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

AnnuAl RepoRt/ 

Ráitis AiRgeAdAis 

2010

Foilsithe ag/Published by 

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 

Comhaltaí/Board Members 

James Morris (Chair) 

Johnny Gogan 

Barry Grace 

Lesley McKimm 

Kevin Moriarty 

Tristan Orpen Lynch 

Kirsten Sheridan 

An Príomhfheidhmeannach/Chief Executive 

James Hickey 

Business Affairs/Chúrsaí Ghnó 

Ceannasaí Chúrsaí Gnó/Head of Business Affairs 

Teresa McGrane 

Rialtóir Airgeadais/Financial Controller 

Celine Forde 

Ceannasaí Chursaí Dlí/Head of Legal Affairs 

Mark Byrne 

Feidhmeannach Cúrsaí Tionscail/ 

Industry Affairs Executive 

Patrick O’Neill 

Comhordaitheoir Chúrsaí Gnó agus Dlí/ 

Business and Legal Affairs Co-Ordinator 

Aileen McCauley 

Comhordaitheoir Cúntas/Accounts Co-ordinator 

Suzanne Keane (Part-time) 

Léiriúcháin 7 Forbartha/Production & Development 

Feidhmeannach Léiriúcháin/Production Executives 

Alan Maher, Emma Scott 

Feidhmeannach Forbartha/Development Executive 

Andrew Meehan 

Comhordaitheoir Léiriúcháin agus Forbartha/ 

Production & Development Co-ordinator 

Sarah Dillon 

Comhordaitheoir Iarratas agus Scéimeanna/ 

Applications & Schemes Co-ordinator 

Jill McGregor 

Margaíochta/Marketing 

Feidhmeannach Margaíochta agus Cumarsáide/ 

Marketing and Communications Executive 

Louise Ryan 

Coimisiún Scannán na hÉireann/Irish Film Commission 

Coimisinéir Scannán/Film Commissioner 

Naoise Barry 

Leas-Coimisinéir Scannán/Deputy Film Commissioner 

Mags O’Sullivan 

Riarachán/Administration 

Cúntóir Pearsanta ag an bPríomhoifigeach 

Feidhmiúcháin/PA to CEO 

Niamh O’Reilly 

COnTEnTS/ÁBHAIR 

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 2010 ...................................... 15 

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

APPEnDICES 

1. CAPITAL COMMITMENTS 2010 ................................................................................ 26 

2. OuTSTANDING COMMITMENTS 2010 ..................................................................... 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 2010 ......................................................... 44 

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

AGuISíní 

1. TIOMANTAIS CHAIPITIL 2010................................................................................... 55 

2. TIOMANTAIS GAN íOC 2010 ..................................................................................... 58 

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

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

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

FEATuRE FILMS/FADSCAnnÁIn 1993 - 2010 ......................................... 66 

01

02 

THE GIARD 

PREAMBLE 

InTRODuCTIOn / HIGHLIGHTS 

In 2010 the Irish film and television sector had a record year in 

terms of production output contributing €225 million into the 

Irish economy, in terms of creating jobs and spend on local 

goods and services. This figure was an increase from €157.2 

million in 2009. 

Throughout the year the Irish film industry continued to build 

on its excellent international reputation garnering significant 

recognition and acclaim as new Irish features were selected 

for major international festivals and Irish talent picked up 

awards and received nominations for some of the industry’s 

highest accolades. 

Highlights include the Irish film industry receiving five 

Academy Award® nominations, three of which for the IFB 

supported films The Secret of Kells, Granny O’Grimm’s Sleeping 

Beauty and The Door while Irish animator Richard Baneham 

and his team picked up the Oscar for Best visual Effects for his 

work on Avatar. 

Other highlights include All Good Children being selected 

for the prestigious Directors Fortnight at Cannes, His & 

Hers picking up a prize for Excellence in Cinematography 

at Sundance and Irish films being selected for some of the 

world’s most renowned festivals including Toronto, Tribeca, 

SXSW, Karlovy vary, Edinburgh, Clermont Ferrand, Annecy, 

Hot Docs and London. These selections, nominations and 

awards reinforce Ireland as a centre of cultural excellence 

with a reputation for both creativity and professionalism on 

the world stage. 

It was also a record year also in terms of cinema releases, as 

a number of indigenous Irish films reached Irish audiences in 

2010 including four feature length documentaries. His & Hers 

was especially successful receiving critical acclaim and having 

an extended Irish cinema release due to popular demand and 

topping the Irish DvD charts. 

FunDInG 

Government funding, provided directly to the sector through 

Bord Scannán na hÉireann/the Irish Film Board (IFB) is a key 

component of the entire audiovisual content industry. 

In 2010 the IFB received a total of €19.3 million of government 

funding. This funding, together with the improved Irish tax 

incentive for film and television production Section 481, 

allowed 13 Irish features,1 Irish language Tv series, 6 creative 

co-productions, 6 animated projects and 17 documentaries 

with theatrical ambitions to go into production in the year. 

InTERnATIOnAL PRODuCTIOn 

2010 proved to be one of the strongest years for incoming 

international film and television productions Ireland has 

experienced having attracted numerous big budget feature 

films, television series and television movies. 

The year got off to a great start when the major feature film 

Haywire, directed by Hollywood legend Steven Soderberg and 

starring Ewan McGregor and Michael Fassbender filmed 

in Ireland. With an Irish budget of €3.1 million, it shot in 

numerous locations around Dublin and Wicklow. 

THE RuNWAY 

REAMHRÁ 

RÉAMHRÁ / BuAICPHOInTí 

Bliain thar na bearta a bhí ag earnáil na scannán agus na teilifíse 

in Éirinn i 2010 ó thaobh aschuir táirgíochta de, bliain inar chuir 

an earnáil €225 milliún isteach i ngeilleagar na tíre, agus ó thaobh 

poist a chruthú agus caiteachas ar earraí agus ar sheirbhísí áitiúla 

de. Ba mhéadú an figiúr sin ó fhigiúr de €157 milliún sa bhliain 

2009. 

Lean tionscal na scannán in Éirinn ar aghaidh i gcaitheamh na 

bliana ag tógáil ar an gclú idirnáisiúnta atá aige atá ar fheabhas 

i gcónaí agus ghnóthaigh sé aitheantas agus moladh suntasach 

de réir mar a roghnaíodh príomhscannáin nua Éireannacha do 

mhórfhéiltí idirnáisiúnta agus de réir mar a ghnóthaigh talann 

Éireannach duaiseanna agus ainmniúcháin do chuid de na hacailídí 

is mó atá ar fáil sa dtionscal. 

I measc na mbuaicphointí bhí na cúig ainmniúcháin a fuair tionscal 

na scannán in Éirinn do Dhuaiseanna an Acadaimh®, trí chin 

acu do scannáin a fuair tacaíocht ó BSÉ / IFB, The Secret of Kells, 

Granny O’Grimm’s Sleeping Beauty and The Door agus an Oscar 

a bhuaigh Richard Baneham agus a fhoireann i gcomhair na 

Maisíochtaí Físiúla is Fearr dá shaothar ar an scannán Avatar. 

Bliain thar na bearta a bhí ann freisin ó thaobh eisiúintí cineama 

de, mar gur shroich líon áirithe scannán dúchasacha lucht 

féachana in Éirinn le linn 2010 ina measc ceithre scannán faisnéise 

ar fhad phríomhscannáin. D’éirigh go han-mhaith go háirithe le 

His & Hers a fuair ard-mholadh ó na léirmheastóirí agus a fuair 

eisiúint shínte cineama in Éirinn de bharr éileamh an phobail agus 

a bhain amach bharr na gcairteanna DvD in Éirinn. 

MAOInIÚ 

Tá maoiniú ón Rialtas, a sholáthraítear go díreach don earnáil 

trí Bhord Scannán na hÉireann/the Irish Film Board (IFB) ina 

phríomhchuid den dtionscal lánas closamhairc ar fad. 

Sa bhliain 2010 fuair an BSÉ/IFB iomlán de €19.3 milliún de 

mhaoiniú ón Rialtas. De bharr an maoiniúcháin sin, mar aon 

leis an an spreagadh cánach in Éirinn le haghaidh léiriúchán 

scannán agus teilifíse, Alt 481, cuireadh tús léiriúcháin le 

13 phríomhscannán, sraith teilifíse amháin i nGaeilge, 6 

chomhléiriúchán chruthaitheach, 6 thionscadal beochana 

agus 17 scannán faisnéise i rith na bliana. 

LÉIRIÚCHÁIn IDIRnÁISIÚnTA 

I measc na mbuaicphointí eile tá roghnú All Good Children don 

ócáid ghradamúil sin Coicíos na Stiúrthóirí ag Cannes, an duais 

a bhuaigh His & Hers ar son Feabhais sa Cineamatagrafaíocht ag Bhí 2010 ar cheann de na blianta ba láidre I dtaithí na hÉireann ó 

Sundance agus roghnú scannán Éireannacha do chuid de na féiltí thaobh léiriúcháin scannán agus teilifíse ag teacht isteach de mar 

is clúití ar domhan ina measc Toronto, Tribeca, SXSW, Karlovy vary, thoradh ar mhealladh isteach líon mór príomhscannán ar bhuiséid 

Dún Éideann, Clermont Ferrand, Annecy, Hot Docs agus Londain. mhóra, sraitheanna teilifíse agus scannáin teilifíse. 

Neartaíonn na roghnúcháin, na hainmniúcháin agus na duaiseanna 

sin seasamh na hÉireann mar lárionad feabhais chultúrtha agus Cuireadh tús den scoth leis an mbliain nuair a rinneadh an 

cuireann said lena cáil ó thaobh na cruthaitheachta agus ó thaobh scannánaíocht in Éirinn ar an mórphríomhscannán Haywire, 

na proifisiúntachta de ar stáitse an domhain. 

a raibh laoch Hollywood, Steven Soderberg, ina stiúrthóir air 

03

04 

A KISS FOR JED WOOD 

Big-budget period dramas made in Ireland included the 

television series Camelot starring Joseph Fiennes, Eva Green 

and Claire Forlani which filmed for 22 weeks in Ardmore with an 

Irish spend of €25.5 million and Game Of Thrones for which all 

the post production was completed in Ireland. 

Other series, television movies and mini-series to film in Ireland 

included Neverland (Sky Movies & SyFy) starring Rhys Ifans, Bob 

Hoskins and Anna Friel, Sinbad (Sky 1), Treasure Island (Sky 1 & 

ABC) starring Eddie Izzard and the hugely popular Primeval (ITv 

1, ProSieben, uKTv and BBC Americas) which had an estimated 

Irish budget of €12.3 million and filmed for 30 weeks in Dublin 

and Wicklow. 

Other international projects which filmed in and around the 

Dublin region were Paolo Sorrentino’s feature film This Must Be 

The Place which stars Sean Penn and Frances McDormand and 

Rodrigo Garcia’s Albert Nobbs, which was produced by and stars 

Glenn Close and had an Irish spend of €4.4 million. 

The upturn in incoming international production is due in large 

part to the improvements made to the Section 481 tax incentive 

in 2009 which increased Ireland’s competitive position as an 

international film and television destination. 

Attracting such major international productions provides 

an economic boost to Ireland with increased international 

investment in the economy and increased employment across a 

huge variety of sectors. Other positive spin-off effects of these 

productions are promoting Ireland as a tourist location and the 

improvement of Ireland as an industrial location for all aspects 

of creative endeavors. 

PROMOTIOn AnD IFB TRAInInG InITIATIvES 

2010 saw the IFB promoting Irish film industry and Irish creative 

talent at international festivals such as Clermont Ferrand, 

Berlin, and Cannes. An Irish delegation attended the Producers 

Guild of America’s ‘Produced By’ conference in LA. The IFB 

along with Culture Ireland and the IFI coordinated a special 

programme of Irish film for two of the biggest film festivals in 

China. Meanwhile the second Give Me Direction screenwriting 

conference and the Real Deal at the Galway Film Fleadh were an 

opportunity for the IFB to engage with the Irish film industry. 

