten Sheridan Blindside Films 

Some Rain Must Fall (Development) 10,000 

Blindside Films also received a quantified production loan offer of 

€600,000 for Back To Jack which has subsequently expired 

Johnny Gogan Bandit Films 

Black Ice (Development) 10,000 

Total 1,800,000 

17. Board Approval 

The financial statements were approved by the Board on the 24th November 2010. 

25

26 

HAPPY EvER AFTERS 

APPEnDIx 1 

Appendices 1 to 5 are for information and do not form part of the accounts from pages 15 to 25. 

CAPITAL COMMITMEnTS 2009 

Feature Production Loans 

Committed I 

32A Janey Pictures 45,000 

A Kiss For Justin Ignition Film Productions 600,000 

All Good Children Element Pictures 600,000 


As If I am not There Wide Eye Film & Tv/Octagon Films 585,000 

Between the Canals Avalon Films 100,000 

Eamon Zanita Films 25,000 

My Brothers Treasure Entertainment 525,000 

na Cloigne ROSG 250,000 

Ondine Octagon Films 50,000 

Outcast Fantastic Films 750,000 

Parked Ripple World Pictures 600,000 

Sensation Blinder Films 750,000 

Snap Samson Films 443,000 

The Fading Light Park Films 100,000 

The Guard Element Pictures 875,000 

The Looking Glass EMu Productions 96,000 

The Runway Fastnet Films 600,000 

The wake wood Fantastic Films 25,000 

Zonad Element Pictures 190,000 

Short Film Schemes 

Committed I 

Creative Co-Production Fund 

Circus Fantasticus Fastnet Films 250,000 

Knockout Parallel Film Productions 600,000 

La Mula Subotica Entertainment 550,000 

Lapland Odyssey Ripple World Pictures 175,000 

Little Foxes Samson Films 31,500 

nothing Personal Fastnet Films 50,000 

Princess Fastnet Films 250,000 

Rosslare to Roscoff venom Films 40,000 

Some Other Stories DIG Productions 125,000 

The Essence of Killing Element Picutres 250,000 

The Last word Subotica Entertainment 350,000 

Regional Support Fund 








Total 10,616,215 

Committed I 

Short Shorts 9 105,000 


Frameworks 14 288,777 

Signatures 2 319,000 

Reality Bites 60,000 

virtual Cinema 19,724 

Total 882,501 

COuNTING SHEEP 

Documentary Production Loans 

Committed I 

Aftermath Two Pair Films 70,000 

Apples of Golan Two Pair Films 100,000 

Art will Save the world Happy Ending Productions 10,000 

Behind the Desert wall Stoney Road Films 56,300 

Bernadette Digital Quilt Company 15,000 

Burma Betrayal LeBrocquy Fraser 82,000 

Children of the Revolution Transmission Films 65,000 

Colony Fastnet Films 65,000 

Counting Sheep Ikandi Productions 100,000 

Get the Picture! Ferndale Films 10,000 

House of Colour Wildfire Film & Tv 97,500 

I was A Soldier Little Bird 9,000 

Icarus 3D Inis Films 43,500 

Jade Caswell Peer Pressure Productions 15,000 

Little Matador Element Pictures 230,000 

Lola La Bonobo Park Films 75,000 

Michael Julia and Jorja vinegar Hill 10,000 

Pyjama Girls Still Films 100,000 

Road Two Pair Films 60,000 

Saviours Street Films 5,000 

Sean Scully Cutstone Productions 35,000 

The Cause of Progress Little Ease Productions 15,000 

The Iron Horse to Juba Loopline Films 15,000 

The Master, the Slave & The Bank Still Films 10,000 

The Pipe Scannáin Inbhear Teo 100,000 

The Quiet Man Loopline Films 127,500 

The Road from Kolkata Ronan O’Leary 10,000 

The yellow Bittern Crossing the Line Films 75,000 

Today is Better than Two Tomorrows vinegar Hill 58,000 

Total 1,663,800 

P&A Loans 

Committed I 


A Film with Me In It Parallel Film Productions 50,000 

Five Minutes of Heaven Element Distribution 18,700 

Shrooms Buena vista Ireland 50,000 

The Secret of Kells Buena vista Ireland 50,000 

The yellow Bittern Element Distribution 5,000 

waveriders Element Distribution 50,000 

wide Open Spaces Element Distribution 34,600 

Total 273,300 

Print Support 

Committed I 

Atlantic Park Films 3,139 

Butterfly Light IMI Pictures 6,576 


His and Hers venom 37,503 

If I Should Fall Behind Tilted Pictures 10,030 

Lowland Fell Blinder Films 13,607 

new Boy Zanzibar Films 798 

Peacefire Mayfly Entertainment 6,300 

The Herd venom 3,350 

Tilted Pictures 8,965 

Total 133,880 

27

28 

THE TRIAL 

Feature Development Loans 

Committed I 

13 Coins Heaven’s Gate Films 12,000 

A Long Long way Ferndale Films 25,000 

Advance Party Subotica Entertainment 70,000 

Airlift to Biafra Great Western Films 15,000 

Albert nobbs Parallel Film Productions 20,000 

Alice’s Reel Anne Marie Casey 12,000 

An Evening of Long Goodbyes Subotica Entertainment 15,000 

An Exact Replica of a Figment 

of My Imagination Newgrange Pictures 25,000 

Anonymous Parallel Film Productions 20,000 

At Swim Two Birds Parallel Film Productions 30,000 

Bad Day in Blackrock Element Pictures 27,000 

Blood Ties Parallel Film Productions 10,000 

Cell Six Fantastic Films 7,000 

Clap Element Pictures 47,000 

Confirmation Day Mark Doherty 16,000 

Cycle Stitch Films 12,000 

Dead Devil Donkey Parallel Film Productions 15,000 

Fake Parallel Film Productions 20,000 

Flying Monkeys Rubicon Films 20,000 

Future Fathers Conor Morrisey 12,000 

Get the Pope Holywood Films 10,000 

Good vibrations Canderblinks Film 40,000 

Green and Blue Rubicon Films 30,000 

Happy Birthday Kate Zanita Films 18,000 

Harms way Cathal Black 16,000 

I Scream Love Lance Daly 12,000 

If you Could See Me now Octagon Films 40,000 

Incognita Nick Kelly 12,000 

Jericho David Timmons 12,000 

Jericho Fastnet Films 15,000 

Julius winsome Cathal Black 16,000 

Life’s A Breeze Fastnet Films 30,000 

Long Is The way Eoin Heaney 16,000 

Love Eternal Fastnet Films 10,000 

Lucas Micheal Kinirons 12,000 

Manners on Men Pearse Elliot 12,000 

Memorabilia Parallel Film Productions 30,000 

Metro-Boulot - dodo Donal Beecher 12,000 

Mister John Samson Films 12,000 

Mrs Casey and the Ethnographer Samson Films 32,000 

Mrs Casey and the Ethnographer Ailbhe Keogan 12,000 

My Brothers Rubicon Films 15,000 

My Brother’s Heaven Ripple World Pictures 9,000 

Animation Development Loans 

Committed I 

My Life and How I Live It Morag Prunty & Helen Falconer 16,000 

My name is Emily Simon Fitzmaurice 12,000 

new Game Fantastic Films 10,000 

Odessa Great Western Films 20,000 

On the Picket Line Parallel Film Productions 50,000 


Paydirt/King of the Castle Wildfire Film & Tv 20,000 

Perkin warbecks Octagon Films 30,000 

Probable Parent venom 50,000 

Reading in the Dark De Facto Films 15,000 

Return Holywood Films 10,000 

Six Days on the Road Subotica Entertainment 35,000 

So Small EMu Productions 14,000 

Some Rain Must Fall Blindside Films 10,000 

Stags Declan Recks 16,000 

Still Life Great Western Films 12,000 

Summer Storm Ian Fitzgibbon 16,000 

Thanks for the Memories Parallel Films Productions 20,000 

The Blue Tango 10x10 Films 20,000 

The Canal Ivan Kavanagh 12,000 

The Clancys Parallel Film Productions 30,000 

The Donor Nine Rivers Media 16,000 

The End of Sleep Parallel Film Productions 50,000 

The God Squad Geraldine Creed 16,000 

The Last Snows of Spring Wide Eye Films 11,500 

The Man From God Knows where Parallel Film Productions 35,000 

The Other Side of Sleep Fastnet Films 34,000 

The Possession of Mr Cave Parallel Film Productions 7,500 

The Rising Element Pictures 48,000 

The Secret Scriptures Ferndale Films 50,000 

The Silent One Samson Films 30,000 

The Sound of All Things Passing Norah McGettigan 16,000 

The Sound of All Things Passing venom 30,000 

The Steamroller Patrick McDonald 16,000 

The Swimming Lesson Subotica Entertainment 10,000 

The Taken Heaven’s Gate Films 9,000 

The unreliable narrator Terry McMahon 12,000 

The virgin of Las vegas Parallel Film Productions 40,000 

Thy Kingdom Come Rubicon Films 15,000 

Trinity Chartscript 50,000 

uKFC Super Slate 6,585 

wayfaring Strangers Rubicon Films 30,000 

wise Children Parallel Film Productions 15,000 

your Girlfriend and Me Brendan Grant 12,000 

Total 1,842,585 

Committed I 

The Selfish Giant Boulder Media 38,000 

Tilly and Friends Jam Media 25,000 

Mortified Kavaleer Productions 25,000 

The Huggle wugs Brown Bag Films 5,000 

Tales from the Long Room Caboom 10,000 

Oh Lii Lo Jam Media 45,000 

Total 148,000 

THE RACE 

APPEnDIx 2 

OuTSTAnDInG COMMITMEnTS 2009 

Feature Production Loans 

Pending I 

Pre 2009 113,950 



As If I Am not Here Wide Eye/Octagon Films 67,900 











Total 678,700 

Creative Co-Production Fund 

Pending I 

Pre 2009 20,000 






The Last word Subotica Ltd 105,000 

Total 506,089 

Animation Production Loans 

Pending I 

Pre 2009 24,800 

Garth and Bev Kavaleer Productions 42,000 

Santapprentice Cartoon Saloon 125,000 

The Trembling veil of Bones Glimpse Digital 7,000 

The wilderness Clare Langan 3,000 

Thor Magma Films 50,000 

Total 251,800 

Regional Support Fund 

Pending I 





Total 181,750 

29

30 

AOSDáNA 

Documentary Production Loans 

Pending I 

Pre 2009 164,857 



Behind the Desert wall Stoney Road 28,150 




Counting Sheep Ikandi 5,000 


House of Colour Wildfire Films 29,264 









The Master, the Slave and The Bank Still Films 2,000 





Total 725,471 

P&A Loans 

Pending I 

Pre 2009 39,285 





Total 67,885 

Print Support 

Pending I 

Pre 2009 6,385 

Total 6,385 

Short Film Schemes 

Pending I 

Short Shorts 69,985 

Frameworks 164,100 


Shortcuts 14,103 

Oscailt 24,975 

Total 274,265 

THE BASS PLAYER 

Feature Development Loans 

Pending I 

Pre 2009 141,000 






































Animation Development Loans 

Pending I 








Probable Parent venom Limited 30,000 









Thanks for the Memories Parallel Film Productions 5,000 











The Sound of All Things Passing venom Limited 15,000 










Expiries (Pre 2009) -32,500 

Total 511,000 

Pending I 

Pre 2009 45,000 





Total 60,000 

31

32 

LOvE AND SAvAGERY 

APPEnDIx 3 

DETAILS OF LOAn COnDITIOnS 

(a) Development Funds 

Development Loans are advanced on a phased payment basis with approximately 50-60% paid on satisfactory execution of 

Development Loan contracts between the Board and the Producer, the balance being paid upon compliance with specific 

conditions outlined by the Board. 

Loans for development are up to a maximum of €100,000, €50,000 at any one time. Teams or individuals (producer/ 

director/script-writer) may apply. The Producer is obliged to repay the Advance to the Board on the first day of principal 

photography. 

These should be seen as development/ feasibility loans; the Board makes every effort to track these monies and provides 

information and support for independent producers seeking other potential production partners. Some of the projects 

receiving development loans from the Board will not proceed into production and may eventually have to be written off. 

However, all projects which are successfully brought to fruition, are closely monitored by the Board and collection of 

monies due is actively pursued. 

(b) Production Loans 

The Board’s involvement takes the form of investment in the production and in its sales for cinema, television, video and 

ancillary markets (cable, satellite, home box-office etc.) both in Ireland and worldwide. The investment is not subject to 

interest; rigorous measures for recoupment and profit participation are applied. All offers of investment are ‘in principle’ 

and subject to contract. 

HOLD THE PASSION 

APPEnDIx 4 

PRInCIPLES & CRITERIA 

BSÉ/IFB’s funding programmes are guided by some 

fundamental principles which form the basis of its decision- 

making criteria. The principles are: 

• Additionality 

• Cultural Priorities, Industrial Priorities 

• Making Cinema 

• Originality 

These are explained in more detail below. Thereafter we set out 

some further considerations that may influence a decision in 

favour of one project over another. 

Additionality 

An essential rationale for making public money available to 

an industry is that it should create activity that would not 

otherwise occur, i.e. that the market, left to itself, would not 

engender. It follows that films backed by BSÉ/IFB should be 

films that will not be made, or will not be made with the same 

level of benefit to Ireland, unless enabled to do so with the 

support of the agency. Such films, and the benefits that flow 

from them, will represent ‘additional’ economic activity. 

The procedures for considering submissions for production 

funding are intended to ensure more effectively that the 

extent of BSÉ/IFB’s involvement in a project really reflects 

the extent to which its involvement is needed: specifically, 

that the level of BSÉ/IFB’s investment is what is required to 

complete a film’s financing and no more. Clearly this is hard 

to police with absolute accuracy, given the nature of film 

financing negotiations, but the principle holds good and will 

be closely observed. 

The aim to fund films that are ‘additional’ will also affect 

BSÉ/IFB’s preferences in seeking out projects to support. 

Additionality implies making a difference, and BSÉ/IFB will 

tend to be drawn towards supporting projects that appear to 

be of high quality but tangibly distinct and different from films 

available in the mainstream marketplace. This does not mean 

that BSÉ/IFB is interested only in supporting ‘un-commercial’ 

material. On the contrary, there is a wealth of cinema history 

evidence to show that the big hits are frequently groundbreaking, 

left-field surprises. The market appears to need 

regular refreshment. BSÉ/IFB will give energetic backing to 

producers who display an ambition to achieve market success 

– with projects that display an awareness of the market, but not 

a prostration to it. 

Cultural Priorities, Industrial Priorities 

Consistent with its government remit, and responding to the 

present perceived needs of the Irish film industry, BSÉ/IFB 

considers that certain projects, in terms of their content, 

provenance or benefit to the industry, represent clear priorities 

for its funding as against others. 

Strong preference will be given to submissions on behalf of 

projects which: 

• Are of ‘Irish initiation’ in a creative sense; that is, 

conceived, written and to be directed by Irish talents 

• Tell Irish stories, drawing on and depicting Ireland’s 

culture, history, way of life, view of the world and of itself 

• Entail new Irish filmmaking talent in key creative roles, 

i.e. director, writer, producer, composer, principal actor 

Serious attention will also be paid to submissions which: 

• Propose a strongly Irish project (in terms of setting, 

characters, etc) that is to be directed by a non-Irish talent, 

where BSÉ/IFB regards the director’s track-record as an 

assurance of quality 

• Involve an Irish producer as minority co-producer of a film, 

where (a) BSÉ/IFB is convinced of the quality of the project, 

(b) the amount of BSÉ/IFB’s investment corresponds to the 

level of involvement of Irish personnel, elements and 

facilities in the project, and (c) a commitment is in place by 

the majority co-producer to reciprocate by acting as 

minority co-producer of a future Irish film 

Submissions on behalf of films to be made predominantly in 

the Irish language will continue to be particularly welcomed by 

BSÉ/IFB. 

BSÉ/IFB will always be vigilant in ensuring that films in which 

it invests entail a high volume of expenditure on Irish personnel 

and in the Irish industry, and this aspect of a submission is 

likely to play a material part in a positive decision. 

33

34 

SAvAGE ROY 

It will not in itself be a decisive factor, however, where BSÉ/IFB 

is unconvinced by the quality of a project, or where the project 

in other respects does not comply with any of the priorities 

set out above. This is dealt with in more detail under Further 

Considerations below. 

Making Cinema 

A fundamental reason for BSÉ/IFB’s existence is to encourage, 

sustain and promote work in Ireland that is made to be shown 

on the big screen. 

This has not prevented BSÉ/IFB from supporting work for which 

the main exhibition outlet in practice is television. Moreover, to 

the extent that this enables production companies to survive 

and even thrive, and reflects a healthy and necessary synergy 

between the cinema and television media, in a country the size 

of Ireland it would be unrealistic for BSÉ/IFB to confine its 

support to filmmaking for the cinema. 

But, while continuing to respond positively to occasional 

submissions on behalf of projects that are most likely to find 

an audience on television, even including made-for-Tv films 

and series, BSÉ/IFB will place somewhat greater emphasis 

on its obligations towards cinema work and cinema talents 

in the future. 

In practice this will mean: 

• Documentaries will be more rigorously assessed in 

terms of their potential to achieve theatrical release or 

stimulate interest from international film festivals. 

Preference will be given to ‘feature documentaries’; films 

aimed at a one-hour Tv slot or shorter, with little or no 

international appeal, are likely to be supported only if 

they are felt to be of an irresistible quality. Besides BSÉ/ 

IFB’s emphasis on cinema, this approach is also designed 

to respond to the manifest increase in theatrical 

audiences’ desire to see documentaries. 

• Animation will be treated with more flexibility, in 

recognition both of the growing importance of Irish work 

in this field, and of the narrowness of the theatrical market 

that exists for animated features. Preference will 

nonetheless be given to original work from Irish talents 

that appears to be sufficiently inventive and striking 

to measure up to the big-screen format if an opportunity 

becomes available. 