LA Trade Mission and the Producers Guild of America 

‘Produced By’ Conference 

The IFB and a delegation of Irish producers travelled to Los 

Angeles to meet uS producers and attend the second annual 

‘Produced By’ conference, hosted by the Producers Guild of 

America at Fox Studios. The IFB took at booth at the conference, 

under the ‘Ireland on Screen’ banner where IFB staff and Irish 

producers promoted the section 481 tax incentive and Ireland as 

a film location. The aim of the Irish presence at the conference 

was to take advantage of the opportunity to meet with 

international producers and broadcasters and reinforce Ireland’s 

profile as a destination for film and television production 

ultimately attracting inward investment to Ireland. 

Special Irish Programme at the Shanghai International 

Film Festival and the Beijing International Movie Festival 

A special programme of contemporary and retrospective 

Irish features and short films was coordinated to screen 

at the Shanghai International Film Festival and the Beijing 

International Movie Festival. The programme was presented 

in association with the IFB and the IFI’s Reel Ireland and was 

supported by Culture Ireland. 

THE LOOKING GLASS 

agus ina raibh Ewan McGregor agus Michael Fassbender mar 

phríomhaisteoirí. Bhí buiséad Éireannach de €3.1 milliún ag an 

scannán agus rinneadh scannánaíocht i líon mór suíomhanna 

thart ar Bhaile átha Cliath agus ar Chill Mhantáin. 

I measc na ndrámaí mórbhuiséad stairiúla a rinneadh in Éirinn 

bhí na sraitheanna teilifíse Camelot ina raibh Joseph Fiennes, Eva 

Green agus Claire Forlani mar phríomhaisteoirí agus a rinneadh 

22 seachtain scannánaíochta uirthi i stiúideonna an Aird Mhóir 

agus a raibh caiteachas in Éirinn de €25.5 milliún uirthi agus 

Game Of Thrones a rinneadh an t-iarléiriú ar fad uirthi in Éirinn. 

I measc na sraitheanna, scannáin teilifíse agus mion-sraitheanna 

a rinneadh scannánaíocht orthu in Éirinn bhí Neverland (Sky 

Movies & SyFy) ina raibh Rhys Ifans, Bob Hoskins agus Anna Friel 

marc phríomhaisteoirí, Sinbad (Sky 1), Treasure Island (Sky 1 & 

ABC) a raibh Eddie Izzard sa phríomhpháirt ann, agus scannán a 

raibh an-éileamh air - Primeval (ITv 1, ProSieben, uKTv agus BBC 

Americas) a raibh buiséad measta in Éirinn de €12.3 milliún aige 

agus a rinneadh scannánaíocht air ar feadh 30 seachtain i mBaile 

átha Cliath agus i gCill Mhantáin. 

I measc na dtionscadal idirnáisiúnta eile ar rinneadh 

scannánaíocht orthu i gceantar Bhaile átha Cliath agus máguaird 

bhí an príomhscannán de chuid Paolo Sorrentini - This Must Be 

The Place - ina raibh Sean Penn agus Frances McDormand sna 

príomhpháirteanna agus Albert Nobbs le Rodrigo Garcia, a léirigh 

Glenn Close agus í féin ina príomhaisteoir ann agus a raibh 

caiteachas in Éirinn de €4.4 milliún aige. 

Tharla an cor chun feabhais sin i gcúrsaí léiriúchán idirnáisiúnta 

a thagann isteach sa tír go mórmhór de bharr na bhfeabhsuithe 

a rinneadh I 2009 ar an ndreasacht cánach de réir Ailt 481 a chuir 

le seasamh iomaíoch na hÉireann mar shuíomh cheann scríbe 

scannánaíochta agus scannáníocht teilifíse. 

Nuair a mhealltar mórléiriúcháin idirnáisiúnta den chineál 

sin neartaíonn sé an tír seo leis an infheistíocht mhéadaithe i 

ngeilleagar na hÉireann agus méadú sa bhfostaíocht ar fud an 

iliomad earnálacha. I measc na n-iarmhairtí dearfacha eile a 

bhaineann leis na léiriúcháin sin tá cur chun cinn na hÉireann 

mar láthair turasóireachta agus feabhsú na hÉireann mar 

shuíomh tionsclaíoch do dhíchill chruthaitheacha de gach cineál. 

TIOnSCnAIMH CuR CHun CInn AGuS 

OILIÚnA BSÉ/IFB 

Le linn 2010 leanBSÉ/IFB ar aghaidh ag cur tionscal na scannán 

in Éirinn agus talann cruthaitheach Éireannach chun cinn ag 

féiltí idirnáisiúnta ar nós Clermont Ferrand, Berlin agus Cannes. 

D’fhreastal toscaireacht Éireannach ar an gcomhdháil ‘Produced 

By’ a bhí eagraithe ag an Producers Guild of America i Los 

Angeles. Rinne BSÉ/IFB i dteannta Culture Ireland agus an IFI 

comhordú ar chlár speisialta scannán Éireannach le haghaidh 

dhá cheann de na féiltí scannán is mó sa tSín. Bhí deis chomh 

maith ag an IFB dul I dteagmháil le tionscal na scannán in Éirinn 

ag an dara chomhdháil scríbhneoireacht scáileáin ‘Give Me 

Direction’ agus ag an ‘Real Deal’ ag Fleadh Scannán na Gaillimhe. 

Misean Trádála chuig LA agus an Chomhdháil ‘Produced 

By’ de chuid an Producers Guild of America 

Thug BSÉ/IFB agus toscaireacht léiritheoirí Éireannacha cuairt ar 

Los Angeles chun bualadh le léiritheoirí ó na Stáit Aontaithe agus 

chun freastal ar an dara chomhdháil ‘Produced By’ ag a raibh 

an Producers Guild of America mar óstaigh agus a tionóladh ag 

Stiúideonna Fox. Thóg BSÉ/IFB both ag an gcomhdháil, faoi bhrat 

‘Ireland on Screen’ áit a raibh an dreasacht cánach, Alt 481, agus 

Éire mar shuíomh scannánaíochta á gcur chun cinn ag foireann 

BSÉ/IFB agus ag léiritheoirí Éireannacha. Bhí sé mar aidhm ag na 

hÉireannaigh a bhí i láthair a deis a thapú le bualadh le léiritheoirí 

agus le craoltóirí idirnáisiúnta agus próifíl na hÉireann a neartú 

mar cheann scríbe chun scannáin agus cláir teilifíse a léiriú. 

Clár Speisialta Éireannach ag Féile Idirnáisiúnta Scannán 

Shanghai agus ag Féile Idirnáisiúnta Scannán Beijing 

Comhordaíodh clár speisialta príomhscannán agus gearrscannán 

comhaimseartha agus siarghabhálach le taispeáint ag Féile 

05

06 

ALL GOOD CHILDREN 

An Irish contingent of directors, producers and talent travelled to 

Asia where both Zonad and Ondine were nominated for the Golden 

Goblet Awards (the Asian equivalent to the Oscars) at Shanghai. 

The inclusion of a programme of Irish film at these two major 

Chinese film festivals was a huge opportunity to spotlight Irish 

talent and raise Irelands profile in China encouraging enterprise, 

trade and investment. 

Give Me Direction 

The 2nd Give Me Direction script writing conference took place in 

Dublin which focused, through a mix of public interviews, informal 

discussions, sessions and screenings, on the expansive topic of 

comedy in filmmaking. 

Curated by Lenny Abrahamson, Sharon Horgan and Pat McCabe, 

international guests included Bobby Farrelly (Kingpin, There’s 

Something About Mary), Nicole Holofcener (Please Give, Friends 

With Money) and Sam Bain and Jesse Armstrong (Peep Show, Four 

Lions). It was a great opportunity to engage with Irish writers and 

champion original writing for the screen. 

Real Deal 

The Real Deal took place once again during the Galway Film 

Fleadh and focused on content with producers taking part in a 

round table discussion in the morning about what works for them 

in terms of the films they make and how it compares to what works 

in the market. The afternoon focused on content of animated films 

with a masterclass with Pixar’s Lee ulrich and Darla Anderson 

who have worked on features such as Toy Story 3, A Bugs Life and 

Monsters Inc. It was a chance to talk about the more creative side 

of the business and the thought process behind choosing projects. 

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 2010 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 

THE FADING LIGHT 

Idirnáisiúnta Scannán Shanghai agus ag Féile Idirnáisiúnta 

Scannán Beijing. Cuireadh an clár i lathair i gcomhpháirt le BSÉ/ 

IFB agus Reel Ireland de chuid an IFI agus fuair sé tacaíocht ó 

Culture Ireland. 

Thug meitheal stiúrthóirí, léiritheoirí agus talann as Éirinn 

cuairt ar an áis áit ar ainmníodh Zonad agus Ondine le haghaidh 

Gradam Golden Goblet (coibhéis na háise ar na gradaim Oscar) 

i Shanghai. Deis ríthábhachtach chun aird a dhíriú ar thalann 

Éireannach agus le próifíl na hÉireann a neartú sa tSín agus 

chun fiontar, trádáil agus infheistíocht a spreagadh ab ea clár 

scannán as Éirinn a chur isteach sa dá mhórfhéile scannán sin 

sa tSín. 

Give Me Direction 

Tionóladh an dara chomhdháil scríbhneoireacht scripte ‘Give 

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

mheascán d’agallaimh poiblí, comhphlé neamhfhoirmeálta, 

seisiúin agus taispeántais, ar an ábhar fairsing sin, an greann sa 

scannánaíocht. 

Lenny Abrahamson, Sharon Horgan agus Pat McCabe a bhí i 

mbun coimeádaíochta agus i measc na n-aíonna idirnáisiúnta 

bhí Bobby Farrelly (Kingpin, There’s Something About Mary), 

Nicole Holofcener (Please Give, Friends With Money) agus Sam 

Bain agus Jesse Armstrong (Peep Show, Four Lions). Deis 

iontach a bhí ann chun teagmháil a dhéanamh le scríbhneoirí 

Éireannacha agus le scríbhneoireacht urnua don scáileán a chur 

chun cinn. 

Real Deal 

Tionóladh an chomhdháil ‘Real Deal’ arís le linn Fleadh Scannán 

na Gaillimhe agus dhírigh sé ar chúrsaí lánais. Ghlac léiritheoirí 

páirt i gcomhphlé comhchéime i rith na maidine mar gheall 

ar na nithe a n-éiríonn leo dóibh siúd ó thaobh na scannán a 

dhéanann siad agus an chaoi gur féidir comparáid a dhéanamh 

idir an méid sin agus na nithe a n-éiríonn leo sa mhargadh. 

Dhírigh seisiúin an tráthnóna ar lánas scannán beochana agus 

tionóladh máistir-rang le Lee ulrich agus Darla Anderson ó 

Pixar a bhfuil obair déanta acu ar phríomhscannáin ar nós Toy 

Story 3, A Bugs Life agus Monsters Inc. Deis a bhí ann labhairt 

faoin dtaobh cruthaitheach den ghnó agus faoin bpróiséas 

smaointeoireachta atá taobh thiar de thionscadail a roghnú. 

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 

AS IF I WAS NOT THERE 

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 2010 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 2010 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; Niamh O’Reilly, Executive Assistant to CEO; Suzanne 

Keane, Accounts Co-ordinator (Part-time) and Aileen McCauley, 

Administrative Assistant. 

MEETInGS 

The Board held 9 meetings in 2010. 

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. 

SOME OTHER STORIES 

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 

BETWEEN THE CANALS 

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 €15,091,300 in feature development 

and production loans during 2010. In the same period, the Board 

recouped €738,198. This figure brings to 10% 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 2010, the Board made available €387,348 to FáS Screen 

Training Ireland for the direct provision of Industry Training. 

COnTRIBuTIOn TO EuROPEAn AGEnCIES 

BSÉ/IFB contributes financial support to the following 

European 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 2010. The 

Board paid Ireland’s subscription in 2010, which was €307,420. 

European Film Promotion 

European Film Promotion (EFP) is the only existing international 

network of organisations promoting and marketing European 

cinema worldwide. The network comprises professional 

organisations from 32 European countries who are experts in 

promoting and marketing their own national cinema. under the 

EFP umbrella, all of these organisations work together on the 

promotion of European cinema and talent around the world. The 

Board contributed €9,030 to EFP in 2010. 

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 €20,575 in 2010. 

MEDIA Desk Ireland 

MEDIA Desk Ireland provides information and advice on the 

MEDIA Programme, Eurimages, Eureka Audiovisual and also on 

Eu audiovisual policy. In 2010, the Board contributed €57,000 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 2010 the Board contributed €12,200 to the running costs of 

the Antenna. 

SNAP 

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 

28 November 2011 

11

12 

CIRCuS FANTASTICuS 

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 2010 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 2010. 

On behalf of the Board 

________________________ 

James Morris 

Chair 

GARTH AND BEv 

REPORT OF THE COMPTROLLER AnD 

AuDITOR GEnERAL FOR PRESEnTATIOn TO 

THE HOuSES OF THE OIREACHTAS 

Bord Scannán na hÉireann/the Irish Film Board 

I have audited the financial statements of the Irish Film Board 

for the year ended 31 December 2010 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 Losses, the Balance 

Sheet, the Cash Flow Statement and the related notes. The 

financial reporting framework that has been applied in their 

preparation is applicable law and Generally Accepted Accounting 

Practice in Ireland. 

Responsibilities of the Members of the Board 

The Irish Film Board is responsible for the preparation of the 

financial statements, for ensuring that they give a true and fair 

view of the state of the Board’s affairs and of its income and 

expenditure, and for ensuring the regularity of transactions. 

Responsibilities of the Comptroller and Auditor General 

My responsibility is to audit the financial statements and report 

on them in accordance with applicable law. 

My audit is conducted by reference to the special considerations 

which attach to State Bodies in relation to their management and 

operation. 

My audit is carried out in accordance with the International 

Standards on Auditing (uK and Ireland) and in compliance with 

the Auditing Practices Board’s Ethical Standards for Auditors. 

Scope of Audit of the Financial Statements 

An audit involves obtaining evidence about the amounts and 

disclosures in the financial statements, sufficient to give 

reasonable assurance that the financial statements are free from 

material misstatement, whether caused by fraud or error. This 

includes an assessment of: 

• Whether the accounting policies are appropriate to the 

Board’s circumstances, and have been consistently applied 

and adequately disclosed 

• The reasonableness of significant accounting estimates 

made in preparation for the financial statements 

• The overall presentation of the financial statements 

I also seek to obtain evidence about the regularity of financial 

transactions in the course of the audit. 

In addition, I read all the financial and non-financial information 

in the Annual Report to identifiy material inconsistencies with the 

audited financial statements. If I become aware of any apparent 

material misstatements or inconsistencies I consider the 

implications for my report. 

Opinion on the Financial Statements 

In my opinion, the financial statements, which have been properly 

prepared in accordance wiith the Generally Accepted Accounting 

Practice in Ireland, give a true and fair view of the state of the 

Board’s affairs at 31 December 2010 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. 

Matters on which I report by exception 

I report by exception if: 

• I have not received all the information and explanations 

I required for my audit, or 

• My audit noted any material instance where moneys have 

not been applied for the purposes intended or where the 

transations did not conform to the authorities governing 

them, or 

• the information given in the Board’s Annual Report for the 

year for which the financial statements are prepared is not 

consistent with the financial statements, or 

• the statement of Internal FInancial Control does not reflect 

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

Governance of State Bodies, or 

• I find there are other material matters relating to the manner 

in which public business has been conducted 

I have nothing to report in regard to those matters upon which 

reporting is by exception. 

________________________ 

Andrew Harkness 

For and on behalf of the Comptroller and Auditor General 


13

14 

BuRMA BETRAYAL 

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 straightline 

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. 

G. Foreign Exchange Policy 

Transactions denominated in foreign currencies are translated to 

the respective functional currencies at exchange rates at the dates 

of the transactions. Monetary assets and liabilities denominated 

in foreign currencies at the reporting date are translated to the 

functional currency at the exchange rate at that date. Any gain or 

loss arising from a change in exchange rates subsequent to the 

date of the transaction is included as an exchange gain or loss in 

the Income Statement. 

CRACKS 

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

yEAR EnDED 31 DECEMBER 2010 

Capital Income and Expenditure Account 

Year ended 31 December 2010 

notes 2010 2009 

Income I I 

Oireachtas Grants 1 16,500,000 18,817,000 

Contributions from other parties 161,175 152,350 

Other Income 72,689 72,428 

Repayment of Loans transferred from Capital Reserve 3 738,198 1,380,377 

Total 17,472,062 20,422,155 

Expenditure 

Screen Training Ireland (387,348 ) (532,000 ) 

Production Loans 14 (13,385,800 ) (15,101,659 ) 

Development Loans 14 (1,705,500 ) (2,201,585 ) 

Other Capital Payments 4 (1,046,681 ) (1,271,028 ) 

Total (16,525,329 ) (19,106,272 ) 

Surplus/ (Deficit) 946,733 1,315,883 

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

Balance at end of year 5,311,332 4,364,599 

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




15

16 

FAIRYCATCHER 

Administration Income and Expenditure Account 


notes 2010 2009 

Income I I 

Oireachtas Grant 1 2,729,953 2,975,926 

Other Income 17,144 45 

Net Deferred Funding for Pension Costs 10c 351,461 346,494 

Transfer (to)/from Capital Reserve 13 58,031 74,650 

Total 3,156,589 3,397,115 

Expenditure 

Administration 5 1,973,034 2,074,400 

Organisations, Subscriptions and Research 7 218,316 194,905 

Marketing Costs 8 636,058 619,715 

Education 6,932 196,253 

Pension Costs 10a 309,414 299,420 

Total 3,143,754 3,384,693 

SuRPLuS/DEFICIT 12,835 12,422 

Balance at Beginning of Year (6,202) (18,624 ) 

Balance at end of year 6,633 (6,202 ) 





Statement of Total Recognised Gains and Losses 


notes 2010 2009 

Surplus for the year I I 

Administration Account 12,835 12,422 

Capital Account 946,733 1,315,883 

Total 959,568 1,328,305 

Experience Gains on Pension Scheme Liabilities 10d 320,044 90,900 

Changes in Assumptions underlying the Present value of the Pension Scheme Liabilities (154,384 ) 162,302 

Actuarial gain/(loss) on pension liabilities 10b 165,660 253,202 

Adjustment to Deferred Pension Funding (165,660 ) (253,202 ) 

Total recognised gain for the year 959,568 1,328,305 





MISS REMARKABLE & HER CAREER 

Balance Sheet 


notes 2010 2009 

Fixed Assets I I 

Tangible Assets 11 85,328 143,359 

Investment in Films 

Production Loans 3 1,046,797 1,207,134 

Development Loans 3 128,891 150,380 

1,175,688 1,357,514 

Current Assets 

Cash at Bank 6,232,600 4,556,381 

Prepayments/Debtors/Accrued Income 352,718 129,888 

Creditors 

6,585,318 4,686,269 

Amounts Falling Due within One year 12 (1,267,352 ) (327,871 ) 

nET CuRREnT ASSETS 5,317,966 4,358,398 

Total Assets Less Current Liabilities Before Pensions 6,578,982 5,859,271 

Deferred Pension Funding Asset 2,188,000 2,002,199 

Pension Liabilities (2,188,000 ) (2,002,199 ) 

net Assets 6,578,982 5,859,271 

Capital and Reserves 

Capital Account 5,311,332 4,364,599 

Administration Account 6,633 (6,202 ) 

Capital Reserve 13 1,261,017 1,500,874 

Total 6,578,982 5,859,271 





17

18 

LITTLE MATADOR 

Cash Flow Statement 


2010 2009 

I I 

Surplus/(Deficit) on Capital Account 946,733 1,315,883 

Surplus/(Deficit) on Administration Account 12,835 12,422 

959,568 1,328,305 

Adjustment for non-operating items 

Bank interest (72,689 ) (72,428 ) 

Transfer to/(from) Administration Income and Expenditure Account (58,031 ) (74,650 ) 

(130,720 ) (147,078 ) 

Adjustment for non-cash items 

Depreciation 86,848 96,180 

(Increase)/Decrease in Debtors (222,830 ) 253,340 

Increase/(Decrease) in Creditors 939,481 (268,919 ) 

net cash inflow from Operating activities 1,632,347 1,261,828 

Cash Flow Statement 

Net cash inflow from Operating activities 1,632,347 1,261,828 

Bank interest 72,689 72,428 

Payments to acquire assets (28,817 ) (21,529 ) 

Inflow 1,676,219 1,312,727 

Reconciliation of net Cash Flow to Movement in net Funds 

Increase in Cash in Period 1,676,219 1,312,727 

Cash at 1 January 2010 4,556,381 3,243,654 

net Funds at 31 December 2010 6,232,600 4,556,381 





FIvE MINuTES OF HEAvEN 

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. 

2010 2009 

Current Purposes I I 

Irish Film Board 2,772,000 3,023,000 

Less Pension Contributions (42,047 ) (47,074 ) 

Total 2,729,953 2,975,926 

Capital purposes 

Investment in Film 16,500,000 18,817,000 

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 2010, an amount of €188,727,393 had been provided (At 31/12/2009, 

€174,780,208 had been provided). 

3. Investment in Films 

Production Development 

notes Loans Loans TOTAL 

I I I 

Advanced during the year 13,385,800 1,705,500 15,091,300 

Recoupment during the year (604,682 ) (133,516 ) (738,198 ) 

Provision for year (12,941,455 ) (1,593,473 ) (14,534,928 ) 

Movement in the Year 13 (160,337 ) (21,489 ) (181,826 ) 

Balance at 1 January 2010 1,207,134 150,380 1,357,514 

Balance as at 31/12/10 1,046,797 128,891 1,175,688 

19

20 

ALIBI THE TREMBLING vEIL OF BONES 

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. 

2010 2009 

European Organisations I I 

Eurimages 307,420 291,669 

European Film Promotion 9,030 9,905 

European Observatory 20,575 19,737 

Media Antenna 12,200 12,200 

Media Desk 57,000 57,011 

Industry Guilds 

Irish Playwrights and Screenwriters Guild 81,000 80,000 

Screen Directors Guild 83,000 80,000 

Film Market/Industry Event Support 

Dublin International Film Festival 30,000 30,000 

Galway Film Fair 40,000 40,000 

Guth Gafa Film Festival 10,000 10,000 

Stranger Than Fiction 10,000 5,500 

Cinemagic 5,950 - 

Darklight Film Festival 12,000 - 

Dingle Film Festival 5,000 5,000 

European Film Market Support 39,835 7,000 

Other 1,398 6,576 

Others 

Cinemobile 60,000 60,000 

IFTA 120,000 140,000 

Other Training 52,716 48,711 

Scouting/Travel Grants 35,385 50,277 

Scriptreaders 54,172 62,442 

Solas Picture Palace - 255,000 

Total 1,046,681 1,271,028 

5. Administration 

2010 2009 

I I 

Administration Salaries 983,021 1,038,238 

Board Member Fees 44,888 47,250 

Staff Training 10,341 13,332 

Rent and Service Charges 278,146 285,897 

Insurance 8,190 7,579 

Light / Heat 17,336 18,432 

Telephone / Fax 59,589 67,436 

Postage / Couriers 24,500 25,705 

Office Stationery/Printing 21,551 10,266 

Repairs/Maintenance 37,727 63,583 

Staff Travel / Subsistence 158,110 155,180 

Bank Interest and Charges 1,506 2,082 

Board Meetings and Expenses 10,463 6,839 

Legal Fees 4,447 - 

Audit Fees 14,852 14,852 

Sundry 11,615 14,816 

Depreciation 86,848 96,180 

Consultancy 143,906 201,818 

Recruitment Costs 55,998 - 

Database Development - 2,316 

Foreign Exchange Loss - 2,599 

Total 1,973,034 2,074,400 

6. Board Remuneration and Employees 

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

2010 2009 

Number Number 

Chief Executive 1 1 

Employees 15 15 

The CEO’s remuneration package for 2010 was made up as follows: Annual basic salary: €110,844 (2009: €120,382). The CEO’s pension 

entitlements do not extend beyond the standard entitlements in the public sector defined benefit superannuation scheme. Expenses 

of €48,153 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 77 days abroad on official business in 2010 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 €58,856 were paid to the Department of Culture, Tourism and Sport in 2010. 