• Television fiction, whether singles or series, will be 

considered for its inherent quality but other factors will 

also come into play. Strong emphasis will be placed on 

backing directors (and, on occasions, writers) whose 

careers to date clearly demonstrate an ability to make 

cinema films, or who in the view of BSÉ/IFB are headed for 

a career in cinema filmmaking. Further, BSÉ/IFB will need 

to be convinced that its financial involvement is crucial to 

the realisation of the programme and will expect to 

contribute editorially to its content. Development support 

by BSÉ/IFB for material specifically aimed at television 

production will be forthcoming very rarely indeed. 

Originality 

In the interests of achieving distinction in the way in which 

it utilises its resources, and consistent with the additionality 

objectives already outlined, BSÉ/IFB will set considerable 

store by originality in seeking out and selecting projects for 

support. Artistic benefits apart, there is ample evidence that 

in a market dominated by high-budget products, the films 

that compete most effectively are those that offer audiences 

something not seen before – in terms of controversial content, 

provocative viewpoint, fresh humour, twisted genre, or new 

depths of emotion. 

This will lead BSÉ/IFB to favour directors (and writers) with 

distinctive ‘voices’, whose work depicts a strongly individual 

view of the world, portrays life in such a way as to give it new 

meaning, holds a mirror up to aspects of nature that more 

conventional filmmakers avoid or fail to notice. BSÉ/IFB is 

concerned to back films that reach as wide an audience as 

possible, and expects filmmakers to demonstrate a similar 

ambition. At the same time it recognises that box-office success 

eludes many. Whether a film succeeds or fails, BSÉ/IFB 

believes that expenditure of public money can be vigorously 

defended if the film has something original to say, something 

original to add to the mass of world cinema. 

Further Considerations 

The guiding principles described above should serve to give 

applicants insight into the way in which BSÉ/IFB’s executives 

and advisors will assess a project from the point of view of its 

content and the creative team involved. In assessing production 

funding applications, other factors may come into play, 

concerning the economic effects of the project, the financial 

arrangements, and the prospects of reaching audiences. 

Where BSÉ/IFB does not consider that a project adheres to 

any of the guiding principles, these other factors will not in 

themselves be sufficient to secure an offer of funding. But, 

in the case of a project where content and creative team are 

seen as persuasive, the following considerations may affect 

negotiations between BSÉ/IFB and the filmmakers as to the 

level of BSÉ/IFB’s investment and the way in which the film 

will be financed, produced and distributed: 

• Track record of the producer 

• Has the producer managed and delivered films in a 

professional and efficient manner before? 

• Has BSÉ/IFB had good previous experience of dealing 

with the producer? 

• In a co-production, do any non-Irish producers involved 

have good professional track records? 

• Irish employment 

• Are key creative and technical positions to be filled 

by Irish personnel? 

• In a co-production, is the proportion of these 

appropriate? 

• Will the production offer employment to Irish personnel 

across all possible grades? 

• Spend in the Irish economy 

• Will the film be shot in Ireland? 

• Will the production make extensive use of Irish 

production and post-production facilities? 

• Will the project attract inward investment into the 

Irish economy? 

• Sales and Distribution 

• Is an international sales agent attached to the film? 

• Does the film have an Irish distributor? 

• Are any distributors or broadcasters providing 

production finance? 

• Financial structure 

• Are the proposed co-financiers of the film reliable? 

• Will the proposed financing arrangements allow BSÉ/ 

IFB to negotiate a reasonable recoupment position? 

• Will there be reasonable transparency of accounting 

with regard to sales revenues, e.g. by use of a collection 

agent? 

It should be emphasised that for a project to be offered 

production funding it is not necessary for all these questions 

to be answered affirmatively. But negative answers to a 

high proportion of them could undermine a strongly positive 

disposition on the part of BSÉ/IFB towards the creative 

aspects of a project. At the very least, a mix of affirmative and 

negative answers will provoke discussion as to the extent and 

manner of BSÉ/IFB’s commitment. 

variant Criteria 

Some BSÉ/IFB funding programmes have specific criteria of 

their own and are not necessarily governed by the principles 

set out above: 

• Multiple Project Development (MPD) 

Although the guiding principles are applied to assessment 

of the slates of projects proposed, the MPD programme 

carries its own additional criteria which should be checked 

before an application is made. 

• International Production 

This programme, although subject in broad terms to 

BSÉ/IFB’s normal cultural criteria, is more industrially 

driven than creatively driven. Provided that the principal 

producer has a good track record, and the creative package 

appears plausible, assessment by BSÉ/IFB will be based 

primarily on consideration of the economic ‘multiplier’ 

effect of its funding, and of the opportunities for Irish 

personnel to be employed in key positions. 

• Regional Support 

This programme has an exclusively economic remit. To 

be eligible, a project must already be in receipt of BSÉ/ 

IFB production funding, and no further creative judgment 

is applied. An assessment is made of the amount of 

the production budget to be spent in Ireland outside the 

metropolitan and adjacent area; this must be at least twice 

the amount of funding requested. 

• Documenting the Arts 

There are guidelines specific to this programme, as 

drawn up with the Arts Council which oversees the 

selection procedure. 

• Distribution 

The Print Provision programme functions on an automatic 

basis, whereby films become eligible for support if selected 

for one of a list of approved festivals, subject to agreement 

with BSÉ/IFB as to the level of funding. Prints & Advertising 

funding is provided to Irish distributors of BSÉ/IFB-backed 

films who demonstrate that support from BSÉ/IFB will 

enhance the promotion of a film in the Irish market. 

NOTE: BSÉ/IFB reserves the right to alter, add to or 

suspend any of the above criteria in response to particular 

circumstances or as its policies evolve. 

35

36 

A SHINE OF RAINBOWS 

APPEnDIx 5 

LOCATIOn SERvICES 

Location Services serves to facilitate and encourage filming of all kinds. We can help whether you are making feature 

films, television, documentaries, commercials, corporates, music videos or still photography; anything that ends up on 

screen. Our marketing team is here to answer your questions. Our service is free. 

Here are just some of the services we offer: 

• The Location Services unit handles all enquiries relating to filming in Ireland. F.I.L.M (Film Industry Location Manager) 

is a searchable digital photo database that streamlines our location finding capabilities. The use of the service is free 

to Irish location scouts, as well as film makers contacting us from abroad. 

• As part of our service we also provide visual reference books and other reference information on matters relating 

to filming in Ireland. 

• We also act as the hub for a growing network of regional film offices. Our co-operation with the Northern Irish Film 

and Television Commission means a combination of coverage of the island as a whole. 

• We co-operate with other national bodies to make the working environment as film friendly as possible. 

NOTHING PERSONAL 


RÁITIS AIRGEADAIS 

Oibríonn Bord Scannán na hÉireann faoi chreathlach Acht um 

Bord Scannán 1980 agus Achtanna um Bord Scannáin (Leasú) 

1993, 1997, 2000, 2006. 

COMHALTAí 

B’iad comhaltaí Bord Scannán na hÉireann i 2009 ná: Johnny 

Gogan, uasal; Barry Grace, uasal; Tristan Orpen Lynch, uasal; 

James Morris, uasal (Cathaoirleach); Lesley McKimm, uasal; 

Kevin Moriarty, uasal and Kirsten Sheridan, uasal. 

FOIREAnn 

B’íad foireann Bord Scannán na hÉireann ar 31ú Mí na Nollag 

2009 ná: Simon Perry, Príomhoifigeach Feidhmiúcháin; Teresa 

McGrane, Ceannasaí Chúrsaí Gnó/Leas POF; Naoise Barry, 

Coimisiúnaitheoir Scannán; Celine Forde, Rialtóir Airgeadais; 

Andrew Meehan, Feidhmeannach Forbartha; Alan Maher, 

Feidhmeannach Léiriúchán; Emma Scott, Feidhmeannach 

Léiriúchán; Mark Byrne, Feidhmeannach Gnó agus 

Dlí; Louise Ryan, Feidhmeannach Margaíochta agus 

Cumarsáide; Jill McGregor, Comhordaitheoir Iarratas agus 

Scéimeanna; Sarah Dillon, Comhordaitheoir Léiriúcháin agus 

Forbartha; Mags O’Sullivan,Leas-Coimisinéir Scannán; Jonathan 

Loughran, vP, Coimisiún na Scannán Éireannach S.A.M; Patrick 

O’Neill, Feidhmeannach Chursaí Tionscail; Gillian Morrow, 

Comhordaitheoir Chúrsaí Gnó agus Dlí; Suzanne Keane, 

Comhordaitheoir Cuntas (Páirt-aimseartha); Niamh O’Reilly, 

Feidhmiúcháin agus Aileen McCauley, Cúntóir Riaracháin. 

CRuInnITHE 

Bhí 9 gcruinniú ag an mBord i 2009. 

OIFIG 

Tá ceannáras Bord Scannán na hÉireann le fáil i gcathair 

na Gaillimhe: 

Queensgate, 23 Bóthar na nDuganna, Gaillimh, Éire. 

Teil +353 91 561398, Faics +353 91 561405 

R-phost info@irishfilmboard.ie, www.irishfilmboard.ie 

Tá oifig Bord Scannán na hÉireann i mBaile átha Cliath 

le fáil ag: 14-16 Lord Edward Street, Dublin 2 

37

38 39 

ONE HuNDRED TO ONE OuTSIDERS 

CuSPóIRí AGuS BEARTAIS 


BunAíODH BORD SCAnnÁn nA hÉIREAnn 

D’FHOnn: 

• Na gnéithe cruthaitheacha agus na gnéithe tráchtála a 

ghabhann le scannánaíocht agus le cultúr scannán na 

hÉireann a chur chun cinn ar mhaithe le lucht féachana na 

tíre agus ar mhaithe le lucht féachana idirnáisiúnta. Tacaíonn 

an Bord le tionscadail scannánaíochta trí mhaoiniú forbartha 

a sholáthar agus cuirtear airgeadas léiriúcháin ar fáil chomh 

maith trí infheistíocht fhiachais/chothromais. 

• Forbairt agus oiliúint phearsanra theicniúil, ealaíne agus 

léiriúcháin a spreagadh mar shlí chun feabhas a chur ar 

inniúlacht scileanna laistigh den tionscal. 

• Cúnamh a thabhairt chun scannáin Éireannacha a léiriú agus 

le margaíocht a dhéanamh orthu laistigh de thír na hÉireann 

agus thar lear mar bhealach le spéis a mhúscailt i dtír na 

hÉireann, i gcultúr na hÉireann agus i scannáin Éireannacha. 

TAIRGíOnn An BORD MAOInIÚ D’FHORBAIRT 

AGuS DO LÉIRIÚ TIOnSCADAL MAR SEO 

A LEAnAS: 

i Iasachtaí forbartha (inaisíoctha ar an gcéad lá 

phríomhscannánaíochta) suas go dtí teorainn de €100,000 in 

aghaidh an tionscadail, mar iasachtaí taighde, forbartha agus 

féidearthachta. Ní mór ionannú a dhéanamh ó fhoinsí eile 

i gcás aon mhaoiníucháin atá sa bhreis ar €50,000 d’aon 

tionscadal amháin. 

ii Iaschtaí léiriúcháin do thionscadail a bhfuil buiséid acu atá 

• De bhreis ar €100,000 agus gan a bheith níos mó na 

€1.5M, is féidir le BSÉ/IFB suas go dtí 65% den bhuiséad 

léiriúcháin a chur ar fáil 

• De bhreis ar €1.5M agus gan a bheith níos mó ná €5M, is 

féidir le BSÉ/IFB suas go dtí €1M nó 40% den bhuiséad, 

cibé acu is mó, a chur ar fáil 

• De bhreis ar €5M, is féidir le BSÉ/IFB suas go dtí €2 

milliún nó 25% den bhuiséad, cibé acu atá níos mó, a chur 

ar fáil 

ÚSÁIDTEAR LíOn ÁIRITHE CRITÉAR CHun 

MEASÚnÚ A DHÉAnAMH AR IASACHTAí 

FORBARTHA AGuS AR IASACHTAí 

LÉIRIÚCHÁIn: 

i Breisíocht 

ii Tosaíochtaí Cultúir, Toasíochtaí Tionscail 

iii Déanamh Cineama 

iv Cruthaitheacht 

(Féach Aguisín 4, Leathanach 62) 

vASHA 

AIRGEADAS 

AISGHABHÁIL 

Roinneann an Bord an brabús a thagann as ioncam a ghintear 

le díolachán pictiúrlainne, teilifíse agus físeán agus faigheann 

sé aisíocaíocht ón mbrábús sin. Chuir an Bord iomlán de 

€17,303,244 ar fáil in iasachtaí i dtaca le príomhscannáin a 

fhorbairt agus a léiriú i gcaitheamh na bliana 2009. I gcaitheamh 

an ama chéanna, fuair an Bord aisíocaíochtaí de €1,380,377. 

Tugann an figiúr sin go dtí 11% an ráta aisíoctha ar iasachtaí 

léiriúchán príomhscannán a tugadh amach ó rinneadh athinchorprú 

ar BSÉ i 1993. 

BunACHAR SOnRAí EACnAMAíOCHTA 

Foilsíonn an Audiovisual Federation de chuid IBEC, i gcomhar 

leis an mBord agus le hionadaithe ón Roinn Ealaíon, Spóirt agus 

Turasóireachta, agus le Screen Producers Ireland, TG4 agus 

RTÉ an Bunachar Sonraí Eacnamaíochta ar bhonn bliantúil. 

Clúdaíonn an tuarascáil sin tionscadail scannán agus teilifíse a 

dhéantar in Éirinn gach bliain. 

SCREEn TRAInInG IRELAnD 

I gcaitheamh na bliana 2009, chuir an Bord €532,000 ar fáil 

do Fás Screen Training Ireland d’fhonn Oiliúint Tionscail a 

sholáthar go díreach. 

RAnníOCAíOCHT LE 

GníOMHAIREACHTAí EORPACHA 

Tugann Bord Scannán na hÉireann/the Irish Film Board 

tacaíocht airgeadais do na heagraíochtaí seo a leanas: 

Eurimages 

Cuireann Eurimages, eagraíocht a bhunaigh Comhairle na 

hEorpa, airgeadas léiriúcháin ar fáil i dtaca le comhléiriúcháin 

Eorpacha. Tá Éire rannpháirteach sa scéim ó 1992 i leith. 

D’fheidhmigh Brendan McCarthy mar ionadaí na hÉireann 

ar choiste Eurimages i 2009. D’íoc an Bord suibscríbhinn na 

hÉireann i 2009, íocaíocht de €291,669. 

MEDIA Desk Ireland 

Cuireann MEDIA Desk Ireland eolas ar fáil maidir leis an 

gclár MEDIA, Eurimages, Eureka Audiovisual agus maidir le 

beartas closamhairc an AE agus tugann sé comhairle mar 

gheall orthu sin. Sa bhlian 2009, chuir an Bord €57,011 ar fáil 

leis an Desk a reáchtáil. Tá an oifig lonnaithe san Irish Film 

Centre, 6 Sráid an Iústásaigh, Baile átha Cliath 2, agus bíonn 

sé ar oscailt le haghaidh fiosruithe agus le haghaidh cruinnithe 

comhairliúcháin ó Luan go hAoine. 

MEDIA Antenna 

Tá MEDIA Antenna lonnaithe sa Galway Film Centre, Cluain 

Mhuire, Bóthar Mhuine Mheá, Gaillimh agus feidhmíonn sé mar 

oifig réigiúnach MEDIA. Tá cúram áirithe air freisin eolas agus 

seirbhísí a chur ar fáil do phobal closamhairc na Gaeilge, atá ag 

méadú de réir a chéile. I 2009, chuir an Bord €12,200 ar fáil mar 

chúnamh do chostais reatha an Antenna. 

European Audiovisual Observatory 

Is líonra faisnéise í an Fhaireachlann, a bhailíonn agus a 

dháileann faisnéis dlí, eacnamaíochta agus praiticiúil maidir 

leis an dtionscal closamhairc san Eoraip ar mhaithe le lucht 

gairme agus cuideachtaí i réimse na teilifíse, na scannán agus 

na bhfíseán. D’íoc an Bord síntiús na hÉireann don bhliain 2009, 

táille de €19,737.

40 41 

THE TuDORS III 

RÁITEAS MAIDIR LE DuALGAIS CHOMHALTAí BOIRD 

Éilítear in Alt 20 (1) d’Acht um Bord Scannán na hÉireann 1980 go n-ullmhóidh comhaltaí an Bhoird Ráitis Airgeadais i 

bhfoirm a d’fhéadfadh an tAire Ealaíon, Spóirt agus Turasóireachta a cheadú, le toiliú ón Aire Airgeadais. Agus iad ag 

ullmhú na Ráiteas Airgeadais sin, tá ceangaltas ar an mBord: 

• Beartais oiriúnacha a roghnú agus ansin iad a chur i bhfeidhm go comhsheasmhach. 

• Breithiúnais agus meastacháin a dhéanamh atá réasúnta agus stuama. 

• Ráitis Airgeadais a ullmhú ar bhonn an ghnóthais leantaigh ach amháin mura mbíonn sé cuí glacadh leis go leanfaidh 

an Bord air ag feidhmiú. 

• A chur in iúl gur cloíodh le caighdeáin chuntasaíochta infheidhme faoi réir aon difríochtaí ábhartha a nochtadh agus a 

míníodh sna ráitis airgeadais. 

Tá an Bord freagrach as leabhair chearta cuntasaíochta a choinneáil a nochtaíonn le cruinneas réasúnta staid airgeadais 

an Bhoird ag am ar bith. Tá sé freagrach as cibé bearta is gá a chur i bhfeidhm chun sócmhainní Bhord Scannán na 

hÉireann a chosaint agus le calaois agus mírialtachtaí eile a chosc agus a aimsiú. 

Thar ceann an Bhoird: 


Cathaoirleach Comhalta Boird 

24 Samhain 2010 

PRINCESS 

RÁITEAS MAIDIR LEIS An gCóRAS RIALAITHE 

InMHEÁnACH AIRGEADAIS 

Admhaímse leis seo, thar ceann Bhord Scannán na hÉireann/ 

the Irish Film Board, go bhfuil freagracht orainn a chinntiú go 

gcoinnítear agus go bhfeidhmítear córas éifeachtach i dtaca le 

rialú inmheánach airgeadais. 