The Chairman’s fee was €8,978 and each of the six board members received €5,978. Expenses paid to board members in the year amounted 

to €9,330. €4,358 related to foreign travel while €4,972.46 related to Irish expenses including hotels, travel costs and subsistence. 

7. Organisations, Subscriptions and Research 

2010 2009 

I I 

IBEC 12,434 13,925 

Subscriptions to Publications 5,415 7,211 

Screen Producers Ireland 50,000 - 

Irish Film Archive 104,000 104,000 

LA Events 46,467 49,769 

Cinema Northwest - 20,000 

Total 218,316 194,905 

8. Marketing 

2010 2009 

I I 

Festival Promotion 145,568 154,644 

Advertising 59,663 53,777 

Events/PR 83,302 67,625 

Publications 29,932 30,060 

Marketing Materials 24,532 64,544 

Web Site /Online Promotion 15,209 38,252 

Locations Services 18,242 11,908 

Overseas Marketing 76,422 31,258 

LA Office* 183,188 167,647 

Total 636,058 619,715 

* This represents staff costs of €134,115 and overhead costs of €49,072. (In 2009, staff costs were €139,349 with overhead costs of €28,296). 

21

22 

PYJAMA GIRLS 

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 

2010 2009 2008 2007 

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

Current service cost 266,270 271,079 188,129 208,460 

Interest on Pension Scheme Liabilities 85,191 75,415 62,121 57,859 

Employee Contributions (42,047 ) (47,074 ) (44,591 ) (43,826) 

Total 309,414 299,420 205,659 222,493 

2010 2009 2008 2007 

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

Net Pension Liability at 1 January 2,002,199 1,908,907 1,330,100 1,181,523 

Current Service Cost 266,270 271,079 188,129 208,460 

Interest Cost 85,191 75,415 62,121 57,859 

Actuarial Loss/(gains) (165,660 ) (253,202 ) 328,557 (117,742 ) 

net Pension Liability at 31 December 2,188,000 2,002,199 1,908,907 1,330,100 

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 backing for the establishment of the 

pension scheme, and the policy and practice 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: 

2010 2009 

I I 

Funding Recoverable in Respect of Current Year Pension Costs 351,461 346,494 

State Grant Applied to Pay Pensioners - - 

Total 351,461 346,494 

The deferred funding asset for pensions as at 31 December 2010 amounted to €2,188,000 (€2,002,199 in 2009) 

2010 2009 2008 2007 

d. History of defined benefit obligations I I I I 

Defined Benefit Obligations 2,188,000 2,002,199 1,908,907 1,330,100 

Experience (gains)/losses on Scheme Liabilities Amount (320,044 ) (90,900 ) 53,735 (18,546 ) 

Percentage of Scheme Liabilities -15% -5% 3% -1% 

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 FRS 17 (Revised) Disclosures has been based on a full actuarial valuation at each date performed by an independent 

qualified actuary to take account of the requirements of FRS 17 in order to assess the scheme liabilities at 31 December 2010. 

HAPPY EvER AFTERS 

The Principal Actuarial Assumptions were as follows: 

31/12/2010 31/12/2009 31/12/2008 31/12/2007 

Rate of increase in salaries 3.50% 3.50% 3.50% 4.00% 

Rate of increase in pension payment 3.50% 3.50% 3.50% 4.00% 

Discount Rate 4.00% 4.30% 4.00% 4.75% 

Inflation 2.00% 2.00% 2.00% 2.50% 

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 21.8 years 

Life Expectancy for Female aged 65 23.4 years 

Life Expectancy for Male aged 45 Now (from 65) 24.1 years 

Life Expectancy for Female aged 45 Now (from 65) 25.5 years 

11. Tangible Fixed Assets 

Furniture Computers Total 

Cost I I I 

At 1 January 2010 429,610 356,943 786,553 

Additions 2,409 26,408 28,817 

Disposals (45,361 ) (159,212 ) (204,573 ) 

At 31 December 2010 386,658 224,139 610,797 

Depreciation 

As at 1 January 2010 302,271 340,923 643,194 

Charge for year 69,038 17,810 86,848 

Disposals (45,361 ) (159,212 ) (204,573 ) 

At 31 December 2010 325,948 199,521 525,469 

net Book value 

As at 31 December 2010 60,710 24,618 85,328 

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

Movement (66,629 ) 8,598 (58,031 ) 

12. Creditors 

2010 2009 

I I 

PAYE/PRSI 36,369 52,351 

Other Accruals 462,602 136,839 

Withholding Tax 17,651 23,052 

Pension Contribution 7,958 - 

Trade Creditors 742,772 115,629 

Total 1,267,352 327,871 

23

24 

CHAIRS 

13. Capital Reserve 

notes 2010 2009 

I I 

Balance at 01/01/10 1,500,874 1,859,291 

Investment in Films 3 (181,826 ) (283,767 ) 

Movement in Fixed Asset Funding (58,031 ) (74,650 ) 

Balance at 31/12/10 1,261,017 1,500,874 

The movement in Fixed Asset funding is comprised as follows: 

Income allocated for Capital purposes 28,817 21,529 

Amortisation 86,848 (96,179 ) 

Total (58,031 ) (74,650 ) 

14. Commitments 

Feature Documentary Animation Distribution 

Production* Production Production Loans Schemes Total 

Production Loans I I I I I I 

Commitments @ 01/01/10 1,351,546 725,471 251,800 74,270 274,265 2,677,352 

Commitments in 2010 9,091,588 1,344,000 1,065,000 861,649 719,000 13,081,237 

Commitments expired 2010 - (15,000 ) - - (34,078 ) (49,078 ) 

Total Commitments 10,443,134 2,054,471 1,316,800 935,919 959,187 15,709,511 

Payments in 2010 (9,149,477 ) (1,518,496 ) (1,194,400 ) (784,535 ) (738,892 ) (13,385,800 ) 

Commitments at 31/12/10 1,293,657 535,975 122,400 151,384 220,295 2,323,711 

* Included in both the commitment and payment figure for Feature Production is an amount of €162,011 in respect of project related expenses and production 

legal costs. 

Animation Feature 

Development Development Industry Total 

Development Loans I I I I 

Commitments @ 01/01/10 60,001 510,998 - 570,999 

Commitments in 2010 215,000 1,374,700 100,000 1,689,700 

Commitments expired 2010 - - - - 

Total Commitments 275,001 1,885,698 100,000 2,260,699 

Payments in 2010 (211,000 ) (1,394,500 ) (100,000 ) (1,705,500 ) 

Commitments at 31/12/10 64,001 491,198 - 555,199 

15. Provisional Offers of Assistance to Film Projects 

In addition to the contracted commitments outstanding at year-end of €2,878,910 disclosed in Note 14 an additional €5,157,300 in 

respect of provisional offers of assistance was outstanding. The major portion of such commitments, €4,045,000 is in respect of feature 

productions where offers are subject to certain terms and conditions which include the procurement of finance. They remain valid for a 

period of up to six 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 eleven feature productions at the year end. 

THE PIPE 

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 2010 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) 845,000 

Stella Days (Regional Support) 120,000 

Stella Days (Development) 25,000 

Call Girl (Production) 150,000 

Happy Ever Afters (P&A) 37,500 

An Exact Replica of a Figment of My Imagination (Development) 15,000 

Julia Here (Development) 27,000 

James Morris Treasure Entertainment 

30 Eggs (Development) 15,000 

Simple Simon (Development) 22,500 

A Month in the Country (Development) 28,000 

Tristan Orpen Lynch Subotica Entertainment 

Flowers of Desire (Production) 300,000 

A Stranger in a Strange Land (Documentary Promo) 10,000 

Gold (Development) 10,500 

unless (Development) 15,000 

War Dog (Development) 50,000 

La Mula (Development) 10,000 

Subotica also received provisional offers of assistance in respect of Gold 

and A Stranger in a Strange Land 

Kirsten Sheridan warehouse Pictures 

Doll House (Development) 15,000 

Doll House (Production) 365,000 

CDS 

The Rafters (Production) 600,000 

The Rafters (Regional Support) 120,000 

The Factory (Industry Development) 100,000 

Johnny Gogan Bandit Films 

The Straits (Production) 495,000 

Black Ice (Development) 20,000 

The Wet Senor (Development) 5,000 

Cinema northwest 

Swansong (Distribution) 17,642 

Total 3,418,142 

17. Board Approval 

The financial statements were approved by the Board on the 28th November 2011. 

25

26 

HELEN 

APPEnDIx 1 

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

CAPITAL COMMITMEnTS 2010 

Feature Production Loans 

Committed I 

Albert nobbs Parallel Film Productions 750,000 

Citadel Blinder Films 657,000 

Come On Eileen Blinder Films 80,000 

Corp & Anam Magamedia 300,000 

Death of a Superhero Grand Pictures 600,000 

Doll House Warehouse Pictures 365,000 

Earthbound Paper Dreams 650,000 

Grabbers Samson Films 500,000 

Losing It Samson Films 235,000 

Lotus Eaters Fastnet Films 100,000 

My Brothers Rubicon Films 15,577 

Silence South Wind Blows 300,000 

Stella Days Newgrange Pictures 845,000 

The Looking Glass Emu Productions 4,000 

The Other Side of Sleep Fastnet Films 625,000 

The Pier Black Equus Films 100,000 

The Rafters CDS Ltd 600,000 

The Runway Fastnet Films 65,000 

Schemes 

Committed I 

Short Shorts 

Loft underground Films 15,000 

Honeycomb Samson Films 15,000 

Dummy Parallel Films 15,000 

Riders to the Sea Dig Productions 15,000 

Origin Souljacker 15,000 

Standby Black Sheep Productions 15,000 

Signatures 

Shoe Zanita Films 66,000 

Crossing Salween Red Rage Films 83,000 

Pentecost Emu Productions 65,000 

This is a Test Image Now Films 71,000 

The Christening underground Films 80,000 

Reality Bites 

Horizontal Collaboration Fastnet Films 15,000 

Blue Rinse Zucca Films 15,000 

How Can I Play Wildfire Films 15,000 

needle Exchange venom 15,000 

Committed I 

Creative Co-Production Fund 

Istanbul Ripple World Pictures 178,000 

Snake Dance West Park Pictures West 80,000 

The Last Furlong (The Hideaways) Octagon Films 350,000 

The Moth Diaries Samson Films 400,000 

This Must Be The Place Element Pictures 500,000 

Regional Support Fund 




The Last Furlong Octagon Films 70,000 


The Rafters CDS 120,000 

Completion 

The Liberties Areamann Productions 15,000 

Jimmy Murakami: non Alien Loopline Films 15,000 

Stand up My Best Friend Long Grass Productions 10,000 

Total 8,929,577 

Committed I 

virtual Cinema 

Our Poor Son Rubicon Films 2,000 

Ol’ One Eye Joanne Cunningham 2,000 

Signs vincent Gallagher 2,000 

The Monk and the Fly Souljacker 2,000 

Tv Dinner Two Hungry Fish Productions 2,000 

Irish Dog whisperer Two Hungry Fish Productions 2,000 

The Invention Lightbulb Lovely Productions 2,000 

Daylight Saving Time Jason Butler 2,000 

Spanx and Eve Tonyia Dowling 2,000 

Frameworks 

After you Cel Division 47,000 

we the Masses Still Films 45,500 

Here to Fall Blacknorth Studio 44,500 

umbra And Maps and Plans 49,000 

Total 719,000 

CIRCuS MAN 

Documentary Production Loans 

Committed I 

A Glacier Beneath Image Now Films 240,000 

Art will Save the world Happy Endings Productions 90,000 

Barbaric Genius Screenworks 15,000 

Children of the Revolution Transmission Films 40,000 

Darkness into Light Atlantic Film Alliance 15,000 

Doodle venom 15,000 

Dreams of a Life Soho Moon Pictures 150,000 

For One night Only Parallel Film Productions 100,000 

Good Days Bad Days Maccana Teo 10,000 

Good Robot Fastnet Films 15,000 

In the name of Dignity Lugh Films 15,000 

Jerry McGill: very Extremely Dangerous 

Screenworks 15,000 

King of Travellers (Knuckle) Rise Films 100,000 

Land Ripple World Pictures 15,000 

Last Lion Zeitgeist Films 15,000 

Making a Show of Myself Blinder Films 10,000 

Martin Hayes in Five ways Moving Still Productions 90,000 

Muerte and Me Fastnet Films 15,000 

Distribution 

Committed I 

P&A/Marketing Support 

All Good Children Element Distribution 9,300 

Happy Ever Afters Buena vista 37,500 

His and Hers Element Distribution 74,560 

Little Foxes Eclipse Pictures 3,578 

Perrier’s Bounty Element Distribution 75,000 

Savage Eclipse Distribution 30,000 

Swansong Cinema North West 13,500 

The Guard Element Distribution 75,000 

Trafficked Stoney Road 12,000 

vOLTA Element Distribution 225,000 

Zonad Element Distribution 75,000 

Direct Distribution 

Colony Fastnet Films 567 

Colony Irish Film Institute 2,200 

Eamon Zanita Films 7,211 

Eamon Irish Film Institute 4,400 

Pyjama Girls Still Films 10,000 

Pyjama Girls Irish Film Institute 2,200 

The Fading Light Irish Film Institute 2,200 

The Fading Light Park Films 2,258 

The Pipe underground Films 10,000 

Animation Production Loans 

Committed I 

On Bourbon St Cadenza Films 10,000 

One Minute to Midnight Crossing the Line Films 15,000 

Otunnu Crossing the Line Films 10,000 

Pikin Players Chapter 01 Productions 10,000 

Possession of the Sea Still Films 20,000 

Roadside Installation Puddle Films 15,000 

Sharp Knives Soft Targets Have More Fun 15,000 

Showrunners Black Sheep Productions 10,000 

Stranger in a Strange Land Subotica Ltd 10,000 

The Boy George Story Parallel Film Productions 10,000 

The Cause of Progress Zanzibar/Little Ease Films 15,000 

The Master the Slave and the Bank Still Films 5,000 

The Men of Arlington House Hotshot Films 60,000 

The nightdancers Still Films 15,000 


The Truth Teller Solas Productions 15,000 

Thilafushi: Lost in Paradise El Zorrero Films 7,000 

what we Leave in Our wake Harvest Films 100,000 

Total 1,344,000 

Committed I 

Print Support 

Anton Fox Glove Films 2,000 

Colony Fastnet Films 45,965 

Corduroy EMu Productions 2,631 


Fairycatcher 2000AD Productions 3,267 

Fall Zanzibar Films 5,500 

Granny O’Grimm Brown Bag Films 9,824 

His & Hers venom 2,062 

If I Should Fall Behind Tilted Pictures 484 

Moore St Masala Fish Films 10,172 

One Hundred Mornings Blinder Films 30,000 

Please Say Something David O’Reilly 4,034 

Savage SP Films 55,000 

Swansong: The Story of Occi Cinema North West 4,142 

The Herd venom 2,265 

The Man Inside Broken Pictures 2,307 

The Pool Warrior Films 8,530 

Total 861,649 

Committed I 

Punky Monster Animation & Design 200,000 

Thor: The Edda Chronicles Magma Productions 85,000 

Jo and Jack Dancing Girl Productions 150,000 

Tilly & Friends Jam Media 250,000 

Moon Man Cartoon Saloon 300,000 

I’m a Monster Monster Distribution 80,000 

Total 1,065,000 

27

28 

THE SECRET OF KELLS 

Feature Development Loans 

Committed I 

30 Eggs Treaure Entertainment 27,000 

6 Hours Samson Films 25,000 

An Exact Replica of a Figment of my Imagination 

Newgrange Pictures 15,000 

Before Midnight Alan Brennan 12,000 

Billy Goes to war Lee Cronin 12,000 

Black Ice Bandit Films 20,000 

Blackrock Element Pictures 22,500 

Blinky and the war Machine Floodland Pictures 45,000 

Cell Six Fantastic Films 10,000 

Closed Circuit Ian Power 12,000 

Clovis Teazle Andrew Legge 12,000 

Cycle Samson Films 30,000 

Doll House CDS Limited 15,000 

Down to the Sunless Sea Wide Eye Films 15,000 


Easy Does It Janey Pictures 5,000 

Future Fathers Happy Endings 10,000 

Glass Houses Fantastic Films 5,000 

Gold (aka Six Days) Subotica 10,500 

Grooskill Mark O’Connor 12,000 

Guitar Heroes Brian Lynch 12,000 

Harm’s way Nightingale Films 15,000 

Hate SP Films 38,000 

Honoured Jasmina Kallay 12,000 

I Am not a Serial Killer Floodland Pictures 13,000 

I’m a wheel Paul Freaney/Alan Gilsenan 16,000 

Immaculate Ray Lawlor 12,000 

Jericho Fastnet Films 15,000 

Julia Here Newgrange Picures 27,000 

Julius winsome Nightingale Films 15,000 

Killing Tom Soho Moon Pictures 10,000 

Mister John Samson Films 10,000 

Moscow never Sleeps Johnny O’Reilly 12,000 

Ms Mansfield and Me Paul Walker 12,000 

My Father’s Daughter Carmel Winters 12,000 

napoleon and Josephine Octagon Films 50,000 

Objects of Interest Mammoth Films 20,000 

Peacekeepers Jane Doolan 12,000 

Pilgrimage Savage Productions 18,000 

Animation Development Loans 

Committed I 

Princess Footnote Productions 20,000 

Prophet x Mike McCormack 12,000 

Reading in the Dark DeFacto Films 10,000 

Red Brian Finola Geraghty 12,000 

Reeling Parallel Film Productions 12,500 

Return of the Banshee Parallel Film Productions 11,500 

Sanctuary venom 4,000 

Scumbot Ciaran Foy 12,000 

Simple Simon Treasure Entertainment 22,500 



Synchronicity Paul Walker 12,000 

Synchronicity Parallel Film Productions 30,000 

Ten Dates with Mad Mary Element Pictures 40,000 

The Book of Lost Things Coastguard Films 50,000 

The Brave Tin Soldier Colin Downey 12,000 

The Canal Park Films 15,000 

The Cherry Tree Fantastic Films 15,000 

The End of Romance Trish McAdam 12,000 

The Fourth McHenry Christian O’Reilly 12,000 

The Gathering Goldfish Films 26,700 

The Girl in the Green Kimono Jimmy Murakami/Mary D’arcy 16,000 

The Islanders Pierce Ryan 12,000 

The Leviathan Floodland Pictures 48,000 

The Ranger Fastnet Films 26,000 

The Siege of Jadotville The Cannibal Corporation 50,000 

The Trial ursula Rani Sarma 12,000 

The wet Senor Bandit Films 5,000 

The winter Truce Audrey O’Reilly 12,000 

Three Days Brock Norman Brock 12,000 

Traders Peter Murphy/Rachael Moriarty 16,000 

Twelve Twenty Three Parallel Film Productions 22,500 

unless Subotica 15,000 

unsung Hero Joel Conroy 12,000 

war Dog Subotica 50,000 

your Girlfriend and Me unstoppable Films 15,000 

Love Eternal Fastnet Films 5,000 

La Mula Subotica 10,000 

Total 1,374,700 

Committed I 

Bedheads Kavaleer Productions 48,000 

Cosmo Monster Animation & Design 16,000 

Cú - The Hound of ulla Pillarstone Productions 29,000 

Fronkey, Hugh & Chonkey Avalon Films 10,000 


nightgliders Brown Bag Films 30,000 

The Selfish Giant NDN Productions 34,000 

Total 215,000 

Industry Development 

Committed I 

The Factory CDS 100,000 

Total 100,000 

A CLOWN’S REQuIEM 

APPEnDIx 2 

OuTSTAnDInG COMMITMEnTS 2010 

Feature Production Loans 

Pending I 











The Pier Black Equus films 5,000 


Pre 2010 107,407 

Total 636,307 


Pending I 




This Must be the Place Element Pictures 50,000 

Pre 2010 340,000 

Total 482,800 


Pending I 



Pre 2010 62,500 

Total 168,500 

Completion 

Pending I 


Stand up: My Best Friend Maurice Linnane 50 


Total 6,050 

Animation Production Loans 

Pending I 

Punky Monster Animation 60,000 

Pre 2010 62,400 

Total 122,400 

29

30 

WAvERIDERS 

Documentary Production Loans 

Pending I 





Dreams of a Life West Park Pictures West 30,000 








Distribution - P&A /Marketing Support 

Pending I 



His & Hers Element Distribution 7,456 





Pre 2010 46,289 

Total Definite P&A 126,895 

Direct Distribution 

Pending I 









Thilafushi: Lost in Paradise El Zorro Films 2,000 


Pre 2010 358,975 

Total 535,975 

Pending I 



Total Direct Distribution 10,000 

Print Support 

Pending I 

Fairycatcher 2000AD Productions 37 


The Herd venom 566 

Pre 2010 6,385 

Total Print Support 14,488 

Short Film Schemes 

Pending I 

Short Shorts 



Origin 2,000 


Signatures 


Pending I 

Frameworks 





Pre 2010 112,195 

Total 220,295 

DONKEY 

Feature Development Loans 

Pending I 

14 88 SP Films 3,000 

30 Eggs Treasure Entertainment 3,000 


An Exact Replica of a Figment of My Imagination 






























Animation Development Loans 

Pending I 





Return of the Banshee Parallel Films 1,500 




Spin City Johnny O’Reilly 2,000 



Ten Dates with Mad Mary Calipo Pictures 10,000 






The Girl in the Green Kimono Jimmy Murakami & Mary D’arcy 4,000 









Traders P Murphy & R Moriarty 4,000 

Twelve Twenty Three Parallel Films 2,500 





Pre 2010 261,498 

Total 491,198 

Pending I 


Cosmo Monster Animation 3,000 





Pre 2010 30,000 

Total 64,000 

31

32 

JOHN FORD - DREAMING THE QuIET MAN 

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. 

WIDE OPEN SPACES 

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 

GuNS, BEES AND TADPOLES IF THESE WALLS COuLD TALK 

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. 

35

36 

JERICHO 

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. 

FIvE DAY SHELTER 


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 2010 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 

2010 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; Niamh O’Reilly, 

Feidhmiúcháin; Suzanne Keane, Comhordaitheoir Cuntas (Páirtaimseartha); 

agus Aileen McCauley, Cúntóir Riaracháin. 

CRuInnITHE 

Bhí 9 gcruinniú ag an mBord i 2010. 

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 

SENSATION 

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 le feabhas a chur ar 

inniúlacht fhoriomlán scileanna laistigh den tionscal. 