Ní féidir leis an gcóras ach deimhniú réasúnta agus ní dearbh- 

dheimhniú iomlán a thabhairt go gcosnaítear sócmhainní, go 

mbíonn idirbhearta údaraithe agus taifeadta mar is cuí, agus 

go gcuirfear cosc le hearráidí nó mírialtachtaí ábhartha nó go 

n-aimseofar iad go tráthúil. 

na Príomhnósanna Imeachta i dtaca le Rialú: 

Tá na príomhnósanna imeachta seo a leanas maidir le rialú 

inmheánach airgeadais curtha i bhfeidhm ag an mBord chun 

timpeallacht chuí a chinntiú i dtaca le rialú: 

• Tá plean eagraíochta i bhfeidhm a shainmhíníonn agus a 

dháileann freagrachtaí ar an bhfoireann agus a aithníonn 

línte maidir le tuairisciú i dtaobh gach gné d’oibríochtaí 

an Bhoird. 

• Tá nósanna imeachta agus bearta slándála i bhfeidhm 

lena chinntiú go gcosnaítear sócmhainní an Bhoird 

agus le dearbh-dheimhniú in aghaidh úsáid nó diúscairt 

neamhúdaraithe a chinntiú. 

• Moltar cultúr láidir follasachta agus freagrachta ar fud 

na heagraíochta 

Tá próisis bunaithe ag an mBord chomh maith chun rioscaí gnó 

a aithint agus meastóireacht a dhéanamh orthu trí: 

• Nádúr, méid agus impleachtí airgeadais an riosca atá roimh 

an gcomhlacht a aithint, lena n-áirítear an méid a cheaptar 

a bheith inghlactha maidir le feidhmeanna éagsúla. 

• Measúnú a dhéanamh ar an ndóchúlacht go dtarlóidh rioscaí 

aitheanta agus measúnú a dhéanamh ar chumas an Bhoird 

na rioscaí a tharlaíonn a bhainistiú agus a mhaolú. 

• Athbhreithnithe rialta a dhéanamh ar phleananna 

straitéiseacha an Bhoird lena chinntiú go dtugann na 

pleananna sin aghaidh ar an dtimpeallacht reatha gnó. 

• Spriocanna gearrthéarmacha agus fadtéarmacha a shocrú 

do gach Aonad laistigh den Bhord agus athbhreithniú a 

dhéanamh ar a ndul chun cinn i dtaca leis na spriocanna sin. 

• Nósanna imeachta caighdeánacha faoinar féidir cúnamh 

airgeadais a chur ar fáil do thionscadail a bhunú agus a 

fhorfheidhmiú agus na nósanna imeachta sin a athbhreithniú 

de réir mar is gá. 

Rinne an Bord athbhreithniú ar a chuid rioscaí gnó i 2009 

agus tá aghaidh á thabhairt aige faoi láthair ar aon laigeachtaí 

a aithníódh. 

Tá an córas rialaithe airgeadais bunaithe ar chreat oibre 

d’fhaisnéis rialta bainistíochta, ar nósanna imeachta riaracháin 

lena n-áirítear deighilt dualgas, údarú agus córas tarmligin agus 

freagrachta. áirítear air sin, go háirithe: 

• Córas cuimsitheach maidir le buiséadú lena bhfuil buiséad 

bliantúil i gceist a dhéanann an Bord iad a athbhreithniú 

agus a chomhaontú. 

• Athbhreithnithe rialta ar thuarascálacha tréimhsiúla agus 

bliantúla a léiríonn caiteachas i gcomparáid le réamhaisnéis. 

• Spriocanna a shocrú chun feidhmíocht airgeadais agus 

feidhmíocht eile a thomhas. 

Bhunaigh an Bord Coiste Iniúchta atá comhdhéanta d’ionadaithe 

ón mBord agus ón bhFheidhmeannas agus é mar sprioc ag an 

gCoiste sin rialúcháin inmheánacha a neartú. 

Athbhreithniú i dtaca le Rialú Inmheánach Airgeadais: 

Déanann an Bord monatóireacht ar éifeachtúlachtacht an 

chórais rialaithe inmheánaigh airgeadais trí athbhreithniú 

bainistíochta agus iniúchadh thréimhsiúil a dhéanamh agus 

trí staidéir a dhéanamh ar athbhreithnithe le comhairleoirí 

seachtracha. Tá athbhreithniú déanta ag an mBord ar a chuid 

rialuithe inmheánacha airgeadais don bhliain 2009. 

Thar ceann an Bhoird 

James Morris 

Cathaoirleach

42 43 

ONE HuNDRED MORNINGS 

TuAIRISC An ARD-REACHTAIRE CunTAS 

AGuS CISTE 

Tá ráitis airgeadais Bhord Scannán na hÉireann don bhliain dar 

críoch 31 Nollaig 2008 iniúchta agam faoin Acht um Bord Scannán 

na hÉireann 1980. 

Tá na ráitis airgeadais, a ullmhaíodh faoi na beartais 

chuntasaíochta arna leagan amach sna ráitis, comhdhéanta de 

na Beartais Chuntasaíochta, an Cuntas Ioncaim agus Caiteachais 

Caipitiúil, an Cuntas Ioncaim agus Caiteachais Riarachán, an 

Ráiteas Gnóthachan agus Caillteanas Aitheanta Iomlán, an Clár 

Comhardaithe, an Ráiteas ar Shreabhadh Airgid agus na nótaí 

gaolmhara. 

Freagrachtaí an Bhoird agus an Ard-Reachtaire Cuntas 

agus Ciste faoi seach 

Tá Bord Scannán na hÉireann freagrach as na ráitis airgeadais 

a ullmhú de réir an Achta um Bord Scannán na hÉireann 1980 

agus as rialtacht na n-idirbheart a chinntiú. ullmhaíonn an Bord 

Scannán na hÉireann na ráitis airgeadias de réir Cleachtais 

Chuntasaíochta a nGlactar Leis go Coitiana in Éireann. Tá 

freagrachtaí cuntasaíochta Chomhaltaí an Bhoird leagtha amach 

sa Ráiteas um Fhreagrachtaí Chomhaltaí an Bhoird. 

Is é m’fhreagrachtsa ná na ráitis airgeadais a iniúchadh de 

réir cheanglas ábhartha dlí agus rialúcháin agus Caighdean 

Idirnáisiúnta maidir le hIniúchóireacht (Ríocht Aontaithe 

agus Éire). 

Tuairiscím mo thuairim maidir le cibé an dtugann na ráitis 

airgeadais léargas fíorcheart, de réir Cleachtais Chuntasaíochta 

a nGlactar Leis go Coitianta in Éirinn. Tuairiscím freisin cibé, 

dar liom, an raibh leabhair chuntais chuí coinnithe. Lena 

chois sin, deirim cibé an dtagann na ráitis airgeadais leis na 

leabhair chuntais. 

Tuairiscím ar aon chás ábhartha nár feidhmíodh suimeanna 

airgid chun na gcríoch a bhí beartaithe nó sa chás nach leanann 

na hidirbhearta do na húdaráis a rialaíonn iad. 

Tuairiscím freisin mura bhfuil an fhaisnéis agus na mínithe ar fad 

faighte agam agus atá riachtanach chun críocha m’iniúchta. 

Scrúdaím an Raiteas maidir le Rialú Inmhéanach Airgeadais le 

féachaint an léirítear ann gur chomhlíon an Bord an Cód Cleachtais 

maidir le Rialachas Comhlachtaí Stáit agus tuairiscím ar aon 

chás ábhartha nach ndéanann sé amhlaidh, nómás rud é go 

bhfuil an ráiteas míthreorach nónach dtagann sé le faisnéis eile 

atá ar eolas agam de bharr na ráitis airgeadais a bheith iniúchta 

agam. Ní cheanglaítear orm a bhreithniú cibé an gclúdaíonn an 

Ráiteas maidir le Rialú Inmheánach Airgeadias gach priacal agus 

rialú airgeadais, ná teach tar thuairim maidir le héifeachtacht na 

nósanna imeachta le priacail agus rialú. 

An Bunús atá le mo Thuairim ar na Ráitis 

I mbun m’fheidhme mar Ard-Reachtaire Cuntas agus Ciste, 

rinne mé m’iniúchadh ar na ráitis airgeadais de réir Caighdeán 

Idirnáisiúnta maidir le hIniúchóireacht (Ríocht Aontaithe agus 

Eire) arna n-eisiúint ag an mBord un Chleachtais Iniúchóireachta 

agus trí thagairt a dhéanamh do na nithe ar leith is gá a chur 

san áireamh i ndáil le cúrsaí bainisteoireachta agus oibriúcháin 

a ghabhann le comhlachtaí Stáit. Déantar scrudú mar chuid den 

iniúchadh, ar bhonn tástála, ar fhianaise a bhaineann le suimeanna 

agus rialtacht na n-idirbheart airgeadais a chuirtear san áireamh 

sna ráitis airgeadais, agus leis na hidirbhearta a fhoilsítear inotu. 

Chomh maith leis sin, cuimsíonn an t-iniúchadh measúnacht ar na 

meastacháin agus ar na breitheanna suntasacha a rinneadh agus 

na ráitis airgeadais á n-ullmhú, agus measúnacht le féachaint an 

n-oireann na beartais chuntasaíochta don bhail atá ar chúrsaí an 

Bhoird, ar feidhmíodh na beartais sin ar bhealach leanúnach agus 

ar foilsíodh iad ar bhealach sásúil. 

Phleanáil mé agus rinne mé m’iniúchadh sa chaoi is go bhfaighinn 

an fhaisnéis agus na mínithe ar fad a mheas mé a bheith 

riachtanach ionas go mbeadh leordhóthain fianaise agam a 

d’fgágfadh cinnteacht réasúnach ann go bhfuil na ráitis airgeadais 

soar ó mhíráiteas ábhartha, cibé calaois nó neamhrialtacht 

nó earráid eile is cúis leis sin. I dteacht ar mo thuairim, rinne 

mémeastóireacht ar a shásúla is a cuireadg faisnéis I láthair sna 

ráitis airgeadais san iomlán freisin. 

Tuairim 

Is é mo thuairim go dtugann na ráitis airgeadais léargas fíorcheart, 

de réir Cleachtais Chuntasaíochta a nGlactar Leis go Coitianta in 

Éirinn, ar riocht ghnóthaí an Bhoird ag 31 Nollaig 2009 agus ar a 

ioncam agus ar a chaiteachas don bhliain dar críoch sin. 

Is é mo thuairim go raibh leabhair chuntais chuí coinnithe 

ag an mBord. Tá na ráitis airgeadais ag teacht leis na 

leabhair chuntais. 

________________________ 

Andrew Harkness 

Le haghaidh agus thar ceann an Ard-Reachtaire Cuntas agus Ciste 

THE FATHER, THE SON AND THE HOuSEKEEPER (AT HOME WITH THE CLEARY’S) 

BEARTAIS CHunTASAíOCHTA 

A. Bunús na Cuntasaíochta 

áirítear leis na ráitis airgeadais dhá Chuntas Ioncaim agus 

Caiteachais agus Clár Comhardaithe. 

• Tugann an Cuntas Caipitil Ioncaim agus Caiteachais 

taifead ar íocaíocht amach iasachtaí forbartha agus 

léiriúcháin an Bhoird agus an ranníocaíocht le haghaidh 

Screen Training Ireland, an ghníomhaireacht náisiúnta 

oiliúna don tionscal scannáin in Éirinn. 

• Tugann an Cuntas Ioncaim agus Caiteachais Riaracháin 

taifead ar na hidirbhearta riaracháin i ndáil leis an mBord. 

ullmhaíodh na ráitis airgeadais de réir choinbhinsiún an 

chostais stairiúil agus de réir an Chleachtais Cuntasaíochta a 

bhfuil Glacadh Leis (GAAP) ar bhonn fabhraithe ach amháin 

mar a luaitear thíos. Glactar le Caighdeáin i dtaca le Tuairisciú 

Airgeadais a mholann comhlachtaí cuntasaíochta de réir mar a 

thagann siad i bhfeidhm. 

B. Ioncam 

Léiríonn an t-ioncam a thaispeántar sna ráitis airgeadais faoi 

Dheontais Oireachtais an t-airgead iarbhír a fuarthas. Cuirtear 

ioncam eile san áireamh ar bhonn fáltas airgid. 

C. Iasachtaí 

Cuireann an Bord iasachtaí léiriúcháin ar fáil chun cuidiú le léiriú 

scannán. Braitheann aisíocaíochtaí agus aischuir ar rath tráchtála 

na scannán ábhartha. 

Tugtar iasachtaí forbartha do dhéantóirí scannán d’fhonn 

tionscadail scannán a fhorbairt. Bíonn aisíocaíochtaí iníoctha de 

réir théarmaí na gcomhaontuithe iasachta. . 

Go hiondúil ní bhíonn na hiasachtaí sin faoi réir mhuirir úis, ach 

bíonn bearta aisghabháilte agus rannpháirtíocht brabúis san 

áireamh leo. 

Déanann an Bord athbhreithniú ar iasachtaí ar bhonn tréimhsiúil 

agus déantar soláthar cuí i gcoinne iasachtaí gan íoc, bunaithe 

ar fheidhmíocht stairiúil leabhar iasachta an Bhoird. Déantar an 

soláthar a chuntasú tríd an gCúlchiste Caipitil. 

D. Cúlchiste Caipitil 

Léiríonn an Cúlchiste Caipitil an maoiniú a infheistítear i Scannáin 

agus i Sócmhainní Seasta tar éis soláthar agus amúchadh. 

E. Sócmhainní Seasta Inláimhsithe 

Léirítear Sócmhainní Dochta Inláimhsithe ar a gcéad chostas 

stairiúil. Déantar caipitliú ar shócmhainní atá de bhreis ar €250. 

Cuirtear dímheas san áireamh ar rátaí a ríomhtar chun an 

chéad chostas a dhíscríobh lúide luach iarmharach measta 

gach sócmhainne faoin modh dronlíneach thar a saol úsáideach 

measta. Is mar seo a leanas atá na rátaí dímheasa: 

• Troscán agus Trealamh Oifige 20% sa bhliain 

• Trealamh Ríomhaireachta 33% sa bhliain 

F. Costais Pinsean 

Tá scéim pinsean le sochair sainithe i bhfeidhm ag an mBord a 

mhaoinítear go bliantúil ar bhonn íoc mar a thuillear as airgead 

atá ar fáil dó, lena n-áirítear airgead a sholáthraíonn an Roinn 

Turasóireachta, Cultúir agus Spóirt. Tá an Scéim á feidhmiú ar 

bhonn riaracháin ar feitheamh faomhadh ón Aire Airgeadais. 

Ríomhtar dliteanais na Scéime Pinsean ar bhonn achtúireachta 

agus modh chreidiúint réamh-mheasta an aonaid á úsáid. 

Léiríonn costais pinsin na sochair a thuilleann fostaithe le linn 

na tréimhse agus taispeántar iad glan ar ranníocaíochtaí pinsean 

foirne a n-áirítear mar íocaíochtaí inaisíoctha leis an Roinn de réir 

socruithe airgeadais gníomhaíochta. Aithnítear méid atá comhréir 

leis an muirear pinsin mar ioncam sa mhéid is go bhfuil sé inaisghabhála 

agus fritháirithe i gcoinne deontas a bhfuarthas iad i 

rith na bliana le híocaíochtaí pinsin a dhéanamh. 

Léirítear gnóthachain nó caillteanais achtúireacha a éiríonn as 

athruithe ar thoimhdí Achtúireachta agus as gnóthachain agus 

caillteanais ó thaithí sa Ráiteas Ghnóthachan agus Caillteanas 

Aitheanta don bhliain ina dtarlaíonn siad agus aithnítear coigeartú 

dá réir maidir leis an méid inaisghabháilte i dtréimhsí atá le 

teacht ón Roinn Turasóireachta, Cultúir agus Spóirt. 

Léiríonn dliteanais pinsin an luach atá faoi láthair ar íocaíochtaí 

pinsean amach anseo atá tuillte ag an bhfoireann go dtí seo. 

Léiríonn maoiniú pinsin iarchurtha an sócmhainn chomhréireach 

a bheidh inaisghabháilte sa todchaí ón Roinn Turasóireachta, 

Cultúir agus Spóirt.