• Cúnamh a thabhairt chun scannáin Éireannacha a 

dhéanamh 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 MAOInIÚCHÁn CHun 

TIOnSCADAIL A FHORBAIRT AGuS A LÉIRIÚ 

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 

DÉAnTAR IASACHTAí FORBARTHA AGuS 

IASACHTAí LÉIRIÚCHÁIn A MHEASÚnÚ DE 

RÉIR ROInnT CRITÉAR: 

i Breisíocht 

ii Tosaíochtaí Cultúir, Toasíochtaí Tionscail 

iii Déanamh Cineama 

iv Cruthaitheacht 

(Féach Aguisín 4, Leathanach 62) 

MY BROTHERS 

AIRGEADAS 

AISGHABHÁIL 

European Film Promotion 

Is é European Film Promotion (EFP) an t-aon líonra idirnáisiúnta 

Roinneann an Bord an brabús a thagann as ioncam a ghintear le eagraíochtaí atá ann a bhfuil cur chun cinn agus margaíocht á 

díolachán pictiúrlainne, teilifíse agus físeán agus faigheann sé dhéanamh aige ar cineama Eorpach ar fud an domhain. Is éard atá 

aisíocaíocht ón mbrábús sin. Chuir an Bord iomlán de €15,091,300 sa líonra ná eagraíochtaí proifisiúnta ó 32 thíorthe Eorpacha 

ar fáil in iasachtaí i dtaca le príomhscannáin a fhorbairt agus a gur saineolaithe iad i dtaobh a gcuid cineama náisiúnta féin a 

léiriú i gcaitheamh na bliana 2010. I gcaitheamh an ama chéanna, chur chun cinn agus margaíocht a dhéanamh air. Faoi scáth an 

fuair an Bord aisíocaíochtaí de €738,198. Tugann an figiúr sin go dtí EFP, feidhmíonn na heagraíochtaí sin ar fad as lámha a chéile 

10% an ráta aisíoctha ar iasachtaí léiriúchán príomhscannán chu cineama Eorpach agus talann Eorpach a chur chun cinn ar fud 

a tugadh amach ó rinneadh ath-inchorprú ar BSÉ i 1993. 

an domhain. Rinne an Bord ranníocaíocht de €9, 030 le EFP 

BunACHAR SOnRAí EACnAMAíOCHTA 

sa bhliain 2010. 

MEDIA Desk Ireland 

Foilsíonn an Audiovisual Federation de chuid IBEC, i gcomhar Cuireann MEDIA Desk Ireland eolas ar fáil maidir leis an gclár 

leis an mBord agus le hionadaithe ón Roinn Ealaíon, 

MEDIA, Eurimages, Eureka Audiovisual agus maidir le beartas 

Oidhreachta agus Gaeltachta, Screen Producers Ireland, 

closamhairc an AE agus tugann sé comhairle mar gheall orthu 

TG4 agus RTÉ an Bunachar Sonraí Eacnamaíochta ar bhonn sin. Sa bhlian 2010, chuir an Bord €57,000 ar fáil leis an Desk a 

bliantúil. Clúdaíonn an tuarascáil sin tionscadail scannán 

reáchtáil. Tá an oifig lonnaithe san Irish Film Centre, 6 Sráid an 

agus teilifíse a dhéantar in Éirinn gach bliain. 

Iústásaigh, Baile átha Cliath 2, agus bíonn sé ar oscailt le 

SCREEn TRAInInG IRELAnD 

haghaidh fiosruithe agus le haghaidh cruinnithe comhairliúcháin 

ó Luan go hAoine. 

I gcaitheamh na bliana 2010, chuir an Bord €387,348 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 2010. D’íoc an Bord suibscríbhinn na hÉireann i 2010, íocaíocht 

de €307,420. 

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 2010, 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 2010, táille de €20,575.

40 41 

REWIND 

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 Turasóireachta, Cultúir agus Spóirt a cheadú, le toiliú ón Aire Airgeadais. Nuair a bheidh 

na Ráitis Airgeadais sin á n-ullmhú aige, tá ceanglas 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. 

• Na Ráitis Airgeadais a ullmhú ar bhonn gnóthais leantaigh ach amháin i gcás nach bhfuil sé cuí glacadh leis go 

leanfaidh an Bord 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 

28 Samhain 2011 

SEASIDE STORIES 

RÁITEAS MAIDIR LE RIALÚ 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 dearbhdheimhniú 

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 

leithdháileann 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 leagadh 

síos 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 2010 

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. 

Tá Coiste Iniúchta bunaithe chomh maith ag an mBord 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 2010. 

Thar ceann an Bhoird 

________________________ 

James Morris 

Cathaoirleach

42 43 

THE YELLOW BITTERN - THE LIFE AND TIMES OF LIAM CLANCY 

ARD-REACHTAIRE CunTAS AGuS CISTE 

TuARASCÁIL LE CuR FAOI BHRÁID TITHE 

An OIREACHTAIS 

Bord Scannán na hÉireann 

Tá ráitis airgeadais Bhord Scannán na hÉireann/the Irish Film 

Board don bhliain dar críoch 31 Nollaig 2010 iniúchta agam de 

réir Acht na dTeangacha Oifigiúla 2003. Tá na ráitis airgeadais, 

a ullmhaíodh faoi na beartais chuntasaíochta arna leagan 

amach sna ráitis, comhdhéanta den Ráiteas faoi Beartais 

Chuntasaíochta, an Cuntas Ioncaim agus Caiteachais, an Clár 

Comhardaithe agus na nótaí gaolmhara. Is é an creat thuairisciú 

airgeadais a cuireadh i bhfeidhm chun iad a ullmhú ná an dlí a 

bhaineann agus na Cleachtais Chuntasaíochta a nGlactar Leo go 

Coitianta in Éirinn. 

Freagrachtaí Chomhaltaí an Bhoird 

Tá an Bord freagrach as na ráitis airgeadais a ullmhú, as a 

chinntiú go dtugann siad léargas fíor agus cothrom maidir leis 

an riocht ghóthaí Oifig Choimisinéir na dTeangacha Oifigiúla agus 

ar a ioncam agus a chaiteachas, agus as rialtacht a n-idirbhearta 

a chinntiú. 

Freagrachtaí an Ard-Reachtaire Cuntas agus Ciste 

Is é mo fhreagrachtsa na ráitis airgeadais a iniúchadh agus 

tuairisciú a dhéanamh orthu i gcomhréir leis an dlí a bhaineann. 

Déantar m’iniúchadh faoi réir na gcúrsaí speisialta a bhaineann 

le comhlachtaí Stáit ó thaobh a mbainistiú agus a bhfeidhmiú de. 

Déantar m’iniúchadh i gcomhréir le Caighdeáin Chuntasaíochta 

Idirnáisiúnta (Ríocht Aontaithe agus Éire) agus de réir Caighdeán 

Eiticiúla d’Iniúchóirí de chuid an Bhoird um Chleachtais 

Iniúchóireachta. 

Scóip an Iniúchta ar Ráitis Airgeadais 

Is éard atá i gceist le hiniúchadh ná faisnéis a fháil maidir leis 

na suimeanna agus na nochtuithe sna ráitis airgeadais, ar leor 

iad chun urrús réasúnta a thabhairt go bhfuil na ráitis airgeadais 

saor ó mhí-ráiteas ábhartha cibé calaois nó earráid is cúis leis 

sin. Clúdaíonn sé seo measúnú faoi 

• Cibé an bhfuil na beartais chuntasaíochta cuí do chúinsí an 

Bhoird agus gur cuireadh i bhfeidhm iad go seasmhach agus 

gur nochtaíodh iad go leormhaith 

• Cé chomh réasúnta is a bhí na meastacháin chuntasaíochta 

shuntasacha a rinneadh agus na ráitis airgeadais á n-ullmhú 

• Thíolachadh foriomlán na ráiteas airgeadais. 

Déanaim iarracht freisin fianaise a fháil le linn an iniúchta maidir 

le rialtacht na n-idirbhearta airgeadais. 

Ina theannta sin, léann mé an fhaisnéis airgeadais agus 

neamh-airgeadais sa dTuarascáil Bhliantúil le neamhréireachtaí 

ábharacha maidir leis na ráitis iniúchta airgeadais a aithint. 

Sa chás go dtagaim ar aon eolas i dtaobh aon mhíráiteas 

ábharach dealraitheach déanaim na himpleachtaí do mo 

thuarascáil a mheas. 

Tuairim faoi na Ráitis Airgeadais 

Is é mo thuairim, go dtugann na ráitis airgeadais, a ullmhaíodh 

go cuí i gcomhréir le Cleachtais Cuntasaíochta a nGlactar Leis 

go Coitianta in Éirinn, léargas fíor agus cothrom maidir leis an 

riocht ghnóthaí Oifig Choimisinéir na dTeangacha Oifigiúla ag 31 

Nollaig 2010 agus ar a ioncam agus ar a chaiteachas don bhliain 

dar críoch sin. 

Is é mo thuairim, gur choimeád Bord Scannán na hÉireann/the 

Irish Film Board leabhair chuntais chuí. Tá na ráitis airgeadais ag 

teacht leis na leabhair chuntais. 

nithe a Tuairiscím le hEisceacht 

Tuairiscím le heisceacht i gcás: 

• Nach bhfuair mé an fhaisnéis agus na mínithe go léir a bhí de 

dhíth orm le haghaidh m’iniúchta, nó 

• Gur nótáladh san iniúchadh aon chás ábhartha nuair nár 

úsáideadh suimeanna airgid chun na feidhmeanna a bhí 

beartaithe dóibh nó nach ndearnadh na hidirbhearta de réir 

na n-údarás a rialaíonn iad, nó 

• Nach bhfuil an fhaisnéis a tugadh i dTuarascáil Bhliantúil an 

Bhoird don bhliain ar ullmhaíodh na ráitis airgeadais dóibh 

i gcomhréir leis na ráitis airgeadais, nó 

• Nach léiríonn an Ráiteas um Rialú Inmheánach Airgeadais 

go gcomhlíonann an Bord an Cód Cleachtais maidir le 

Rialachas ar Chomhlachtaí Stáit, nó 

• Go bhfaighim amach go bhfuil cúrsaí ábhartha eile ann a 

bhaineann leis an gcaoi inar cuireadh gnó poiblí i gcrích. 

Níl aon ní le tuairisciú agam maidir leis na cúrsaí sin faoina 

ndéantar tuairisc le heisceacht. 

________________________ 

Andrew Harkness 

Ar son agus thar ceann an Ard-Reachtaire Cuntas agus Ciste 


RuNNERS 

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 cabhrú le 

scannáin a léiriú. Braitheann aisíocaíochtaí agus aischuir ar rath 

tráchtála na scannán lena mbaineann. 

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 aisíoc, 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 suim atá i 

gcomhréir leis an muirear pinsin mar ioncam sa mhéid is go 

bhfuil sé in-aisghabhála 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. 

G. Beartas maidir le hAirgeadra Eachtrach 

Aistrítear idirbhearta atá ainmnithe in airgeadra eachtrach go 

dtí na hairgeadraí feidhmiúla faoi seach de réir na rátaí malairte 

ar dhátaí na n-idirbhearta. Aistrítear sócmhainní agus dliteanais 

airgeadaíochta atá ainmnithe in airgeadra eachtrach ar dháta a 

dtuairiscithe go dtí an airgeadra feidhmiúil ar an ráta malairte 

ar an dáta sin. Cuirtear san áireamh mar ghnóthachan nó mar 

chaillteanas malairte sa Ráiteas Ioncaim aon ghnóthachan nó 

caillteanas a éiríonn de bharr athruithe ar na rátaí malairte tar 

éis dáta an idirbhearta.

44 45 

MOORE STREET MASALA 

RÁITIS AIRGEADAIS BORD SCAnnÁn nA hÉIREAnn 

DOn BHLIAIn DAR CHRíOCH 31 nOLLAIG 2010 

Cuntas Ioncaim agus Caiteachais Chaipitil 

Don bhliain dar chríoch 31 Nollaig 2010 

nótaí 2010 2009 

Ioncam I I 

Deontais an Oireachtais 1 16,500,000 18,817,000 

Ranníocaíochtaí ó Pháirtithe Eile 161,175 152,350 

Ioncam Eile 72,689 72,428 

Aisíocíocht ar Iasachtaí a aistríodh ón gCúlchiste Caipitil 3 738,198 1,380,377 

Iomlán 17,472,062 20,422,155 

Caiteachas 

Screen Training Ireland (387,348 ) (532,000 ) 

Iasachtaí Léiriúcháin 14 (13,385,800 ) (15,101,659 ) 

Iasachtaí Forbartha 14 (1,705,500 ) (2,201,585 ) 

íocaíochtaí Caipitiúla Eile 4 (1,046,681 ) (1,271,028 ) 

Iomlán (16,525,329 ) (19,106,272 ) 

Barrachas/(Easnamh) 946,733 1,315,883 

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

Iarmhéid ag deireadh na bliana 5,311,332 4,364,599 

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




MR FOLEY 

Cuntas Ioncaim agus Caiteachais Riaracháin 


nótaí 2010 2009 

Ioncam I I 

Deontas Oireachtais 1 2,729,953 2,975,926 

Ioncam Eile 17,144 45 

Glanchiste Iarchurtha do Chostais Pinsean 10c 351,461 346,494 

Aistriú (chuig)/ ón gCúlchiste Caipitiúil 13 58,031 74,650 

Total 3,156,589 3,397,115 

Caiteachas 

Riarachán 5 1,973,034 2,074,400 

Eagraíochtaí, Síntiúis agus Taighde 7 218,316 194,905 

Costais Margaíochta 8 636,058 619,715 

Oideachas 6,932 196,253 

Costais Phinsean 10a 309,414 299,420 

Iomlán 3,143,754 3,384,693 

BARRACHAS/EASnAMH 112,835 12,422 

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

Iarmhéid ag deireadh na bliana 6,633 (6,202 ) 





Ráiteas i dtaca le Gnóthachain agus Caillteanais Iomlána Aitheanta 


nótaí 2010 2009 

Barrachas don bhliain I I 

Cuntas Riaracháin 12,835 12,422 

Cuntas Caipitiúil 946,733 1,315,883 

Iomlán 959,568 1,328,305 

Gnóthachain ó thaithí ar dhliteanais na scéime pinsin 10d 320,044 90,900 

Athruithe ar na bunbhoinn tuisceana maidir le luach dliteanas na scéime pinsin faoi láthair (154,384 ) 162,302 

Gnóthachan/(caillteanas) achtúireachta ar dhliteanais pinsin 10b 165,660 253,202 

Coigeartú ar mhaoiniú pinsin iarchurtha (165,660 ) (253,202 ) 

Gnóthachan aitheanta iomlán don bhliain 959,568 1,328,305 




28 Samhain 2011

46 47 

OLD FANGS TROLLEY BOY 

Clár Comhardaithe 


nótaí 2010 2009 

Sócmhainní Seasta I I 

Socmhainní Inláimhsithe 11 85,328 143,359 

Infheistíocht i Scannáin 

Iasachtaí Léiriúcháin 3 1,046,797 1,207,134 

Iasachtaí Forbartha 3 128,891 150,380 

1,175,688 1,357,514 

Sócmhainní Reatha 

Airgead sa Bhanc 6,232,600 4,556,381 

Réamhíocaíochtaí/Feichiúnaithe/Ioncam Fabhraithe 352,718 129,888 

Creidiúnaithe 

6,585,318 4,686,269 

Suimeanna dlite laistigh de bhliain amháin 12 (1,267,352 ) (327,871 ) 

GLAnSóCMHAInní REATHA 5,317,966 4,358,398 

Iomlán Sócmhainní Lúide Dliteanais Reatha roimh Pinsin 6,578,982 5,859,271 

Sócmhainn Maoinithe Pinsin Iarchurtha 2,188,000 2,002,199 

Dliteanais Phinsean (2,188,000 ) (2,002,199 ) 

Glansócmhainní 6,578,982 5,859,271 

Caipiteal agus Cúlchístí 

Cuntas Caipitil 5,311,332 4,364,599 

Cuntas Riaracháin 6,633 (6,202 ) 

Cúlchiste Caipitil 13 1,261,017 1,500,874 

Iomlán 6,578,982 5,859,271 





Ráiteas maidir le Sreabhadh Airgid 


2010 2009 

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

Barrachas/(Easnamh) ar an gCuntas Caipitil 946,733 1,315,883 

Barrachas/(Easnamh) ar an gCuntas Riaracháin 12,835 12,422 

959,568 1,328,305 

Coigeartú do mhíreanna neamhoibríochta 

Ús bainc (72,689 ) (72,428 ) 

Aistriú chuig/(ó) Chuntas Ioncaim agus Caiteachais Riaracháin (58,031 ) (74,650 ) 

(130,720 ) (147,078 ) 

Coigeartú do mhíreanna nach míreanna airgid iad 

Dímheas 86,848 96,180 

(Méadú)/Laghdú i líon na bhfiachóirí (222,830 ) 253,340 

Méadú/(Laghdú) i líon na gcreidiúnaithe 939,481 (268,919 ) 

Glan-insreabhadh airgid ó ghníomhaíochtaí Oibriucháin 1,632,347 1,261,828 

Ráiteas sreabhadh airgid 

Glan-insreabhadh airgid ó ghníomhaíochtaí Oibriúcháin 1,632,347 1,261,828 

Ús bainc 72,689 72,428 

íocaíochtaí chun sócmhainní a cheannach (28,817 ) (21,529 ) 

Insreabhadh/eis-sreabhadh 1,676,219 1,312,727 

Imréiteach Glan-insreabhadh airgid agus gluaiseachtaí i nGlan-Chistí 

Méadú/Laghdú ar airgead tirim le linn na Tréimhse 1,676,219 1,312,727 

Glan-chistí mar a bhí ar an 1 Eanáir 2010 4,556,381 3,243,654 

Glan-chistí ar an 31 nollaig 2010 6,232,600 4,556,381 




28 Samhain 2011

48 49 

THE POLISH LANGuAGE 

nóTAí 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 

2010 2009 

Cuspóirí Reatha I I 

Bord Scannán na hÉireann 2,772,000 3,023,000 

Lúide Ranníocaíochtaí Pinsin (42,047 ) (47,074 ) 

Iomlán 2,729,953 2,975,926 

Cuspóirí Caipitil 

Infheistíocht Scannán 16,500,000 18,817,000 

2. Teorannú ar an Méid Airgid a Sholathraíonn an Bord 

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 2010, bhí suim de €188,727,393 soláthraithe (ar an 31/12/2009, bhí €174,780,208 

curtha ar fáil). 

3. Infheistíocht i Scannáin 

Iasachtaí Iasachtaí 

Léiriúcháin Forbartha Iomlán 

nótaí I I I 

Tugtha ar airleacani rith na bliana 13,385,800 1,705,500 15,091,300 

Aisghabháil i rith na bliana (604,682 ) (133,516 ) (738,198 ) 

Soláthar don bhliain (12,941,455 ) (1,593,473 ) (14,534,928 ) 

Gluaiseacht i rith na bliana 13 (160,337 ) (21,489 ) (181,826 ) 

Iarmhéid ar an 1 Eanáir 2010 1,207,134 150,380 1,357,514 

Iarmhéid mar a bhí ar an 31/12/10 1,046,797 128,891 1,175,688 

THE HERD 

4. íocaíochtaí Caipitil Eile 

I dteannta na n-íocaíochtaí a rinneadh le haghaidh iasachtaí Léiriúcháin agus Forbartha, rinna an Bord na híocaíochtaí caipitil eile seo a 

leanas i rith na bliana. 

2010 2009 

Eagraíochtaí Eorpacha I I 

Eurimages 307,420 291,669 

European Film Promotion 9,030 9,905 

European Observatory 20,575 19,737 

Media Antenna 12,200 12,200 

Media Desk 57,000 57,011 

Cuallaíochtaí Tionscail 

Irish Playwrights and Screenwriters Guild 81,000 80,000 

Screen Directors Guild 83,000 80,000 

Tacaiocht do Mhargadh na Scánnán/ócáidí Tionscail 

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

Fleadh Scannán na Gaillimhe 40,000 40,000 

Féile Scannán Guth Gafa 10,000 10,000 

Stranger Than Fiction 10,000 5,500 

Cinemagic 5,950 - 

Féile Scannán Darklight 12,000 - 

Féile Scannán an Daingin 5,000 5,000 

Tacaíocht do Mhargadh Scannán na hEorpa 39,835 7,000 

Eile 1,398 6,576 

Eile 

Cinemobile 60,000 60,000 

IFTA 120,000 140,000 

Oiliúint Eile 52,716 48,711 

Deontais i dtaca le Scabhtáil/Taisteal 35,385 50,277 

Léitheoirí Scripte 54,172 62,442 

Pictiúrlann Solas - 255,000 

Iomlán 1,046,681 1,271,028 

5. Riarachán 

2010 2009 

I I 

Tuarastail Riaracháin 983,021 1,038,238 

Táillí Comhaltaí Boird 44,888 47,250 

Oiliúint Foirne 10,341 13,332 

Muirir Cíosa agus Seirbhíse 278,146 285,897 

árachas 8,190 7,579 

Solas / Teas 17,336 18,432 

Teileafón/Facs 59,589 67,436 

Postas/Teachtairí 24,500 25,705 

Páipéarachas Oifige/Clódóireacht 21,551 10,266 

Deisiúcháin/Cothabháil 37,727 63,583 

Taisteal /Cothabháil Foirne 158,110 155,180 

Ús agus Muirir Bainc 1,506 2,082 

Cruinnithe agus Costais Boird 10,463 6,839 

Táillí Dlí 4,447 - 

Táillí Iniúchóirí 14,852 14,852 

Ilghnéitheach 11,615 14,816 

Dímheas 86,848 96,180 

Comhairliúchán 143,906 201,818 

Costais Earcaíochta 55,998 - 

Forbairt Bhunachar Sonraí - 2,316 

Caillteanas ar Airgeadra Eachtrach - 2,599 

Iomlán 1,973,034 2,074,400

50 51 

BEHIND THE DESERT WALL 

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: 

2010 2009 

Príomhfheidhmeannach 1 1 

Fostaithe 15 15 

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

€110,844 (2009: €120,382). Ní théann teidlíochtaí pinsean an Phríomhfheidhmeannaigh níos faide ná na teidlíochtaí caighdeánacha 

i scéim aoisliúntais sochar sainithe na hearnála poiblí. Ní théann teidlíochtaí pinsean an Phríomhfheidhmeannaigh níos faide ná 

na teidlíochtaí caighdeánacha i scéim aoisliúntais sochar sainithe na hearnála poiblí. Tabhaíodh costais de €48,153 i dtaca leis 

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

chothabhála, táillí tacsaí agus traenach. Chaith an Príomhfheidhmeannach 77 lá thar lear ar ghnó oifigiúil chun airgeadas idirnáisiúnta a 

thiomsú do shláta príomhscannán BSÉ/IFB, chun margaíocht a dhéanamh ar Éirinn mar shuíomh scannán agus le feasacht idirnáisiúnta 

i dtaobh scannán na hÉireann a chur chun cinn. Tá ceanglas ar an bPríomhfheidhmeannach chomh maith freastal ar líon fairsing 

cruinnithe i mBaile átha Cliath mar chuid dá dhualgas. 

íocadh asbhaintí tobhaigh pinsean de €58,856 ó thuarastail foirne leis an Roinn Cultúir, Turasóireachta agus Spóirt sa bhliain 2010. 

€8,978 a bhí mar tháille ag an gCathaoirleach agus fuair gach duine den tseisear comhalta boird €5, 978. íocadh costais de €9,330 le 

comhaltaí boird i rith na bliana. Bhain €4,358 de sin le taisteal thar lear agus bhain €4,972.46 le costais in Éirinn, costais óstán, costais 

taisteal agus costais cothabhála san áireamh. 