44 45 

GARTH AND BEv 

RÁITIS AIRGEADAIS BORD SCAnnÁn nA hÉIREAnn 

DOn BHLIAIn DAR CHRíOCH 31 nOLLAIG 2009 

Cuntas Ioncaim agus Caiteachais Chaipitil 

Don bhliain dar chríoch 31 Nollaig 2009 

nótaí 2009 2008 

Ioncam I I 

Deontais an Oireachtais 1 18,817,000 20,000,000 

Ranníocaíochtaí ó Pháirtithe Eile 152,350 440,850 

Ioncam Eile 72,428 224,224 

Aisíocíocht ar Iasachtaí a aistríodh ón gCúlchiste Caipitil 3 1,380,377 2,538,358 

Iomlán 20,422,155 23,203,432 

Caiteachas 

Screen Training Ireland (532,000 ) (1,331,818 ) 

Iasachtaí Léiriúcháin 14 (15,101,659 ) (18,547,084 ) 

Iasachtaí Forbartha 14 (2,201,585 ) (3,251,496 ) 

íocaíochtaí Caipitiúla Eile 4 (1,271,028 ) (1,596,508 ) 

Iomlán (19,106,272 ) (24,726,906 ) 

Barrachas/(Easnamh) 1,315,883 (1,523,474 ) 

Iarmhéid ag tús na bliana 3,048,716 4,572,190 

Iarmhéid ag deireadh na bliana 4,364,599 3,048,716 

Is cuid de na Ráitis Airgeadais iad na Beartais Chuntasaíochta agus na nótaí 1-17 




LITTLE MATADOR 

Cuntas Ioncaim agus Caiteachais Riaracháin 


nótaí 2009 2008 

Ioncam I I 

Deontas Oireachtais 1 2,975,926 3,144,409 

Ioncam Eile 45 10,923 

Glanchiste Iarchurtha do Chostais Pinsean 10c 346,494 250,250 

Aistriú (chuig)/ ón gCúlchiste Caipitiúil 13 74,650 (18,128 ) 

Total 3,397,115 3,387,454 

Caiteachas 

Riarachán 5 2,074,400 2,384,911 

Eagraíochtaí, Síntiúis agus Taighde 7 194,905 16,142 

Costais Margaíochta 8 619,715 639,055 

Oideachas 196,253 137,809 

Costais Phinsean 10a 299,420 205,659 

Iomlán 3,384,693 3,383,576 

BARRACHAS/EASnAMH 12,422 3,878 

Iarmhéid ag tús na bliana (18,624 ) (22,502 ) 

Iarmhéid ag deireadh na bliana (6,202 ) (18,624 ) 





Ráiteas i dtaca le Gnóthachain agus Caillteanais Iomlána Aitheanta 


nótaí 2009 2008 

Barrachas don bhliain I I 

Cuntas Riaracháin 12,422 3,878 

Cuntas Caipitiúil 1,315,883 (1,523,474 ) 

Iomlán 1,328,305 (1,519,596 ) 

Gnóthachain ó thaithí ar dhliteanais na scéime pinsin 10d 90,900 (53,735 ) 

Athruithe ar na bunbhoinn tuisceana maidir le luach dliteanas na scéime pinsin faoi láthair 162,302 (274,822 ) 

Gnóthachan/(caillteanas) achtúireachta ar dhliteanais pinsin 10b 253,202 (328,557 ) 

Coigeartú ar mhaoiniú pinsin iarchurtha (253,202 ) 328,557 

Gnóthachan aitheanta iomlán don bhliain 1,328,305 (1,519,596 ) 




24 Samhain 2010

46 47 

HOOR TIL THE TENTH GENERATION 

Clár Comhardaithe 


nótaí 2009 2008 

Sócmhainní Dochta I I 

Socmhainní Inláimhsithe 11 143,359 218,010 

Infheistíocht i Scannáin 

Iasachtaí Léiriúcháin 3 1,207,134 1,422,505 

Iasachtaí Forbartha 3 150,380 218,776 

1,357,514 1,641,281 

Sócmhainní Reatha 

Airgead sa Bhanc 4,556,381 3,243,654 

Réamhíocaíochtaí/Feichiúnaithe/Ioncam Fabhraithe 129,888 383,228 

Creidiúnaithe 

4,686,269 3,626,882 

Suimeanna dlite laistigh de bhliain amháin 12 (327,871 ) (596,790 ) 

GLAnSóCMHAInní REATHA 4,358,398 3,030,092 

Iomlán Sócmhainní Lúide Dliteanais Reatha roimh Pinsin 5,859,271 4,889,383 

Sócmhainn Maoinithe Pinsin Iarchurtha 2,002,199 1,908,907 

Dliteanais Phinsean (2,002,199 ) (1,908,907 ) 

Glansócmh 5,859,271 4,889,383 

Caipiteal agus Cúlchístí 

Cuntas Caipitil 4,364,599 3,048,716 

Cuntas Riaracháin (6,202 ) (18,624 ) 

Cúlchiste Caipitil 13 1,500,874 1,859,291 

Iomlán 5,859,271 4,889,383 





Ráiteas Sreabhadh Airgid 


2009 2008 

Imréiteach Barrachais agus Glan-Insreabhadh Airgid ó Ghníomhaíochtaí Oibriucháin I I 

Barrachas/(Easnamh) ar an gCuntas Caipitil 1,315,883 (1,523,474 ) 

Barrachas/(Easnamh) ar an gCuntas Riaracháin 12,422 3,878 

1,328,305 (1,519,596 ) 

Coigeartú do mhíreanna neamhoibríochta 

Ús bainc (72,428 ) (224,224 ) 

Aistriú chuig/(ó) Chuntas Ioncaim agus Caiteachais Riaracháin (74,650 ) 18,128 

Caillteanas ar Dhiúscairt Sócmhainní - - 

(147,078 ) (206,096 ) 

Coigeartú do mhíreanna nach míreanna airgid iad 

Dímheas 96,180 126,500 

(Méadú)/Laghdú i líon na bhfiachóirí 253,340 88,251 

Méadú/(Laghdú) i líon na gcreidiúnaithe (268,919 ) 106,255 

Glan-insreabhadh airgid ó ghníomhaíochtaí Oibriucháin 1,261,828 (1,404,686 ) 

Ráiteas sreabhadh airgid 

Glan-insreabhadh airgid ó ghníomhaíochtaí Oibriúcháin 1,261,828 (1,404,686 ) 

Ús bainc 72,428 224,224 

íocaíochtaí chun sócmhainní a cheannach (21,529 ) (144,627 ) 

Insreabhadh/eis-sreabhadh 1,312,727 (1,325,089 ) 

Réiteach Glan-Insreabhadh airgid le hathruithe in airgead tirim agus i gcomhionann airgid 

Méadú/Laghdú ar airgead tirim le linn na Tréimhse 1,312,727 (1,325,089 ) 

Glan-chistí mar a bhí ar an 1 Eanáir 2009 3,243,654 4,568,743 

Glan-chistí ar an 31 nollaig 2009 4,556,381 3,243,654 




24 Samhain 2010

48 49 

NOLLAIG SHONA 

nóTAí AG GABHBÁIL LEIS nA RÁITIS AIRGEADAIS 

1. Deontais Oireachtais 

Maoinítear an deontas Oireachtais i dtaca le caiteachas caipitil an Bhoird faoin gClár Oibríochtúil don Earnáil Tháirgiúil agus faoin gClár 

Oibríochtúil Oiliúna agus Forbartha Acmhainní Daonna den bPlean Forbartha Náisiúnta 2007-2013 

2009 2008 

Cuspóirí Reatha I I 

Bord Scannán na hÉireann 3,023,000 3,189,000 

Lúide Ranníocaíochtaí Pinsin (47,074 ) (44,591 ) 

Iomlán 2,975,926 3,144,409 

Cuspóirí Caipitil 

Infheistíocht Scannán 18,817,000 20,000,000 

2. Teorainn le hAirgead a Chuireann an Bord ar Fáil 

De réir Alt 10 den Acht um Bord Scannán na hÉireann ní bheidh uasmhéid aon infheistíochtaí, iasachtaí, deontais agus barántais 

(lúide gnóthuithe) de bhreis ar €200,000,000. Ar an 31 Nollaig 2009, bhí suim de €174,780,208 soláthraithe (ar an 31 Nollaig 2008, bhí 

€156,327,322 soláthraithe). 

3. Infheistíocht i Scannáin 

Iasachtaí Iasachtaí 

Léiriúcháin Forbartha Iomlán 

nótaí I I I 

Tugtha i rith na bliana 15,101,659 2,201,585 17,303,244 

Aisghabháil i rith na bliana (905,702 ) (474,675 ) (1,380,377 ) 

Soláthar don bhliain (14,411,328 ) (1,795,306 ) (16,206,634 ) 

Gluaiseacht i rith na bliana 13 (215,371 ) (68,396 ) (283,767 ) 

Iarmhéid ar an 1 Eanáir 2009 1,422,505 218,776 1,641,281 

Iarmhéid mar a bhí ar an 31/12/09 1,207,134 150,380 1,357,514 

PERRIER’S BOuNTY 

4. íocaíochtaí Caipitil Eile 

De bhreis ar na híocaíochtaí a rinneadh i leith iasachtaí Léiriúcháin agus Forbartha, rinna an Bord na híocaíochtaí caipitil eile seo a leanas 

i rith na bliana. 

2009 2008 

Eagraíochtaí Eorpacha I I 

Eurimages 291,669 278,346 

European Film Promotion 9,905 4,100 

European Observatory 19,737 19,746 

Media Antenna 12,200 12,200 

Media Desk 57,011 57,011 

Eile 7,000 10,000 

Cuallaíochtaí Tionscail 

Irish Playwrights and Screenwriters Guild 80,000 80,000 

Screen Directors Guild 80,000 95,000 

Tacaiocht do Mhargadh na Scánnán/ócáidí Tionscail 

Féile Scannán Idirnáisiúnta Bhaile átha Cliath 30,000 20,000 

Fleadh Scannán na Gaillimhe 40,000 35,000 

Féile Scannán Guth Gafa 10,000 10,000 

Stranger Than Fiction 5,500 12,500 

Féile na Meán Ceilteach - 20,000 

Lights Out - 12,750 

Féile Scannán an Daingin 5,000 5,000 

Féile Scannán Sarajevo - 10,000 

Eile 6,576 - 

Eile 

Cinemobile 60,000 60,000 

Tionscnamh Cineama Digiteach - 500,000 

IFTA 140,000 180,000 

Oiliúint Eile 48,711 - 

Léitheoirí Scripte 62,442 58,188 

Deontais i dtaca le Taisteal/Scabhtáil 50,277 46,667 

Pictiúrlann Solas 255,000 70,000 

Iomlán 1,271,028 1,596,508 

5. Riarachán 

2009 2008 

I I 

Tuarastail Riaracháin 1,038,238 1,009,061 

Foireann Sealadach - 6,068 

Táillí Comhaltaí Boird * 47,250 77,895 

Oiliúint Foirne 13,332 20,609 

Muirir Cíosa agus Seirbhíse 285,897 370,270 

árachas 7,579 8,285 

Solas/Teas 18,432 12,071 

Teileafón/Facs 67,436 94,703 

Postas/Teachtairí 25,705 41,181 

Páipéarachas Oifige/Clódóireacht 10,266 28,659 

Deisiúcháin/Cothabháil 63,583 62,776 

Taisteal /Cothabháil Foirne 155,180 229,696 

Ús agus Muirir Bainc 2,082 2,469 

Costais Chruinnithe Boird 6,839 12,883 

Táillí Dlí - 13,222 

Táillí Iniúchóirí 14,852 15,800 

Ilghnéitheach 14,816 12,063 

Dímheas 96,180 126,500 

Comhairliúchán ** 201,818 234,110 

Costais Earcaíochta - 6,590 

Forbairt Bhunachar Sonraí 2,316 - 

Caillteanas ar Airgeadra Eachtrach 2,599 - 

Iomlán 2,074,400 2,384,911 

*áirítear leis an bhfigiúr sin i dtaca le táillí Boird le linn 2008 pá aisghníomhach le haghaidh táillí méadaithe ón bhlian 2006 

** Ináirithe leis an bhfigiúr i dtaca le Comhairliúchán tá costas an tSuirbhé ar an dTionscal Closamhairc sa bhliain 2008

50 51 

SPACEMEN THREE 

6. Luach Saothair an Bhoird agus Fostaithe 

I rith na bliana is mar seo a leanas a bhí meán-líon na bhfostaithe, an Príomhfheidhmeannach san áireamh: 

2009 2008 

Príomhfheidhmeannach 1 1 

Fostaithe 15 14 

Cuireadh pacáiste luach saothair an Phríomhfheidhmeannaigh don bhliain 2009 le chéile mar seo a leanas: 

Buntuarastal bliantúil €120,382 (2008: €117,948). Fuair an Príomhfheidhmeannach bónas maidir le feidhmíocht de €22,275 a 

bhain leis an mbliain 2008 i 2009 (i 2008 íocadh bónas de €21,367 maidir le feidhmíocht a bhain leis an mbliain 2007). Níor dámadh 

aon bhónas maidir le feidhmíocht don bhliain 2009. Ní théann teidlíochtaí pinsean an Phríomhfheidhmeannaigh níós faide ná na 

teidlíochtaí caighdeánacha i scéim aoisliúntais sochar sainithe na hearnála poiblí. Tabhaíodh costais de €47,359 i dtaca leis an 

bPríomhfheidhmeannach agus áirítear iad sin sna catagóirí seo a leanas: cóiríocht, táillí aeir, muirir teileafóin póca, liúntais cothabhála, 

táillí tacsaí agus traenach. Chaith an Príomhfheidhmeannach 98 lá thar lear i mbun gnó le linn 2009 chun airgeadas idirnáisiúnta 

a aimsiú le haghaidh sláta príomhscannán an IFB, chun Éire a chur chun cinn mar shuíomh scannán agus chun feasacht maidir le 

scannáin Éireannacha a chur chun cinn go hidirnáisiúnta. Tá ceanglas ar an bPríomhfheidhmeannach chomh maith freastal ar líon 

fairsing cruinnithe i mBaile átha Cliath mar chuid dá dhualgas. íocadh asbhaintí tobhaigh pinsin de €53,848 ó thuarastal na foirne leis an 

Roinn Ealaíon, Spóirt agus Turasóireachta i 2009. 

Is mar seo a leanas a bhí na híocaíochtaí le Comhaltaí Boird le linn 2009: 2009 

I 

Táillí 47,250 

Costais 5,497 

Iomlán 52,747 

€9,450 a bhí mar tháille ag an gCathaoirleach agus fuair gach duine den tseisear comhalta boird €6,300. Bhí na costais comhdhéanta de 

thaisteal in Éirinn €2,843, Taisteal thar lear €1,823, béilí agus cothabháil: €831 

7. Eagraíochtaí, Síntiúis agus Taighde 

2009 2008 

I I 

IBEC 13,925 5,637 

Síntiúis le Foilsiucháin 7,211 5,667 

Maoiniú do Chuspóirí Speisialta - 4,838 

Cartlann Scannán na hÉireann 104,000 - 

uS Ireland Alliance 49,769 - 

Cinema Northwest 20,000 - 

Iomlán 194,905 16,142 

8. Margaíocht 

2009 2008 

I I 

Cur chun cinn Féilte 154,644 105,095 

Fógraíocht 53,777 83,305 

ócáidí/Caidreamh Poiblí 67,625 109,878 

Foilsiúcháin 30,060 49,144 

ábhair Margaíochta 64,544 9,025 

Athdhearadh Láithreán Greasáin 38,252 9,286 

Seirbhisí Suímh 11,908 25,555 

Margaíocht Thar Lear 31,258 71,568 

Oifig Los Angeles * 167,647 176,201 

Iomlán 619,715 639,055 

• Léiríonn sé sin costais foirne de €139,349 agus forchostais de €28,296 (sa bhliain 2008, caitheadh €146,896 ar chostais foirne agus €29,305 ar fhorchostais). 

BROKEN TAIL’S LAST JOuRNEY 

9. Léas Áitribh 

Tá gealltanais ag an mBord go dtí 2016 i dtaca lena oifig i nGaillimh ag Queensgate, Bóthar na nDuganna. Tá costas bliantúil ar an léas 

sin de €76,350 móide CBL. Tá gealltanais ag an mBord freisin i dtaca lena chuid oifigí ag 14 -16 Sráid an Tiarna Éadbhard, Baile átha 

Cliath 2 ar chostas de €116,000 móide CBL in aghaidh na bliana. 

10. Aoisliúntas 

a. Anailís ar na costais iomlána pinsean muirearaithe ar Chaiteachas 

2009 

I 

2008 

I 

Costas reatha ar sheirbhísiú 271,079 188,129 

Ús ar Dhliteanais na Scéime Pinsin 75,415 62,121 

Ranníocaíochtaí Foirne (47,074 ) (44,591 ) 

Iomlán 299,420 205,659 

b. Gluaiseacht i nDliteanais Pinsin glan i rith na bliana airgeadais 

2009 

I 

2008 

I 

Dliteanas Pinsin Glan ar an 1 Eanáir 1,908,907 1,330,100 

Costas Reatha ar Sheirbhísiú 271,079 188,129 

Costas Úis 75,415 62,121 

Caillteanas /(Gnóthachain) Achtúireachta (253,202 ) 328,557 

Pinsin a íocadh i rith na bliana - - 

Dliteanas Glan Pinsin ar an 31 nollaig 2,002,199 1,908,907 

c. Maoiniú Iarchurtha le haghaidh Pinsean 

Aithníonn an Bord na suimeanna seo mar shócmhainn gurb ionann í agus an dliteanas iarchurtha neamh-mhaoinithe i dtaca le pinsin 

bunaithe ar an réimse bonn tuisceana a bhfuil cur síos deanta orthu thuas agus ar líon áirithe ócáidí a tharla cheana. I measc na n-ócáidí 

sin tá an bonn reachtúil leis an scéim pinsean a bhunú, agus an beartas agus an cleachtas atá i bhfeidhm faoi láthair maidir le pinsin 

seirbhíse poiblí a mhaoiniú lena n-áirítear ranníocaíochtaí fostaithe agus próiséas na meastachán bliantúla. Níl aon fhianaise ag an 

mBord nach leanfaidh an beartas maoiniúcháin sin ar aghaidh faoi chomhair na suimeanna sin de réir an chleachtais reatha. 

Is mar seo a leanas a bhí an Maoiniú Iarchurtha le haghaidh Pinsean aitheanta sa Chuntas Ioncaim agus Caiteachais: 

2009 2008 

I I 

Maoiniú Inghnóthaithe i dtaca le costais pinsean na bliana reatha 346,494 250,250 

Deontas Stáit i bhfeidhm chun pinsinéirí a íoc - - 

Iomlán 346,494 250,250 

Is é €2,002,199 an méid a bhí sa sócmhainn mhaoinithe iarchurtha do phinsin an 31 Nollaig 2009 (€1,908,907 i 2008). 

2009 2008 2007 2006 

d. Stair na n-oibligeaidí sochair sainithe I I I I 

Oibligeáidí sochair sainithe 2,002,199 1,908,907 1,330,100 1,181,523 

(Gnóchain)/caillteanais ó thaithí ar dhliteanais na scéime (90,900 ) 53,735 (18,546 ) (109,770 ) 

Céatadán de Dhliteanais na Scéime -5% 3% -1% -9% 

e. Cur Síos Ginearálta ar an Scéim 

Socrú pinsean tuarastail dheiridh sochar sainithe is ea an scéim pinsean le sochair agus ranníócaíochtaí a sainmhínítear iad trí thagairt 

a dhéanamh do na rialúcháin reatha i dtaca le scéimeanna ‘eiseamláracha’ don earnáil phoiblí. Soláthraíonn an scéim pinsean (ochtóidí 

do gach bliain seirbhíse), aisce nó cnapshuim (trí ochtóidí do gach bliain seirbhíse) agus pinsin do chéilí agus do leanaí. Go hiondúil is 

é an 65ú breithlá dáta scoir an bhaill agus tá teidlíocht ag baill a bhí sa scéim roimh 2004 scor ó aois 60 gan aon laghdú achtúireachta. 

Go hiondúil meadaíonn pinsin atá á n-íoc agus pinsin iarchurtha de réir boilsciú tuarastal ginearálta san earnáil phoiblí. Bunaíodh an 

luacháil a úsáideadh le haghaidh faisnéisithe FRS 17 (leasaithe) ar luacháil iomlán achtúireach a chuir achtúire neamhspleách i gcríoch 

ag cur riachtanas FRS 17 san áireamh chun measúnú a dhéanamh ar dhliteanais na scéime ar an 31 Nollaig 2009.

52 53 

LOWLAND FELL 

Is mar seo a leanas a bhí na príómh-bhoinn tuisceana achtúireachta: 

2009 2008 

Ráta méadaithe tuarastal 3.5% 3.5% 

Ráta méadaithe pinsean á n-íoc 3.5% 3.5% 

Ráta Lascaine 4.3% 4 % 

Ráta Boilscithe 2% 2% 

Ceadaíonn an bonn básmhaireachta a glacadh do fheabhsuithe maidir le hionchas saoil le linn tréimhse ama, ionas go mbeidh an 

t-ionchas saoil ag an am scoir ag braith ar an mbliain ina bhainfidh an ball amach an an aois scoir (65 bliana d’aois). 

Glacadh na rátaí b asmhaireachta mar seo a leanas: 

Ionchas Saoil d’Fhear atá 65 bliana d’aois 21.6 bliain 

Ionchas Saoil do bhean atá 65 bliana d’aois 23.3 bliain 

Ionchas Saoil d’fhear atá 45 bliana d’aois faoi láthair (ó aois 65) 23.9 bliain 

Ionchas Saoil do bhean atá 45 bliana d’aois faoi láthair (ó aois 65) 25.1bliain 

11. Sócmhainní Dochta Inláimhsithe 

Troscán Ríomhairí Iomlán 

Costas I I I 

Ar an 1 Eanáir 2009 428,893 336,131 765,024 

Breiseanna 717 20,812 21,529 

Diúscairtí - - - 

Ar an 31 nollaig 2009 429,610 356,943 786,553 

Dímheas 

Amhail ar 1 Eanáir 2009 221,837 325,177 547,014 

Muirear don bhliain 80,434 15,746 96,180 

Diúscairtí - - - 

Ar an 31 nollaig 2009 302,271 340,923 643,194 

Glanluach Leabhar (nBv) 

Amhail ar 31 nollaig 2009 127,339 16,020 143,359 

Amhail ar 31 nollaig 2008 207,056 10,954 218,010 

Gluaiseacht (79,717 ) 5,066 (74,651 ) 

12. Creidiúnaithe 

2009 2008 

I I 

IMAT/áSPC 52,351 50,057 

Fabhruithe Eile 136,839 166,533 

Cáin Shiarchoinneálach 23,052 5,500 

Ranníocaíocht Pinsean - 257,933 

Creidiúnaithe Trádála 115,629 116,767 

Iomlán 327,871 596,790 

A BOATLOAD OF WILD IRISHMEN 

13. Cúlchiste Caipitil 

nótaI 2009 2008 

I I 

Iarmhéid ar an 01/01/09 1,859,291 2,550,172 

Infheistíocht Scannán 3 (283,767 ) (709,008 ) 

Gluaiseacht sa Mhaoiniúchán Sócmhainní Seasta (74,650 ) 18,127 

Iarmhéid ar an 31/12/09 1,500,874 1,859,291 

Tá an ghluaiseacht sa Mhaoiniúchán Sócmhainní Seasta comhdhéanta mar seo a leanas: 

Ioncam leithroinnte do chuspóirí Caipitil 21,529 144,627 

Amúchadh (96,179 ) (126,500 ) 

Iomlán (74,650 ) 18,127 

14. Gealltanais 

Léiriúchán Léiriúchán Léiriúchán Iasachtaí 

Scannán Scannán Faisnéise Beochana Dáileacháin Scéimeanna Iomlán 

Iasachtaí Leiriúcháin I I I I I I 

Gealltanais @ 01/01/09 1,433,807 785,681 477,500 61,671 302,795 3,061,454 

Gealltanais i 2009 10,910,076 1,663,800 869,000 407,180 882,501 14,732,557 

Gealltanais in éag 2009 (15,000 ) - - - - (15,000 ) 

Iomlán na nGealltanas 12,328,883 2,449,481 1,346,500 468,851 1,185,296 17,779,011 

íocaíochtaí i 2009 (10,977,337 ) (1,724,010 ) (1,094,700 ) (394,581 ) (911,031 ) (15,101,659 ) 

Gealltanais ar an 31/12/2009 1,351,546 725,471 251,800 74,270 274,265 2,677,352 

*Ináirithe leis an ngealltanas agus leis an íocaíocht le haghaidh Léiriú Príomhscannán tá suim de €293,860 i dtaca 

le costais a bhain le tionscadail agus costais dlí a bhain le léiriúchán. 

Beochana Príomh-Scannán Faisnéise 

Forbartha Forbartha Forbartha MPD Iomlán 

Iasachtaí Forbartha I I I I I 

Gealltanais @ 01/01/09 80,001 261,498 20,001 495,627 857,127 

Gealltanais i 2009 148,000 1,842,585 - - 1,990,585 

Gealltanais in éag 2009 - (32,500 ) (20,001 ) (22,627 ) (75,128 ) 

Iomlán na nGealltanas 228,001 2,071,583 - 473,000 2,772,584 

íocaíochtaí i 2009 (168,000 ) (1,560,585 ) - (473,000 ) (2,201,585 ) 

Gealltanais ar an 31/12/09 60,001 510,998 - - 570,999 

15. Tairiscintí Sealadacha Cúnaimh do Thionscadail Scannán 

I dteannta na ngealltanas conartha atá gan íoc de €3,248,351 ag deireadh na bliana mar atá nochtaithe i Nóta 2 bhí €4,137,500 sa 

bhreis i dtaca le tairiscintí sealadacha gan íoc. Tá an chuid is mó de na gealltanais sin, €3,830,000, i dtaca le léiriúcháin príómhscannán, 

áit a mbíónn tairiscintí faoi réir théarmaí agus coinníollacha áirithe, lena n-áirítear foireann aisteoirí, criú, earcaíocht agus struchtúr 

airgeadais. Bíonn siad bailí ar feadh treimhse de 12 mí agus tagann siad faoi réir athbhreithnithe ag deireadh na treimhse sin.

54 55 

THE DOOR 

16. Comhaltaí Boird - nochtadh idirbheart 

D’fhéadfadh Bord Scannán na hÉireann le linn gnáth-ghnó, cúnamh a cheadú do thionscadail scannán agus dul i mbun socruithe 

conartha le gnóthais a mbíonn Comhaltaí Boird fostaithe iontu nó a mbíonn leas eile acu iontu. Tá nosanna imeachta glactha ag Bord 

Scannán na hÉireann i ndáil le nochtuithe suime ag comhaltaí Boird agus cloíodh leis na nósanna imeachta sin i rith na bliana. 

Sa bhliain 2009 cheadaigh an Bord na hiasachtaí seo a leanas a raibh leas ag Comhalta Boird iontu nó a raibh Comhalta fostaithe iontu: 

Ainm Cuideachta I 

Lesley McKimm newgrange Pictures 

Stella Days (Léiriúchán) 600,000 

An Exact Replica of a Figment of My Imagination (Forbairt) 25,000 

Julia Here (Forbairt) 15,000 

James Morris Treasure Entertainment 

My Brothers (Léiriúchán) 625,000 

Tristan Orpen Lynch Subotica Entertainment 

La Mula (Léiriúchán) 50,000 

The Last Word (Léiriúchán) 350,000 

Advance Party (Forbairt) 70,000 

Six Days on the Road 35,000 

The Swimming Lesson (Forbairt) 10,000 

Kirsten Sheridan Blindside Films 

Some Rain Must Fall (Forbairt) 10,000 

Fuair Blindside Films tairiscint cainníochtaithe maidir le hiasacht léiriúcháin 

de €600,000 atá imithe in éag dá éis sin. 

Johnny Gogan Bandit Films 

Black Ice 10,000 

Iomlán 1,800,000 

17. Faomhadh an Bhoird 

Thug an Bord faomhadh do na Ráitis Airgeadais ar an 24 Samhain 2010. 

ONDINE 

AGuISín 1 

Tá aguisíní 1 go 5 ann mar thagairt eolais agus ní mar chuid de na cuntais ar leathanaigh 37 go 54. 

GEALLTAnAIS CHAIPITIÚLA 2009 

Iasachtaí Léiriúcháin do Phríomhscannáin 

Geallta I 





As If I am not There Wide Film & Tv/Octagon Films 585,000 





Ondine Octagon Films 50,000 





The Fading Light Park Films 100,000 




The wake wood Fantastic Films 25,000 


Scéimeanna Gearrscannán 

Geallta I 

Ciste do Chomhléiriúcháin Cruthaitheach 


Knockout Parallel Film Productions 600,000 



Little Foxes Samson Films 31,500 


Princess Fastnet Films 250,000 



The Essence of Killing Element Picutres 250,000 

The Last word Subotica Entertainment 350,000 

Ciste Tacaíochta Réigiúnda 








Iomlán 10,616,215 

Geallta I 



Frameworks 14 288,777 

Signatures 2 319,000 

Reality Bites 60,000 


Iomlán 882,501

56 57 

IDENTITIES 

Léiriúcháin Scannán Faisnéise 

Geallta I 



Art will Save the world Happy Ending Productions 10,000 

Behind the Desert wall Stoney Road Films 56,300 




Colony Fastnet Films 65,000 

Counting Sheep Ikandi Productions 100,000 


House of Colour Wildfire Film & Tv 97,500 

I was A Soldier Little Bird 9,000 








Saviours Street Films 5,000 

Sean Scully Cutstone Productions 35,000 

The Cause of Progress Little Ease Productions 15,000 


The Master, the Slave & The Bank Still Films 10,000 





Today is Better than Two Tomorrows vinegar Hill 58,000 

Iomlán 1,663,800 

Iasachtaí Cur Chun Cinn agus Fógraíochta 

Geallta I 


A Film with Me In It Parallel Film Productions 50,000 


Shrooms Buena vista Ireland 50,000 

The Secret of Kells Buena vista Ireland 50,000 





Tacaíocht i dtaobh Priontála 

Geallta I 

Atlantic Park Films 3,139 

Butterfly Light IMI Pictures 6,576 


His and Hers venom 37,503 

If I Should Fall Behind Tilted Pictures 10,030 

Lowland Fell Blinder Films 13,607 

new Boy Zanzibar Films 798 

Peacefire Mayfly Entertainment 6,300 

The Herd venom 3,350 

The Mill Tilted Pictures 8,965 


CREATIvE CHAOS: ROuND ONE 

Isachtaí Forbartha do Phríomhscannáin 

Committed I 






Alice’s Reel Anne Marie Casey 12,000 











Cycle Stitch Films 12,000 













Jericho David Timmons 12,000 







Manners on Men Pearse Elliot 12,000 



Mister John Samson Films 12,000 


Mrs Casey and the Ethnographer Ailbhe Keogan 12,000 

My Brothers Rubicon Films 15,000 


Iasachtaí chun Scannáin Bheochana a Fhorbairt 

Geallta I 









Probable Parent venom 50,000 









Thanks for the Memories Parallel Films Productions 20,000 

The Blue Tango 10x10 Films 20,000 



The Donor Nine Rivers Media 16,000 





The Other Side of Sleep Fastnet Films 34,000 





The Sound of All Things Passing Norah McGettigan 16,000 

The Sound of All Things Passing venom 30,000 








uKFC Super Slate 6,585 



your Girlfriend and Me Brendan Grant 12,000 

Iomlán 1,842,585 

Geallta I 



Mortified Kavaleer Productions 25,000 

The Huggle wugs Brown Bag Films 5,000 



Iomlán 148,000

58 59 

A vERY BRITISH GANGSTER 

AGuISín 2 

TIOMAnTAIS GAn íOC 2009 

Iasachtaí Léiriúcháin do Phríomhscannáin 

Ar feitheamh I 

Roimh 2009 113,950 



As If I Am not Here Wide Eye/Octagon Films 67,900 












Ciste do Chomhléiriúcháin Chruthaitheach 


Roimh 2009 20,000 






The Last word Subotica Ltd 105,000 


Léiriú Scannán Beochana 


Roimh 2009 24,800 

Garth and Bev Kavaleer Productions 42,000 

Santapprentice Cartoon Saloon 125,000 

The Trembling veil of Bones Glimpse Digital 7,000 

The wilderness Clare Langan 3,000 

Thor Magma Films 50,000 


Ciste Tacaíochta Réigiúnda 







BALLY BRADDAN 

Léiriú Scannán Faisnéise 


Roimh 2009 164,857 



Behind the Desert wall Stoney Road 28,150 




Counting Sheep Ikandi 5,000 


House of Colour Wildfire Films 29,264 









The Master, the Slave and The Bank Still Films 2,000 






Iasachtaí Cur Chun Cinn agus Fógraíochta 


Roimh 2009 39,285 






Tacaíocht i dtaobh Priontála 


Roimh 2009 6,385 

Iomlán 6,385 

Scéimeanna 


Short Shorts 69,985 

Frameworks 164,100 


Shortcuts 14,103 

Oscailt 24,975 

Iomlán 274,265

60 61 

ENOuGH 

Iasachtaí Forbarha do Phríomhscannáin 


Roimh 2009 141,000 






































Iasachtaí Forbartha do Scannáin Beochana 









Probable Parent venom Limited 30,000 









Thanks for the Memories Parallel Film Productions 5,000 











The Sound of All Things Passing venom Limited 15,000 










Expiries (Pre 2009) -32,500 



Roimh 2009 45,000 






AN RANGER 

AGuISín 3 

MIOnSOnRAí MAIDIR LE COInníOLLACHA IASACHTA 

(a) Iasachtaí Forbartha 

Airleactar Iasachtaí Forbartha ar bhonn íocaíocht chéimithe agus íoctar tuairim is 50-60% nuair a chuirtear conarthaí 

Iasachta Forbartha idir an Bord agus an Léiritheoir i gcríoch go sásúil, agus íoctar an iarmhéid nuair a chomhlíontar 

coinníollacha sonracha a a mbeidh leagtha amach ag an mBord. 

Is fiú suas go dtí uasmhéid de €100,000 iad iasachtaí forbartha, ar féidir suas go dtí €50,000 a íoc ag aon am áirithe faoi 

leith. Is féidir le foirne nó le daoine aonair (léiritheoir/stiúrthóir/scríbhneoir scripte) iarratas a dhéanamh. Tá oibligeáid 

ar an léiritheoir an t-airgead a airleacadh a aisíoc ar an gcéad lá príomhscannánaíochta. 

Ba chóir féachaint orthu seo mar iasachtaí forbartha/indéantachta; Déanann an Bord gach iarracht rianadh a dhéanamh 

ar an t-airgead agus soláthraíonn sé faisnéis agus tacaíocht do léiritheoirí neamhspleácha a bhfuil comhpháirtithe 

ionchais léiriúcháin á lorg acu. Ní éireoidh le cuid de na tionscadail a gheobhaidh tacaíocht ón mBord leanúint ar aghaidh 

go dtí céim an léiriúcháin agus d’fhéadfadh sé tarlú go gcaithfear iad a dhíscríobh. 

Déanann an Bord monatóireacht, áfach, ar na tionscadail a tugtar chun críche go rathúil agus éilítear an t-airgead atá 

dlite go gníomhach. 

(b) Iasachtaí Léiriúcháin 

Tagann rannpháirtíocht an Bhoird i bhfoirm infheistíochta sa léiriúchán agus ina chuid díolacháin do mhargaidh cineama, 

teilifíse, físeáin agus margaidh coimhdeacha (cábla, saitilít, scannán baile etc.) in Éirinn agus ar fud an domhain. Níl an 

infheistíocht faoi reir úis; cuirtear dian-bhearta i dtaca le haisghabháil agus rannpháirtíocht i mbrabús i bhfeidhm. Tá 

gach tairiscint ar infheistíocht ‘i bprionsabal‘ agus faoi réir conartha.

tromlaigh go ndéanfaidh sé comhalartú trí ghníomhú 

cruthaitheach ó thalainn Éireannacha a bhfuil an cuma air 

mar chomhstiúrthóir mionlaigh ar scannán Éireannach 

go bhfuil sé cruthaitheach agus suntasach a dhóthain lena 

sa todhchaí 

chur in oiriúint don mhórscáileán ach an deis a bheith ann. 

62 

Cuirfidh BSÉ/IFB fáilte faoi leith i gcónaí roimh iarratais ar son 

scannán a bhfuil sé i gceist iad a dhéanamh go príomha trí mheán 

na Gaeilge. 

• Go ndéanfar ficsean teilifíse, cláracha aonair nó sraitheanna, 

a bhreithniú dá chaighdeán bunúsach ach go gcuirfear tosca 

eile san áireamh freisin. Cuirfear béim láidir ar thacaíocht a 

thabhairt do stiúrthóirí (agus, ó am go chéile, do scríbhneoirí) 63 

Beidh BSÉ/IFB airdeallach i gcónaí lena chinntiú i gcás scannán a dtaispeánann a dtaifead gairme go dtí seo go soiléir go 

SCORING 

a dhéanann sé infheistíocht iontu go ndéantar cuid mhór dá 

bhfuil an cumas iontu scannáin cineama a dhéanamh, nó go 

gcaiteachas ar phearsanra Éireannach agus sa dtionscal in 

bhfuil siad, i dtuairim BSÉ/IFB, ag dul i dtreo gairm bheatha 

AGuISín 4 

Éirinn, agus tá sé dóchúil go mbeidh an gné sin den iarratas 

an-thábhachtach maidir le cinneadh dearfach a dhéanamh. Ann 

a bhaint amach sa scannánaíocht cineama. Ina theannta 

sin, beidh sé riachtanach a chur ina luí ar BSÉ/IFB go bhfuil 

féin, áfach, ní bheidh sé ina thoisc chinntitheach, i gcás nach a rannpháirtíocht airgeadais ríthábhachtach leis an gclár a 

bhfuil BSÉ/IFB cinnte dearfach maidir le caighdeán tionscadail, thabhairt chun críche agus beifear ag súil le rannpháirtíocht 

PRIOnSABAIL AGuS CRITÉIR 

nó i gcás nach comhlíonann an tionscadal aon cheann de na eagarthóireachta maidir lena lánas. Ní bheidh tacaíocht 

tosaíochtaí leagtha amach thuas ar bhealaí eile. Tugtar níos mó forbartha ó BSÉ/IFB d’ábhar atá dírithe go sonrach ar léirú 

Treoiríonn roinnt prionsabal bunúsacha atá mar bhonn ag a chritéir 

cinnteoireachta cláir maoiniúcháin BSÉ/IFB. Tá na prionsabail sin 

siad leithleach agus difriúil ó scannáin atá ar fáil i bpríomhshruth 

an mhargaidh. Ní chiallaíonn sé sin nach bhfuil spéis ag BSÉ/IFB 

sonraí i dtaca leis an gceist sin faoi na Cúínsí Eile thíos. 

teilifíse ar fáil ach go hannamh ar fad. 

mar seo a leanas: 

ach i dtacaíócht a thabhairt d’ábhar ‘neamhthráchtála’. A mhalairt Cineama a Dhéanamh 

Úrnuacht 

• Breisíocht 

ar fad atá fíor, tá raidhse fianaise ann i stair na scannán a léiríonn Cúis bhunúsach go bhfuil BSÉ/IFB ar an tsaol is ea chun saothar Ar mhaithe le sainiúlacht a bhaint amach sa tslí ina úsáideann 

• Tosaíochtaí Cultúir/Tosaíochtaí Tionscail 

gur minic gur ábhar iontais, ceannródaíochta agus imeallacha iad in Éirinn a dhéantar lena thaispeáint ar an scáileán mór a sé a chuid acmhainní, agus go comhsheasmhach maidir leis 

• Cineama a Dhéanamh 

na móréachtaí cineama. Is cosúil go mbíonn athnuachan rialta de spreagadh, a chothú agus a chur chun cinn. 

na spriocanna breisíocht a bhfuil cur síos déanta orthu cheana 

• Úrnuacht 

Mínítear iad sin thíos ar bhealach níos mionsonraithe. Ina dhiaidh 

sin leagann muid amach roinnt comaoineacha eile a d’fhéadfadh 

tionchara bheith acu ar chinneadh i bhfábhar tionscadail amháin 

seachas ceann eile. 

Breisíocht 

Is réasúnaíocht riachtanach í nuair a chuirtear airgead poiblí ar fáil 

do thionscal gur chóir go gcruthódh sé gníomhaíocht nach dtarlódh 

seachas sin i.e. nach nginfeadh an margadh é as a stuaim féin. 

Dá réir sin ciallaíonn sé gur chóir gur scannáin iad nach ndéanfaí 

iad nó scannáin nach mbeadh an sochar céanna ag baint leo ó 

thaobh na hÉireann de, ach amháin i gcás go gcuirfí ar a gcumas 

é sin a dhéanamh le tacaíocht ón ngníomhaireacht, na scannáin 

sin a fhaigheann tacaíocht ó BSÉ/IFB. Léireoidh scannáin den 

tsaghas sin, agus na sochair a eascróidh uathu, gníomhaíocht 

eacnamaíochta ‘breise’. 

dhíth ar an margadh. Tabharfaidh BSÉ/IFB tacaíocht fhuinniúil do 

léiritheoirí a thaispeánann go bhfuil uaillmhian acu rath a bhaint 

amach sa mhargadh – le tionscadail a léiríonn feasacht maidir leis 

an margadh ach nach bhfuil ró-umhal dó. 

Tosaíochtaí Cultúir/Tosaíochtaí Tionscail 

De réir a chuid téarmaí tagartha ón Rialtas, agus ag freagairt do 

na riachtanais a mbraitear atá ag tionscal na scannán in Éirinn 

faoi láthair, tá BSÉ/IFB den tuairim go léiríonn tionscadail áirithe, 

ó thaobh a n-ábhar, a bhfoinse nó a leas don tionscal, tosaíochtaí 

soiléire maidir le maoiniú seachas cinn eile. 

Tabharfar tosaíocht láidir d’iarratais ar son tionscadal: 

• a ‘tionscnaíodh in Éirinn’ ó thaobh na cruthaitheachta de; 

is é sin le rá gur cheap agus gur scríobh talainn Éireannacha 

iad agus go stiúróidh talainn Éireannacha iad 

• a insíonn scéalta Éireannacha, a tharraingíonn as agus a 

léiríonn cultúr, stair agus modh maireachtála na hÉireann 

Níl cosc curtha aige sin ar BSÉ/IFB ó thacaíocht a thabhairt do 

shaothar gurb í an teilifís an príomh-mhargadh i bhfeidhm dó. 

Thairis sin, sa mhéid is go gcuireann sé ar chumas chuideachtaí 

léiriúcháin maireachtáil agus maireachtáil faoi bhláth fiú amháin, 

agus go léiríonn sé sineirge atá folláin agus riachtanach idir na 

mheán na teilifíse agus meán na scannán, bheadh sé míréadúil, 

i dtír atá chomh beag le hÉireann, go dteorannódh BSÉ/IFB a 

gcuid tacaíochta don scannánaíocht cineama amháin. 

Mar sin féin, cé go leanfaidh BSÉ/IFB ar aghaidh ag freagairt go 

dearfach i dtaca le hiarratais a fhaightear ó am go chéile ar son 

tionscadal gurb é an dóchúlacht is mó ina dtaobh go bhfaighidh 

siad lucht féachana teilifíse, agus fiú ag cur scannán agus 

sraitheanna a dhéantar don dteilifís san áireamh, leagfaidh BSÉ/ 

IFB béim níos treise amach anseo ar a chuid oibligeáidí maidir le 

saothar don cineama agus talainn cineama. 

féin, tabharfaidh BSÉ/IFB aird shuntasach ar úrnuacht agus é 

i mbun tionscadal a lorg agus a roghnú le tacaíocht a thabhairt 

dóibh. Seachas na sochair ealaíonta, tá neart fianaise ann i gcás 

margaidh a bhfuil an lámh in uachtar ag táirgí mórbhuiséid, gurb 

iad na scannáin is éifeachtúla a theann san iomaíocht na cinn 

sin a thairgíonn don lucht féachana rud éigin nach bhfaca siad 

cheana, ó thaobh ábhair conspóide, dearcadh spreagúil, greann 

úrnua, séanra lúbtha nó doimhneas úr mothúcháin de. 

Cuirfidh sé sin BSÉ/IFB i dtreo tús áite a thabhairt do stiúrthóirí 

(agus scríbhneoirí) a bhfuil ‘guthanna’ sainiúla acu, a léiríonn a 

gcuid saothar dearcadh atá go láidir aonaránach maidir leis an 

tsaol, a léiríonn cúrsaí an tsaoil ar bhealach a thugann brí nua 

dóibh, a léiríonn gnéithe den nadúr a theipeann ar scannánóirí 

níós gnásúla iad a thabhairt faoi deara nó a sheachnaíonn siad ar 

fad iad. Tá sé mar chuspóir ag BSÉ/IFB tacaíocht a thabhairt do 

scannáin a aimsíonn lucht féachana chomh leathan agus is féidir, 

Tá sé mar aidhm ag na nósanna imeachta i dtaca le breithniú a 

dhéanamh ar iarratais ar mhaoiniú léiriúcháin a chinntiú níos 

éifeachtúla i gcás go mbíonn BSE/IFB rannpháirteach i dtionscadal 

go léiríonn sé go fíor a mhéid is go bhfuil a rannpháirtíocht 

riachtanach: go sonrach, gurb é leibhéal infheistíochta BSÉ/IFB an 

leibhéal atá riachtanach chun maoiniú an scannáin a chur i gcríoch 

ach nach bhfuil an leibhéal níós airde ná mar is gá. Gan amhras tá 

sé an-deacair póilíniú a dhéanamh air sin le dearbh-chruinneas, 

ag cur san áireamh nádúr na n-idirbheartaíochtaí a bhíonn da dhíth 

i dtaca le hairgeadas scannán, ach seasann an prionsabal agus 

cloífear go docht leis. 

Beidh tionchar freisin ag an aidhm maoiniú a dhéanamh ar scannáin 

a bhfuil ‘breisíocht’ ag baint leo ar thosaíochtaí BSÉ/IFB agus 

tionscadail á lorg aige chun tacaíocht a thabhairt dóibh. Tá sé i 

gceist le breisíocht go ndéanfaidh sé difríocht, agu beidh claonadh 

i BSÉ/IFB luí i dtreo tionscadal a bhfuil an chosúlacht orthu go 

bhfuil siad ar ardchaighdeán ach go bhfuil sé inbhraite go bhfuil 

agus an chaoi a fhéachann muintir na hÉireann ar an saol 

agus orthu féin 

• a bhfuil sé i gceist leo go mbeidh talann scannánaíchta nua 

Éireannach sna príomhróil chruthaitheacha i.e. stiúrthóir, 

scríbhneoir, léiritheoir, cumadóir, príomhaisteoir 

Tabharfar aird dáiríre ar iarratais: 

• a mholann tionscadal atá go soiléir Éireannach (ó thaobh 

suímh, carachtar, etc. de) ach a bheidh á stiúradh ag 

talann nach as Éireann é, i gcás go bhfuil BSÉ/IFB den 

tuairim go gcinntíonn teist an stiúrthóra go dtí seo go mbeidh 

ardchaighdeán ann 

• a mbíonn léiritheoir Éireannach i gceist mar chomhléiritheoir 

mionlaigh i gcás (a) go bhfuil BSÉ/IFB iomlán sásta maidir 

le caighdeán an tionscadail, (b) go bhfuil an méid infheistíochta 

ar chomhchéim leis an leibhéal rannpháirtíochta a bheidh ag 

pearsanra, gnéithe agus saoráidí Éireannacha sa dtionscadal, 

agus (c) go bhfuil gealltanas i bhfeidhm ag an gcomhléiritheoir 

I bhfeidhm, ciallóidh sé sin: 

• Go ndéanfar measúnú níos deine ar scannáin faisnéise ó 

thaobh na hacmhainne atá acu chun eisiúint pictiúrlainne 

a bhaint amach nó chun spéis ó fhéilte idirnáisiúnta scannán 

a spreagadh. Tabharfar tús áite do ‘phríomhscannáin 

faisnéise’; i gcás scannán atá dírithe ar shliotán teilifíse 

atá uair an chloig nó níos giorra ar fhad agus nach bhfuil aon 

tarraingt nó nach bhfuil ach tarraingt an-bheag acu, ní dócha 

go dtabharfar tacaíocht dóibh ach amháin i gcás go meastar 

go bhfuil caighdeán do-shéanta acu. I dteannta béim BSÉ/IFB 

ar chúrsaí cineama, ceapadh an cur chuige seo chun 

freagairt don mhéadú follasach ar an mian atá i measc lucht 

féachana pictiúrlainne scannáin faisnéise a fheiceáil. 

• Go léireofar níos mó solúbthachta i gcás scannán beochana, 

mar aitheantas ar an méadú maidir le tábhacht an tsaothair 

Éireannaigh sa réimse sin, agus cúinge an mhargaidh 

idirnáisiúnta pictiúrlainne atá ann do phríomhscannáin 

bheochana. Mar sin féin, tabharfar tús áite do shaothar 

agus tá sé ag súil go léireoidh lucht deanta scannán an uaillmhian 

chéanna. Ag an am céanna aithníonn sé nach n-éiríonn ach le 

fíórbheagán daoine rath a bhaint amach ag an ndíoloifig. Cibé an 

éiríonn le scannán nó má theipeann air, creideann BSÉ/IFB gur 

féidir caiteachas airgid poiblí a chosaint go láidir matá rud éigin 

úrnua le rá ag an scannán,rud éigin úrnua le cur le hiomlán an 

cineama domhanda. 

Cúinsí Eile 

Ba chóir go dtabharfadh na treoirphrionsabail atá leagtha 

amach thuas léargas d’iarratasóirí ar an gcaoi a dhéanfaidh 

feidhmeannaigh agus comhairleoirí BSÉ/IFB measúnú ar 

thionscadal ó thaobh ábhair de agus ó thaobh na foirne 

cruthaithigh a bhaineann leis. Agus measúnú á dhéanamh ar 

iarratais ar mhaoiniú léiriucháin, d’fhéadfaí tosca eile a chur 

san áireamh, a bhaineann le héifeachtaí eacnamaíochta an 

tionscadail, na socruithe airgeadais, agus an t-ionchas go naimseofar 

lucht féachana.

I gcás nach measann BSÉ/IFB go gcloíonn tionscadal le haon Critéir Athraitheacha 

cheann de na treoirphrionsabail, ní bheidh a ndóthain sna tosca Tá critéir sainiúla dá gcuid féin ag cuid de chláir maoiniúcháin 

eile sin le tairiscint maoiniúcháin a bhaint amach. Ach i gcás BSÉ/IFB agus ní gá go rialódh na prionsabail atá leagtha amach 

tionscadail ina meastar go bhfuil an t-ábhar agus an fhoireann thuas iad: 

64 

chruthaitheach áititheach, is féidir leis na cúinsí sin tionchar a 

bheith acu ar idirbheartaíochtaí idir BSÉ/IFB agus lucht déanta 

an scannáin maidir le leibhéal infheistíochta BSÉ/IFB agus ar 

an gcaoi a dhéanfar an scannán a mhaoiniú, a léiriú agus a 

dháileadh. 

• Forbairt Ilthionscadal (MPD) 

Cé go gcuirtear na treoirphrionsabail i bhfeidhm maidir le 

measúnú a dhéanamh ar shlátaí na dtionscadal atá á moladh, 

tá a chlár breise critéar féin ag an gclár MPD agus ba chóir 

iad sin a iniúchadh sula gcuirtear isteach iarratas. 

SANDPIPER 

65 

• Teist gairme an léiritheora go dtí seo 

• Ar éirigh leis an léiritheoir bainistiú agus seachadadh 

proifisiúnta agus éifeachtúil a dhéanamh ar scannáin 

• Léiriúchán Idirnáisiúnta 

Cé go bhfuil an clár seo i dtéarmaí ginearálta faoi réir 

ghnáthchritéar cultúrtha BSÉ/IFB, luíónn sé níos mó i dtreo AGuISín 5 

roime seo? 

an tionscail ná na cruthaitheachta. An fhad is go bhfuil 

• An bhfuil dea-thaithí ag BSÉ/IFB maidir le plé a 

dhéanamh leis an léiritheoir roimhe seo? 

dea-theist gairme go dtí seo ag an bpríomhléiritheoir, agus go 

bhfuil cuma sochreidthe ar an bpacáiste cruthaitheach, 

SEIRBHíSí SuíMH 

• I gcás comhléiriúcháin, an bhfuil teist gairme proifisiúnta 

go dtí seo ag léiritheoiri nach léiritheoirí Éireannacha iad 

a bhfuil baint acu leis an dtionscadal? 

• Fostaíocht Éireannach 

• An mbeidh na príomh-phostanna cruthaitheacha agus 

bunófar measúnú BSÉ/IFB ar bhreithniú ar thionchar 

‘iolraitheach’ eacnamaíochta a chuid maoiniúcháin, agus 

ar na deiseanna fostaíochta do phearsanra Éireannach i 

bpríomh-phostanna. 

• Tacaíocht Réigiúnda 

Tá sé mar chuspóir ag seirbhísí suímh scannánaíocht de gach cineál a éascú agus a spreagadh. Is féidir linn cabhrú leat 

cibé an bhfuil príomhscannáin, scannáin teilifíse, scannáin faisnéise nó scannáin tráchtála, corparáideacha, físeáin cheoil 

nó grianghrafadóireacht á ndéanamh agat; rud ar bith a theann ar scáileán. Tá ár bhfoireann margaíochta ar fáil chun do 

chuid ceisteanna afhreagairt. Tá ár seirbhís saor in aisce. 

teicniúla lena líonadh ag pearsanra Éireannach? 

• I gcás comhléiriúcháin, an bhfuil an coimheas cuí i dtaca 

Tá téarmaí tagartha an chláir seo go heisiatach eacnamaíoch. 

Lena bheith incháilithe, ní mór go mbeadh maoiniú léiriúcháin 

níl anseo ach cuid de na seirbhísí atá á dtairiscint againn: 

leo sin? 

• An dtairgeoidh an léiriúchán fostaíocht do phearsanra 

Éireannach i ngach grád is féidir? 

• Caiteachas i ngeilleagar na hÉireann 

• An ndéanfar an scannánaíocht in Éirinn? 

BSÉ/IFB cheana féin ag tionscadal, agus ní chuirfear a 

thuilleadh breithniú cruthaitheach i bhfeidhm. Déanfar 

measúnú ar an méid den bhuiséad léiriúcháin atá le 

caitheamh in Éirinn lasmuigh den limistéir uirbeach agus an 

limistéir máguaird; ní mór go mbeadh ar a laghad a dhá 

• Láimhseálann an tAonad Seirbhísí Suíomh gach fiosrúchán a bhaineann le scannánaíócht in Éirinn. Bunachar sonraí 

inchuardaithe grianghraf is ea F.I.L.M. Bainisteoir Suíomh do Thionscal na Scannán in Éirinn) a chuireann barr 

feabhais ar ár gcumas suímh a aimsiú. Tá úsáid na seirbhíse saor in aisce do lorgairí suíomh in Éirinn agus do lucht 

déanta scannán a dhéanann teagmháil linn ó thíortha thar lear. 

• An mbainfidh an léiriúchán feidhm fhairsing as saoráidí 

léiriúcháin agus iar-léiriúcháin in Éirinn? 

• An meallfaidh an tionscadal infheistiócht isteach 

oiread i gceist leis an méid sin agus an méid maoiniúcháin 

a éilítear. 

• Doiciméadú ar na hEalaíona 

• Mar chuid dár seirbhís soláthraíonn muid freisin leabhair tagartha amhairc agus faisnéis tagartha eile maidir le cúrsaí 

a bhaineann le scannánaíocht in Éirinn. 

i ngeilleagar na hÉireann? 

• Díolachán agus Dáileachán 

• An bhfuil baint ag gníomhaire díolacháin idirnáisiúnta 

leis an scannán? 

Tá treoirlínte a bhaineann go sainiúl leis an gclár seo, a 

tarraingíodh suas i gcomhar leis an gComhairle Ealaíon 

a dhéanann maoirseacht ar an nós imeachta roghnúcháin. 

• Dáileadh 

• Feidhmíonn muid chomh maith mar mhol do líonra oifigí réigiúnda scannán atá ag fás i gcónaí. Ciallaíonn an 

comhoibriú atá eadrainn féin agus an Northern Irish Film and Television Commission go bhfuil teaglaim ann a 

chlúdaíonn an t-oileán ar fad. 

• An bhfuil dáileoir Éireannach ag an scannán? 

• An bhfuil airgeadas léiriúcháin á sholáthar ag aon 

dáileoir nó craoltóir? 

Feidhmíonn an clár Soláthar Priontaí ar bhonn uathoibríoch, 

trína mbíonn scannáin incháilithe le haghaidh tacaíochta 

má roghnaítear iad ar fhéile amháin ar liosta féilte 

• Comhoibríonn muid le comhlachtaí náisiúnta eile leis an dtimpeallacht oibre a dhéanamh chomh cairdiúil agus is 

féidir do lucht na scannán. 

• Struchtúr Airgeadais 

ceadaithe, faoi réir chomhaontú le BSÉ/IFB maidir le leibhéal 

• An bhfuil na hairgeadaithe atá á moladh don scannán 

an mhaoiniúcháin. Cuirtear maoiniú le haghaidh Priontaí agus 

iontaofa? 

Fógraíócht ar fáil do dháileoirí Éireannacha ar scannáin 

• An gcuirfidh na socruithe airgeadais atá a moladh ar 

a bhfuil tacaíocht faighte acu ó BSÉ/IFB a thaispeánann go 

chumas BSÉ/IFB idirbheartaíocht a dhéanamh i dtaca 

bhfeabhsóidh tacaíocht ó BSÉ/IFB cur chun cinn scannáin 

le seasamh réasúnach aisghabhála. 

i margadh na hÉireann. 

• An mbeidh follasacht reasúnach cuntasaíochta i gceist 

maidir le hioncam díolacháin, e.g. trí ghníomhaire 

bailiúcháin a úsáid? 

TABHAIR FAOI DEARA: Forchoimeádann BSÉ/IFB an ceart aon 

cheann de na critéir thuas a athrú, nó cur leo nó iad a chur ar 

fionraí mar fhreagairt ar chúinsí áirithe nó de réir mar a thagann 

Ba chóir a chur in iúl go soiléir nach bhfuil sé riachtanach 

freagraí dearfacha a thabhairt ar na ceisteanna sin ar fad le go 

dtairgeofaí maoiniú léiriúcháin do thionscadal. Ach d’fhéadfadh 

sé tarlú go mabainfeadh coibheas ard de fhreagraí diúltacha 

an bonn a bhaint de dhearcadh a bheadh go láidir dearfach 

ó thaobh BSÉ/IFB de maidir le gnéithe cruthaitheacha den 

tionscadal seachas sin. Ar a laghad ar fad, spreagfaidh meascán 

de fhreagraí dearfacha agus diúltacha díospóireacht maidir le 

méid agus modh ghealltanas BSÉ/IFB. 

athruithe ar a chuid beartais.

FEATuRE FILMS/FADSCAnnÁIn 

1993-2009 

32A 2007 / Director/Script: Marian Quinn, A Love Divided 1998 / Director: Syd 

Bogwoman 1997 / writer/Director: Tom 

Cowboys & Angels 2004 / Director/Script: E 

Gold in the Streets 1996 / Director: 

66 Producers: Tommy Weir, Roshanak 

Behesht Nedjad, Production Company: 

Macartney, Producers: Tim Palmer, 

Alan Moloney, Gerry Gregg, Script: 

Collins, Producers: Martha O’Neill, Tom 

Collins, Production Company: De Facto 

David Gleeson, Producer: Nathalie 

Lichtenthaeler, Production Company: 

Eamon 2009 / Director/Script: Margaret 

Corkery, Producer: Seamus Byrne, 

Elizabeth Gill, Producer: Noel Pearson, 

Script: Janet Noble, Noel Pearson, 

67 

Janey Pictures. 

Stuart Hepburn, Production Company: 

Parallel Films. 

Film & video. 

Wide Eye Films. 

Production Company: Zanita Films. 

Production Company: Ferndale Films. 

48 Angels 2006 / Director: Marion Comer, 

Borstal Boy 2000 / Director: Peter Sheridan, 

The Crooked Mile 2001 / Director/Script: The Eclipse 2009 / Director: Conor 

Goldfish Memory 2003 / Director/Script: 

writers: Marion Comer, Craig Holland, A Man of no Importance 1993 / Director: Producers: Pat Moylan, Arthur Lappin, Jim 

Stephen Kane, Producers: Triona Campbell, McPherson, Producer: Rob Walpole, Script: Liz Gill, Producer: Breda Walsh, Production 

Producers: John McDonnell, Robert 

Suri Krishnama, Producer: Jonathan 

Sheridan, Script: Peter Sheridan, Nye Heron, 

Avril Ryan, Production Company: Campbell Conor McPherson, Billy Roche, Production Company: Goldfish Films. 

Medema, Marion Comer, Production 

Cavendish, Script: Barry Devlin, Production Production Company: Hell’s Kitchen. 

Ryan Productions. 

Company: Treasure Entertainment. 

Company: Reflected Light Pictures. 

Company: Little Bird. 

Guiltrip 1994/95 / Director: Gerry 

Boxed 2003 / Director/Script: Marion Comer, 

Cracks 2009 / Director: Jordan Scott, 

Eden 2008 / Director: Declan Recks, 

Stembridge, Producer: Ed Guiney, Script: 

A 

A Shine of Rainbows 2009 / Director: vic Producers: Laurence Penn, Lene Bausager, 

Producers: Julie Payne, Kwesi Dickson, Producer: David Collins, Script: 

Gerry Stembridge, Production Company: 

About Adam 1999 / Director: Gerard 

Sarin, Producers: Tina Phelme, Kim Roberts, Douglas Graham, Production Companies: 

Rosalie Swedlin, Andrew Lowe, Christine Eugene O’Brien, Production Company: Temple Films. 

Stembridge, Producers: Anna Devlin, 

James Flynn, Script: Danis Foon, Catherine Fireproof Films, ugly Duckling Films. 

vachon, Script: Caroline Ip, Ben Court, Samson Films. 

Marina Hughes, Script: Gerard 

Spear, vic Sarin, Production Companies: 

Jordan Scott, Production Companies: 

H 

Stembridge, Production Company: 

Octagon Films, Sepia Films. 

The Boxer 1998 / Producer/Director: 

Element Pictures, Future Films, Antenna The Englishman 2008 / Director: Ian 

H3 2001 / Director: Les Blair, Producers: 

venus Film & Television. 

Jim Sheridan, Producer: Arthur Lappin, 

3 Films, Scott Free. 

Sellers, Producers: Teresa Mulqueen, David James Flynn, Juanita Wilson, Script: 

Script: Terry George, Production Company: 

Collins, Script: Ian Sellers, Brendan Grant, Laurence McKeown, Brian Campbell, 

Hell’s Kitchen. 

Production Company: Samson Films. 

Production Company: Metropolitan Films. 

The Actors 2003 / Director/Script: 

Conor McPherson, Story by: Neil Jordan, 

Producers: Neil Jordan, Redmond Morris, 

Stephen Woolley, Production Company: 

Company of Wolves. 

Accelerator 1999 / Director: vinny Murphy, 

Producer: Michael Garland, Script: 

Mark Stewart, vinny Murphy, Production 

Company: Two For the Show. 

Adam & Paul 2004 / Director: Lenny 

Abrahamson, Producer: Jonny Speers, 

Executive Producers: Andrew Lowe, Ed 

Guiney, Script: Mark O’Halloran, Production 

Company: Porridge Pictures. 

A Further Gesture 1996 / Director: Robert 

Dornhelm, Producers: David Collins, Chris 

Curling, Script: Ronan Bennett, Production 

Company: Samson Films. 

Agnes Browne 1999 / Director: Anjelica 

Huston, Producers: Jim Sheridan, Arthur 

Lappin, Greg Smith, Anjelica Huston, 

Script: Brendan O’Carroll, John Goldsmith, 

Production Company: Hell’s Kitchen. 

Alarm 2008 / Director/Script: Gerard 

Stembridge, Producers: Anna Devlin, 

Marina Hughes, Production Company: 

venus Productions. 

All Soul’s Day 1997 / writer/Director: Alan 

Gilsenan, Producer: David McLoughlin, 

Production Company: Yellow Asylum Films. 

Ailsa 1993 / Director: Paddy Breathnach, 

Producer: Ed Guiney, Script: Joe O’Connor, 

Production Company: Temple Films. 

All Things Bright and Beautiful 1993 

/ Director: Barry Devlin, Producer: 

Katy McGuinness, Script: Barry Devlin, 

Production Company: The Good Film Co. 

A Film with Me In It 2008 / Director: Ian 

Fitzgibbon, Producers: Alan Molony, Susan 

Mullen, Script: Mark Doherty, Production 

Company: Parallel Film Productions. 

B 

Beckett on Film 2000 / Act without words 

I, Director: Karel Reisz, Act without words 

II, Director: Enda Hughes, A Piece of 

Monologue, Director: Robin Lefevre, Breath, 

Director: Damien Hirst, Catastrophe, 

Director: David Mamet, Come and Go, 

Director: John Crowley, Endgame, Director: 

Conor McPherson, Footfalls, Director: 

Walter Aasmus, Happy Days, Director: 

Patricia Rozema, Krapp’s Last Tape, 

Director: Atom Egoyan, not I, Director: Neil 

Jordan, Ohio Impromptu, Director: Charles 

Surridge, Play, Director: Anthony Minghella, 

Rockaby, Director: Richard Eyre, Rough for 

Theatre I, Director: Kieron J. Walsh, Rough 

for Theatre II, Director: Katie Mitchell, That 

Time, Director: Hales Garrad, waiting for 

Godot, Director: Michael Lindsay-Hogg, 

what where, Director: Damien O’Donnell, 

Producers: Alan Moloney, Michael Colgan 

Production Company: Blue Angel Films. 

Becoming Jane 2007 / Director: Julian 

Jarrold, Producers: Robert Bernstein, 

Douglas Rae, Graham Broadbent, James 

Flynn, Morgan O’Sullivan, Script: Kevin 

Hood, Sarah Williams, Production 

Companies: Ecosse Films, Blueprint 

Films, Octagon Films. 

Black Day at Black Rock 2000 / Director/ 

Script: Gerard Stembridge, Producers: 

Anna Devlin, Marina Hughes, Production 

Company: venus Films. 

Blind Flight 2004 / Director: John Furse, 

Producers: Sally Hibbin, David Collins, Eddie 

Dick, Script: Brian Keenan, John Furse, 

Production Company: Samson Films. 

Bloody Sunday 2001 / Director/Script: Paul 

Greengrass, Producers: Mark Redhead, 

Jim Sheridan, Arthur Lappin, Production 

Company: Hell’s Kitchen. 

Bloom 2004 / Director/Script: Sean Walsh, 

Producers: Sean Walsh, Gerry Murphy, 

Mark Byrne, Production Company: 

Odyssey Pictures. 

Boy Eats Girl 2005 / Director: Stephen 

Bradley, Producers: Ed Guiney, Andrew 

Lowe, Script: Derek Landy, Production 

Company: Element Films. 

The Boy from Mercury 1996 / Director/ 

writer: Martin Duffy, Producer: Marina 

Hughes, Production Company: 

Mercurian Films. 

Breakfast on Pluto 2006 / Director: Neil 

Jordan, writer: Neil Jordan (based on the 

book by Patrick McCabe), Producers: Alan 

Moloney, Neil Jordan, Stephen Woolley, 

Production Companies: Parallel Films, 

Number 9 Films. 

Broken Harvest 1993 / Director: Maurice 

O’Callaghan, Producer: Jerry O’Callaghan, 

Script: Kate O’Callaghan, Maurice 

O’Callaghan, Production Company: 

Destiny Films. 

C 

Chaos 2001 / Director/Script: 

Geraldine Creed, Producer: Brendan 

McCarthy, Production Company: Blue 

Light Productions. 

Cherrybomb 2009 / Directors: Lisa Barros 

D’Sa, Glenn Leyburn, Producers: Michael 

Casey, Mark Huffam, Brian Kirk, Script: 

Daragh Carville, Production Companies: 

Octagon Films, Green Park Films, 

Generator Entertainment. 

Circle of Friends 1993 / Director: Pat 

O’Connor, Producers: Frank Price, Arlene 

Sellers, Alex Winitsky, Script: Andrew 

Davies, Production Company: Good Girls. 

Conamara 2000 / Director: Eoin Moore, 

Producer: Ingrid Holzapfel, Script: Greg 

Brennan, Production Company: Boje 

Buck Produktion. 

Country 2000 / Director/Script: Kevin Liddy, 

Producer: Jack Armstrong, Production 

Company: Indi Films. 

Crushproof 1997 / Director: Paul Tickell, 

Producers: Nicholas O’Neill, Kees 

Kassander, Script: James Mathers, 

Production Company: Liquid Films. 

D 

The Daisy Chain 2008 / Director: 

Aisling Walsh, Producers: Tristan Orpen 

Lynch, Dominic Wright, Script: Lauren 

Mackenzie, Production Company: 

Subotica Entertainment. 

Dancing at Lughnasa 1998 / Director: Pat 

O’Connor, Producer: Noel Pearson, Script: 

Frank McGuinness, Production Company: 

Ferndale Films. 

Dead Bodies 2003 / Director: Robert Quinn, 

Producers: David McLoughlin, Clare Scully, 

Script: Derek Landy, Production Company: 

Distinguished Features. 

Dead Long Enough 2006 / Director: Tom 

Collins, Script: James Hawes, Tom Collins, 

Producer: Paul Donovan, Production 

Company: Grand Pictures. 

Dead Meat 2004 / Director/Script: 

Conor McMahon, Producers: Ed King, 

Michael Griffin, Production Company: 

3 Way Productions. 

The Disappearance of Finbar 1994/95 / 

Director: Sue Clayton, Producers: David 

Collins/Bertil Ohlsson, Martin Bruce 

Clayton, Script: Dermot Bolger, Production 


Disco Pigs 2000 / Director: Kirsten Sheridan, 

Producer: Ed Guiney, Script: Enda Walsh, 


Drinking Crude 1997 / writer/Director: 

Owen McPolin, Producers: Kim 

Tapsell, Gerry Johnston, Production 

Company: Sweetskin. 

Dorothy Mills 2008 / Director: Agnes Merlet, 

Producers: Marc Missonier, Eric Jehelman, 

James Flynn, Script: Agnes Merlet, Juliette 

Sales, Production Companies: Fidélité 

Films, Octagon Films. 

The Escapist 2007 / Director: Rupert 

Wyatt, Producers: Adrian Sturges, Alan 

Molony, Script: Rupery Wyatt, Daniel 

Hardy, Production Company: Parallel 

Film Productions. 

F 

The Fifth Province 1997 / Director: 

Frank Stapleton, Producer: Catherine 

Tiernan, Nina Fitzpatrick, Frank Stapleton, 

Production Company: Ocean Films. 

Five Minutes of Heaven 2009 / Director: 

Oliver Hirschbiegel, Producers: Eoin 

O’Callaghan, Ed Guiney, Andrew Lowe, 

Script: Guy Hibbert, Production 

Companies: Element Pictures, Big Fish 

Films, Ruby Films. 

Flick 1999 / Director: Fintan Connolly, 

Producer: Fiona Bergin, Script: Fintan 

Connolly, Production Company: Fubar. 

Frankie Starlight 1994/95 / Director: 

Michael Lindsay-Hogg, Producer: Noel 

Pearson, Script: Chet Raymo, Ronan 

O’Leary, Production Company: 

Ferndale Films. 

Freeze Frame 2004 / Director/Script: John 

Simpson, Producers: Michael Casey, Martha 

O’Neill, Production Companies: Parallel 

World Productions, Wildfire Films. 

The Front Line 2006 / Director/writer: David 

Gleeson, Producers: Nathalie Lichtenhaeler, 

James Flynn, Production Company: Wide 

Eye Films. 

G 

Garage 2007 / Director: Lenny Abrahamson, 

Producers: Ed Guiney, Andrew Lowe, Script: 

Mark O’Halloran, Production Company: 

Element Pictures. 

The General 1998 / writer/Producer/ 

Director: John Boorman, Production 

Company: Merlin Films. 

The Halo Effect 2004 / Director/Script: 

Lance Daly, Producers: Macdara Kelleher, 

Hughie Kelly, Executive Producers: John 

Kelleher, Les Kelly, Production Company: 

Fastnet Films. 

The Hanged Man (El Juego del Adhorcado) 

2009 / Director Manuel Gómez Pereira, 

Producers: Ana Amigo, Tristan Orpen Lynch, 

Dominic Wright, Production Companies: 

Subotica Entertainment Amigo Produtions, 

Cinematograficas, Lennon Proucciones. 

Happy Ever Afters 2009 / Director/Script: 

Stephen Burke, Producer: Lesley McKimm, 

Production Company: Newgrange Pictures. 

Headrush 2003 / Director/Script: Shimmy 

Marcus, Producer: Edwina Forkin, 

Production Company: Zanzibar Films. 

Helen 2009 / Directors/Script: Christine 

Molloy, Joe Lawlor, Producer: Joe Lawlor, 

Production Company: Desperate Optimists. 

Hs & Hers 2009 / Director/Script: Ken 

Wardrop, Producer: Andrew Freedman, 

Production Company: venom. 

The Honeymooners 2004 / Director/Script: 

Karl Golden, Producers: Martina Niland, 

Martin Brinkler, Production Company: 

Samson Films. 

How About you 2007 / Director: Anthony 

Byrne, Producer: Noel Pearson, Script: 

Jean Pasley, based on a short story by 

Maeve Binchy, Production Company: 

Ferndale Films 

How Harry Became a Tree 2001 / Director: 

Goran Paskaljevic, Producer: Liam O’Neill, 

Script: Goran Paskaljevic, Stephen Walsh, 

Production Company: Paradox Films. 

How to Cheat in the Leaving Certificate 

1997 / Director: Graham Jones, Producers: 

Graham Jones, Ciara Flanagan, Script: 

Graham Jones, Tadhg O’Higgins, Aislinn 

O’Loughlin, Production Company: 

Graham Jones.

High Boot Benny 1993 / Director: Joe 

L 

Moondance 1993 / Director: Dagmar Hirtz, 

On the nose 2000 / Director: David Caffrey, S 

Studs 2006 / Director/writer: Paul 

68 Comerford, Producer: David Kelly, Script: The Last Bus Home 1997 / writer/Director: Producers: James Mitchell, Jonathan 

Producers: Tristan Orpen Lynch, Scott Saltwater 1999 / Director: Conor 

Mercier, Producers: Fiach Mac Conghail, 69 

Joe Comerford, Production Company: Johnny Gogan, Producer: Paul Donovan, Cavendish, Script: Burt Weinshanker, 

Kennedy, Script: Tony Philpott, Production McPherson, Producer: Robert Walpole, Cuán Mac Conghail, Production Company: 

Sandy Films. 

Production Company: Grand Pictures. 

Production Company: Little Bird. 

Company: Subotica Entertainment. 

Script: Conor McPherson, Production 

Company: Treasure Films. 

Brother Films. 

I 

The Last of the High Kings 1994/95 / 

The Most Fertile Man in Ireland 2000 / 

Once 2007 / Director/Script: John Carney, 

Sugar 2005 / Directors: Patrick Jolley, 

I Could Read the Sky 1999 / Director: Nichola Director: David Keating, Producer: Tim Director: Dudi Appleton, Producer: David 

Producers: Martina Niland, David Collins, Savage 2009 / Director/Script: Brendan Reynold Reynolds, Producers: Samara 

Bruce, Producers: Janine Marmot, Nicholas Palmer, Script: David Keating, Gabriel Byrne, Collins, Script: Jim Keeble, Production 

Production Company: Samson Films. Muldowney, Producer: Conor Barry, 

Golden, Patrick Jolley, Reynold Reynolds, 

O’Neill, Script: Nichola Bruce, based on Production Company: Parallel Films. 


Production Company: SP Films. 

Edwina Forkin, Script: Reynold Reynolds, 

the book by Timothy O’Grady & Steve Pyke, 

Samara Golden, Patrick Jolley, Production 

Production Company: Liquid Films. 

Companies: Zanzibar Films, Make Films. 

I went Down 1997 / Director: Paddy 

Breathnach, Producer: Rob Walpole, Script: 

Conor McPherson, Production Company: 

Treasure Films. 

The Investigator (A nyomazó) 2009 / 

Director/Script: Attila Galambos, Producers: 

Ferenc Pustai, Macdara Kelleher, Martin 

Persson, Production Companies: Fastnet 

Films, KMH Film, Anagram Production. 

Inside I’m Dancing 2004 / Director: Damien 

O’Donnell, Producers: James Flynn, Juanita 

Wilson, Catherine Tiernan, Script: Jeffrey 

Caine, based on a story by Christian O’Reilly, 

Production Company: Octagon Films. 

Intermission 2003 / Director: John Crowley, 

Producers: Neil Jordan, Alan Moloney, 

Stephen Woolley, writer: Mark O’Rowe, 

Production Companies: Parallel Films, 

Company of Wolves. 

Isolation 2006 / Director/writer: Billy 

O’Brien, Producers: Ruth Kenley-Letts, 

Bertrand Faivre, Ed Guiney, Production 

Companies: Element Films, The Bureau. 

J 

Johnny was 2006 / Director: Mark 

Hammond, writer: Brendan Foley, 

Producers: Patrick Fitzsymons, Tom 

Maguire, Paul Largan, Lars Hermann, Ira 

Besserman, Brendan Foley, Production 

Company: Borderline Productions. 

K 

Kill Daddy, Goodnight (Das vaterspiel) 

2008 / Director/Script: Michael Glawogger, 

Producers: Christine Ruppert, Lesley 

McKimm, Production Companies: Tatfilm, 

Newgrange Films. 

Kings 2007 / Director/Script: Tom Collins, 

Producer: Jackie Larkin, Production 

Company: Newgrange Pictures 

Kisses 2008 / Director/ Script: Lance Daly, 

Producer: Macdara Kelleher, Production 

Company: Fastnet Films. 

Korea 1993 / Director: Cathal Black, 

Producer: Darryl Collins, Script: Joe 

O’Byrne, Production Company: Black Star 

Films/Cathal Black Films. 

The Last September 1999 / Director: 

Deborah Warner, Producer: Yvonne Thunder, 

Script: John Banville, Production Company: 

Thunder Pictures. 

Le Dernier Mot 1999 / Director: Sebastien 

Grall, Producers: John Kelleher, Fabienne 

Servan-Schreiber, Script: Anne valton, 

Marina Ní Dhubhain, Production Company: 

Fastnet Films. 

Little Foxes (Lísˆtiĉky) 2009 / Director/Script: 

Mira Fornayovà, Producers: Davis Collins, 

Brian Willis, viktor Schwarcz, Juraj Buzalka, 

Production Companies: Samson Films, 

Cineart Tv Prague, Miras SRO. 

Love and Rage 1998 / Producer/Director: 

Cathal Black, Producer: Rudolf Wichmann, 

Script: Brian Lynch, Production Company: 

Cathal Black. 

Love and Savagery 2009 / Director: John 

Smith, Producers: Barbara Doran, Lynne 

Wilson, Kevin Tierney, Tristan Orpen Lynch, 

Script: Des Walsh, Production Companies: 

Subotica Entertainment, Morag Loves 

Company, Park Ex Pictures. 

M 

The Magdalene Sisters 2003 / Director/ 

Script: Peter Mullan, Producers: Ed Guiney, 

Frances Higson, Production Company: 

Element Films. 

Man About Dog 2004 / Director: Paddy 

Breathnach, Producers: Robert Walpole, 

Simon Channing Williams, Script: Pearse 

Elliott, Production Companies: Treasure 

Entertainment, Potboiler Productions. 

Mapmaker 2001 / Director/Script: Johnny 

Gogan, Producer: Paul Donovan, Production 

Company: Grand Pictures. 

Mickybo & Me 2005 / Director/Script: 

Terry Loane, Producers: Mark Huffam, 

Mike McGeagh, Production Companies: 

Octagon Films. 

Middletown 2006 / Director: Brian Kirk, 

writer: Daragh Carville, Producers: 

Michael Casey, Mark Byrne, Martha O’Neill, 

Production Company: Green Park Films. 

The Mighty Celt 2005 / Director/Script: 

Pearse Elliott, Producers: Robert Walpole, 

Paddy McDonald, Paddy Breathnach, Michael 

Casey, Production Companies: Treasure 

Entertainment, Green Park Films. 

My Friend Joe 1994/95 / Director: Chris 

Bould, Producers: Michael O’Connell, 

Gerhard Schmidt, Script: David Howard, 

Declan Hughes, Production Company: 

ProMedia. 

Mystics 2003 / Director: David Blair, 

Producers: Mark O’Sullivan, Michael Ryan, 

Nigel Warren Green, Script: Wesley Burrows, 

Production Company: MR Films. 

n 

night Train 1998 / Director: John Lynch, 

Producer: Tristan Orpen Lynch, Script: 

Aodhan Madden, Production Company: 


niko and the way to the Stars 2008 / 

Directors: Michael Hegner, Kari Juusonen, 

Script: Hannu Tuomainen, Marteinn 

Thorisson, Mark Hodkinson, Production 

Companies: Magma Films, Animaker, 

ulysses Films, Afilm. 

nora 1999 / Director: Pat Murphy, 

Producers: James Flynn, Tracey 

Seaward, Script: Pat Murphy, Gerard 

Stembridge, Production Company: 

volta/Metropolitan Films. 

not Afraid, not Afraid 2001 / Director: 

Annette Carducci, Producers: Morgan 

O’Sullivan, James Flynn, Howard Gibbins, 

Script: Annette Carducci, Barry Devlin, 

Production Company: World 2000. 

nothing Personal 1994/95 / Director: 

Thaddeus O’Sullivan, Producers: Tracey 

Seaward, Jonathan Cavendish, Script: Danny 

Mornin, Production Company: Little Bird. 

nothing Personal 2009 / Director/Script: 

urszula Antoniak, Producers: Reiner Selen, 

Edwin van Meurs, Morgan Bushe, Production 

Companies: Fastnet Films, Rinkel Film, 

Family Affair Films. 

november Afternoon 1996 / Directors: 

John Carney, Tom Hall, Producer: Pat 

O’Donoghue, Script: John Carney, Tom Hall, 

Production Company: High Hat Productions. 

O 

Omagh 2004 / Director: Pete Travis, 

Producers: Ed Guiney, Paul Greengrass, 

Script: Guy Hibbert, Paul Greengrass, 

Production Company: Hells Kitchen 

International. 

Ondine 2009 / Director/Script: Neil 

Jordan, Producers: Neil Jordan, James 

Flynn, Ben Browning, Production 

Company: Octagon Films. 

Ordinary Decent Criminal 1999 / Director: 

Thaddeus O’Sullivan, Producer: Jonathan 

Cavendish, Script: Gerry Stembridge, 

Production Company: Little Bird. 

Our wonderful Home 2008 / Director/Script: 

Ivan Kavanagh, Producers: Dominic Wright, 

Jacqueline Kerrin, Production Company: 

Ripple World Pictures. 

P 

Park 1999 / Directors: John Carney, Tom 

Hall, Producers: John Carney, Tom Hall, 

Script: John Carney, Production Company: 

High Hat Productions. 

Pavee Lackeen 2005 / Director: Perry 

Ogden, Producers: Perry Ogden, Martina 

Niland, John Rocha, Script: Perry Ogden, 

Mark venner, Production Company: An 

Lár Films. 

Peaches 2000 / Director/Script: Nick 

Grosso, Producer: Ronan Glennane, 

Production Company: Stone Ridge Film. 

Perrier’s Bounty 2009 / Director: Ian 

Fitzgibbon, Producers: Alan Molony, 

Stephen Woolley, Elizabeth Karlsen, Script: 

Mark O’Rowe, Production Company: Parallel 

Film Productions. 

Pete’s Meteor 1998 / writer/Director: 

Joe O’Byrne, Producers: Liam O’Neill, 

John Lyons, Production Company: 

Paradox Pictures. 

Princess (Prinsessa) 2009 / Director/Script: 

Teresa Fabik, Producers: Sandra Harms, 

Morgan Bushe, Production Companies: 

Fastnet Films, Breidablick Film Production. 

Puckoon 2001 / Director/Script: 

Terence Ryan, Producers: Ken Tuohy, 

Terence Ryan, Production Company: 

Distinguished Features. 

R 

The Race 2009 / Director: André Nebe, 

Producers: Michael Garland, Martin 

Hagermann, Script: Rowan O’Neill, 

Production Companies: Grand Pictures, 

Zero West Film Produktion. 

The Secret of Kells 2008 / Directors: Tomm 

Moore, Nora Twomey, Producers: Paul 

Young, Didier Brunner, vivian van Fleteran, 

Script: Fabirce Ziolkowski, Tomm Moore, 

Production Company: Cartoon Saloon. 

Separation Anxiety 1997 / Director: Mark 

Staunton, Producer: Liam O’Neill, Script: 

Shelagh Harcourt, Production Company: 

Paradox Pictures/Dogtown Films. 

Shrooms 2007 / Director: Paddy Breathnach, 

Producers: Robert Walpole, Paddy 

McDonald, Script: Pearse Elliot, Production 

Company: Treasure Entertainment. 

Silent Grace 2001 / Director/Producer/ 

Script: Maeve Murphy, Production 

Company: Follower Productions. 

Small Engine Repair 2007 / Director/Script: 

Niall Heery, Producers: Tristan Orpen Lynch, 

Dominic Wright, Production Company: 


Snakes and Ladders 1994/95 / Director: 

Trish McAdam, Producers: Lilyan Sievernich, 

Chris Sievernich, Script: Trish McAdam, 

Production Company: Livia Film. 

Some Mother’s Son 1996 / Director/ writer: 

Terry George, Producers: Jim Sheridan, 

Arthur Lappin, Ed Burke, Production 

Company: Hell’s Kitchen. 

Song for a Raggy Boy 2003 / Director: 

Aisling Walsh, Producers: Tristan Orpen 

Lynch, Dominic Wright, John McDonnell, 

Kevin Byron Murphy, Script: Aisling Walsh, 

Kevin Byron Murphy, based on book by 

Patrick Galvin, Production Company: 


Spaghetti Slow 1996 / Director: valerio 

Jalongo, Producers: Katy McGuinness, 

Carlos Pasini Hansen, Script: Barry Devlin, 

valerio Jalongo, Lucinda Coxon, Production 

Company: The Good Film Company. 

Speed Dating 2007 / Director/Script: Tony 

Herbert, Producers: John Conroy, Tony 

Herbert, Production Company: System 48. 

Spin the Bottle 2003 / Director: Ian 

FitzGibbon, Producer: Michael Garland, 

Script: Ian FitzGibbon, Michael McElhatton, 

Production Company: Grand Pictures. 

Summer of the Flying Saucer 2008 / 

Director: Martin Duffy, Producers: Ralph 

Christians, Clodagh Freeman, Script: 

Marleinn Thorisson, Production Company: 

Magma Films. 

The Sun, the Moon and the Stars 1996 / 

Director/writer: Geraldine Creed, Producer: 

Brendan McCarthy, Production Company: 

Blue Light. 

Sunset Heights 1998 / Director: Colm villa, 

Producers: Denis Bradley, James Flynn, 

Script: Colm villa, Production Company: 

Northland Films. 

Swansong - The Story of Occi Byrne 2009 

/ Director/Script: Conor McDermottroe, 

Producers: Hermann Florin, Edwina Forkin, 

Tom Maguire, Production Companies: 

Zanzibar Films, Florin Film. 

Sweety Barrett 1998 / writer/Director: 

Stephen Bradley, Producer: Ed Guiney, 


T 

Tara Road 2005 / Director: Gillies 

MacKinnon, Producers: Noel Pearson, Miron 

Blumental, Sarah Radclyffe, Script: Cynthia 

Cidre, Shane Connaughton, Production 

Company: Ferndale Films. 

This is the Sea 1996 / Director/writer: 

Mary McGuckian, Producer: Michael 

Garland, Production Company: Pembridge 

Productions. 

The Tiger’s Tail 2006 / Director/writer: 

John Boorman, Producers: John 

Boorman, Kieran Corrigan, John 

McDonnell, John Buchanan, 

Production Company: Merlin Films. 

Timbuktu 2003 / Director: Alan Gilsenan, 

Producers: Martin Mahon, John McDonnell, 

Emma Scott, Script: Paul Freaney, 

Production Companies: Yellow Asylum 

Films, Fantastic Films, MR Films. 

Tonight is Cancelled 2007 / Director/Script: 

Brendan Grant, Producer: Macdara Kelleher, 

Production Company: Fastnet Films. 

Triage 2009 / Director/Script: Danis Tanovic, 

Producers: Alan Molony, Cedomir Kolar, 

Mark Baschet, Production Companies: 

Parallel Film Productions, ASAP Films, 

Tornasol Films, Freedom Spain.

70 

Trojan Eddie 1996 / Director: Gillies 

MacKinnon, Producers: Seamus Byrne, 

Emma Burge, Script: Billy Roche, Production 

Company: Irish Screen. 

Trouble with Sex 2005 / Director: Fintan 

Connolly, Producer: Fiona Bergin, Script: 

Fintan Connolly, Catriona McGowan, 

Production Company: Fubar. 

u 

ugly Duckling and Me! 2007 / Directors: 

Michael Hegner, Karsten Kiilerich, 

Producers: Ralph Christians, Anders 

Maastrup, Moe Honan, Daina Sacco, Script: 

Mark Hodkinson, Production Companies: 

Magma Films, A Film Futurikon, ulysses. 

v 

vasha 2009 / Director/ Script: Hannu 

Salonen, Producers: Piret Tibbo-Hudgins, 

Philipp Homberg, Jarkko Hentula, Nathalie 

Lichtenthaeler, Production Companies: 

Wide Eye Films, Homberg Film Produktion, 

All Film, Juoni Filmi. 

w 

The wake wood 2009 / Director: David 

Keating, Producers: John McDonnell, 

Brendan McCarthy, Script: Brendan 

McCarthy, Production Companies: 

Fantastic Films, Solid Entertainment. 

when Brendan Met Trudy 2000 / Director: 

Kieron J. Walsh, Producer: Lynda Myles, 

Script: Roddy Doyle, Production Company: 

Deadly Films 2. 

when The Sky Falls 1999 / Director: John 

Mackenzie, Producers: Nigel Warren-Green, 

Michael Wearing, Script: Colum McCann, 

Michael Sheridan, Ronan Gallagher, 

Production Company: Irish Screen. 

wide Open Spaces 2009 / Director: Tom Hall, 

Producers: Paul Donovan, Clare Kerr, Script: 

Arthur Matthews, Production Company: 

Grand Pictures, Mead Kerr. 

The wind That Shakes The Barley 2006 / 

Director: Ken Loach, writer: Paul Laverty, 

Producers: Rebecca O’Brien, Andrew Lowe, 

Production Companies: Sixteen Films, 

Element Films, BIM Distrubuzione, EMC 

Produktion, Tornasol Films. 

words upon the window Pane 1993 / 

Director: Mary McGuckian, Producers: 

Mary McGuckian, Anna J. Devlin, Script: 

Mary McGuckian, Production Company: 

Pembridge Productions. 

y 

you Looking at Me? 2003 / Director/ 

Producer: Margo Harkin, Script: 

Teresa Godfrey, Production Company: 

Besom Productions. 

Z 

Zonad 2008 / Director: John Carney, 

Producers: Ed Guiney, Andrew Lowe, 

John McDonnell, Script: John Carney, 

Kieran Carney, Production Company: 

Element Pictures.

Bord Scannán na hÉireann 

Irish FIlm Board 

Queensgate 

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Galway 

Ireland 

Geata na Banríona 

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Gaillimh 

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T: +353 91 561398 

F: +353 91 561405 

E: info@irishfilmboard.ie 

www.irishfilmboard.ie

AnnuAL REPORT OF BORD SCAnnÁn nA ... - Irish Film Board

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