7. Eagraíochtaí, Síntiúis agus Taighde 

2010 2009 

I I 

IBEC 12,434 13,925 

Síntiúis le Foilsiucháin 5,415 7,211 

Screen Producers Ireland 50,000 - 

Cartlann Scannán na hÉireann 104,000 104,000 

ócáidí LA 46,467 49,769 

Cinema Northwest - 20,000 

Iomlán 218,316 194,905 

8. Margaíocht 

2010 2009 

I I 

Cur chun cinn Féilte 145,568 154,644 

Fógraíocht 59,663 53,777 

ócáidí/Caidreamh Poiblí 83,302 67,625 

Foilsiúcháin 29,932 30,060 

ábhair Margaíochta 24,532 64,544 

Láithreán Gréasáin/Cur Chun Cinn Ar Líne 15,209 38,252 

Seirbhísí Suímh 18,242 11,908 

Margaíocht Thar Lear 76,422 31,258 

Oifig LA * 183,188 167,647 

Iomlán 636,058 619,715 

• Léiríonn sé sin costais foirne de €134,115 agus forchostais de €49,072 (sa bhliain 2009, caitheadh €139,349 ar chostais foirne agus €28,296 ar fhorchostais). 

THE MILL 

9. Léas ar Áitribh 

Tá gealltanais ag an mBord go dtí 2016 i dtaca lena oifig i nGaillimh ag Queensgate, 23 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 

2010 

I 

2009 

I 

2008 

I 

2007 

I 

Costas reatha ar sheirbhísiú 266,270 271,079 188,129 208,460 

Ús ar Dhliteanais na Scéime Pinsin 85,191 75,415 62,121 57,859 

Ranníocaíochtaí Foirne (42,047 ) (47,074 ) (44,591 ) (43,826) 

Iomlán 309,414 299,420 205,659 222,493 

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

2010 

I 

2009 

I 

2008 

I 

2007 

I 

Dliteanas Pinsin Glan ar an 1 Eanáir 2,002,199 1,908,907 1,330,100 1,181,523 

Costas Reatha ar Sheirbhísiú 266,270 271,079 188,129 208,460 

Costas Úis 85,191 75,415 62,121 57,859 

Caillteanas /(Gnóthachain) Achtúireachta (165,660 ) (253,202 ) 328,557 (117,742 ) 

Dliteanas Glan Pinsin ar an 31 nollaig 2,188,000 2,002,199 1,908,907 1,330,100 

c. Sócmhainn Maoiniúcháin Iarchurtha do Phinsin 

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 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: 

2010 2009 

I I 

Maoiniú Inghnóthaithe i dtaca le costais pinsean na bliana reatha 351,461 346,494 

Deontas Stáit i bhfeidhm chun pinsinéirí a íoc - - 

Iomlán 351,461 346,494 

Is é €2,188,000 an méid a bhí sa sócmhainn mhaoinithe iarchurtha do phinsin an 31 Nollaig 2010 (€2,002,199 i 2009). 

2010 2009 2008 2007 

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

Oibligeáidí sochair sainithe 2,188,000 2,002,199 1,908,907 1,330,100 

(Gnóchain)/caillteanais ó thaithí ar dhliteanais na scéime (320,044 ) (90,900 ) 53,735 (18,546 ) 

Céatadán de Dhliteanais na Scéime -15% -5% 3% -1% 

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 2010.

52 53 

SEAN SCuLLY WHY THIS, NOT THAT? 

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

31/12/2010 31/12/2009 31/12/2008 31/12/2007 

Ráta méadaithe tuarastal 3.50% 3.50% 3.50% 4.00% 

Ráta méadaithe pinsean á n-íoc 3.50% 3.50% 3.50% 4.00% 

Ráta Lascaine 4.00% 4.30% 4.00% 4.75% 

Boilsciú 2.00% 2.00% 2.00% 2.50% 

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 21.8 bliain 

Ionchas Saoil do bhean atá 65 bliana d’aois 23.4 bliain 

Ionchas Saoil d’fhear atá 45 bliana d’aois faoi láthair (ó aois 65) 24.1 bliain 

Ionchas Saoil do bhean atá 45 bliana d’aois faoi láthair (ó aois 65) 25.3 bliain 

11. Sócmhainní Seasta Inláimhsithe 

Troscán Ríomhairí Iomlán 

Costas I I I 

Ar an 1 Eanáir 2010 429,610 356,943 786,553 

Breiseanna 2,409 26,408 28,817 

Diúscairtí (45,361 ) (159,212 ) (204,573 ) 

Ar an 31 nollaig 2010 386,658 224,139 610,797 

Dímheas 

Amhail ar 1 Eanáir 2010 302,271 340,923 643,194 

Muirear don bhliain 69,038 17,810 86,848 

Diúscairtí (45,361 ) (159,212 ) (204,573 ) 

Ar an 31 nollaig 2010 325,948 199,521 525,469 

Glanluach Leabhar (nBv) 

Amhail ar 31 nollaig 2010 60,710 24,618 85,328 

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

Gluaiseacht (66,629 ) 8,598 (58,031 ) 

12. Creidiúnaithe 

2010 2009 

I I 

IMAT/áSPC 36,369 52,351 

Fabhruithe Eile 462,602 136,839 

Cáin Shiarchoinneálach 17,651 23,052 

Ranníocaíocht Pinsean 7,958 - 

Creidiúnaithe Trádála 742,772 115,629 

Iomlán 1,267,352 327,871 

NA CLOIGNE 

13. Cúlchiste Caipitil 

nótaI 2010 2009 

I I 

Iarmhéid ar an 01/01/10 1,500,874 1,859,291 

Infheistíocht Scannán 3 (181,826 ) (283,767 ) 

Gluaiseacht sa Mhaoiniúchán Sócmhainní Seasta (58,031 ) (74,650 ) 

Iarmhéid ar an 31/12/10 1,261,017 1,500,874 

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

Ioncam leithroinnte do chuspóirí Caipitil 28,817 21,529 

Amúchadh 86,848 (96,179 ) 

Iomlán (58,031 ) (74,650 ) 

14. Gealltanais 

Léiriúchán Léiriúchán Léiriúchán Iasachtaí 

Scannán Scannán Faisnéise Beochana Dáileacháin Scéimeanna Iomlán 

Iasachtaí Leiriúcháin I I I I I I 

Gealltanais @ 01/01/10 1,351,546 725,471 251,800 74,270 274,265 2,677,352 

Gealltanais i 2010 9,091,588 1,344,000 1,065,000 861,649 719,000 13,081,237 

Gealltanais in éag 2010 - (15,000 ) - - (34,078 ) (49,078 ) 

Iomlán na nGealltanas 10,443,134 2,054,471 1,316,800 935,919 959,187 15,709,511 

íocaíochtaí i 2010 (9,149,477 ) (1,518,496 ) (1,194,400 ) (784,535 ) (738,892 ) (13,385,800 ) 

Gealltanais ar an 31/12/2010 1,293,657 535,975 122,400 151,384 220,295 2,323,711 

*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 

Forbartha Forbartha Tionsca Iomlán 

Iasachtaí Forbartha I I I I 

Gealltanais @ 01/01/10 60,001 510,998 - 570,999 

Gealltanais i 2010 215,000 1,374,700 100,000 1,689,700 

Gealltanais in éag 2010 - - - - 

Iomlán na nGealltanas 275,001 1,885,698 100,000 2,260,699 

íocaíochtaí i 2010 (211,000 ) (1,394,500 ) (100,000 ) (1,705,500 ) 

Gealltanais ar an 31/12/10 64,001 491,198 - 555,199 

15. Tairiscintí Sealadacha Cúnaimh do Thionscadail Scannán 

I dteannta na ngealltanas conraithe de €2,878,910 atá gan íoc ag deireadh na bliana mar atá nochtaithe i Nóta 14 bhí €5,157,300 sa bhreis 

i dtaca le tairiscintí sealadacha gan íoc. Tá an chuid is mó de na gealltanais sin, €4,045,000, i dtaca le léiriúcháin príomhscannán, áit a 

mbíonn tairiscintí faoi réir théarmaí agus coinníollacha áirithe, soláthar airgeadais san áireamh. Bíonn siad bailí ar feadh tréimhse suas 

go dtí 6 mhí agus tagann siad faoi réir athbhreithnithe ag deireadh na treimhse sin. Tá na tairiscintí sin coinníollach ar chistí Boird a 

bheith ar fáil. Bhí tairiscintí neamhcainníochtaithe ag an mBord chomh maith ag deireadh na bliana i dtaobh aon phríomhscannán déag 

eile ag deireadh na bliana.

54 55 

DENTAL BREAKDOWN 

16. Comhaltaí Boird - nochtadh idirbheart 

Tá sé ceadmhach do Bhord Scannán na hÉireann le linn a ghnáth-ghnó, cúnamh a cheadú do thionscadail scannán agus socruithe 

Conartha eile a dhéanamh 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. 

Le linn 2010 tugadh faomhadh do na hiasachtaí seo a leanas do thionscadail a raibh leas ag Comhalta Boird iontu nó ina raibh 

Comhalta Boird fostaithe: 

Ainm Cuideachta I 

Lesley McKimm newgrange Pictures 

Stella Days (Production) 845,000 

Stella Days (Regional Support) 120,000 

Stella Days (Development) 25,000 

Call Girl (Production) 150,000 

Happy Ever Afters (P&A) 37,500 

An Exact Replica of a Figment of My Imagination (Development) 15,000 

Julia Here (Development) 27,000 

James Morris Treasure Entertainment 

30 Eggs (Development) 15,000 

Simple Simon (Development) 22,500 

A Month in the Country (Development) 28,000 

Tristan Orpen Lynch Subotica Entertainment 

Flowers of Desire (Production) 300,000 

A Stranger in a Strange Land (Documentary Promo) 10,000 

Gold (Development) 10,500 

unless (Development) 15,000 

War Dog (Development) 50,000 

La Mula (Development) 10,000 

Fuair Subotica tairiscintí sealadacha cúnaimh chomh maith i dtaobh Gold 

agus A Stranger in a Strange Land 

Kirsten Sheridan warehouse Pictures 

Doll House (Development) 15,000 

Doll House (Production) 365,000 

CDS 

The Rafters (Production) 600,000 

The Rafters (Regional Support) 120,000 

The Factory (Industry Development) 100,000 

Johnny Gogan Bandit Films 

The Straits (Production) 495,000 

Black Ice (Development) 20,000 

The Wet Senor (Development) 5,000 

Cinema northwest 

Swansong (Distribution) 17,642 

Total 3,418,142 

17. Faomhadh an Bhoird 

Thug an Bord faomhadh do na Ráitis Airgeadais ar an 28ú Samhain 2011. 

THE ROAD FROM KOLKATA 

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 2010 

Iasachtaí Léiriúcháin do Phríomhscannáin 

Geallta I 

Albert nobbs Parallel Film Productions 750,000 










My Brothers Rubicon Films 15,577 

Silence South Wind Blows 300,000 


The Looking Glass Emu Productions 4,000 


The Pier Black Equus Films 100,000 


The Runway Fastnet Films 65,000 

Scéimeanna Gearrscannán 

Geallta I 

Short Shorts 


Honeycomb Samson Films 15,000 



Origin Souljacker 15,000 


Signatures 

Shoe Zanita Films 66,000 

Crossing Salween Red Rage Films 83,000 

Pentecost Emu Productions 65,000 


The Christening underground Films 80,000 

Reality Bites 

Horizontal Collaboration Fastnet Films 15,000 

Blue Rinse Zucca Films 15,000 

How Can I Play Wildfire Films 15,000 

needle Exchange venom 15,000 

Geallta I 



Snake Dance West Park Pictures West 80,000 



This Must Be The Place Element Pictures 500,000 





The Last Furlong (The Hideaways) Octagon Films 70,000 


The Rafters CDS 120,000 

Completion 



Stand up My Best Friend Long Grass Productions 10,000 

Iomlán 8,929,577 

Geallta I 

virtual Cinema 

Our Poor Son Rubicon Films 2,000 

Ol’ One Eye Joanne Cunningham 2,000 

Signs vincent Gallagher 2,000 

The Monk and the Fly Souljacker 2,000 

Tv Dinner Two Hungry Fish Productions 2,000 

Irish Dog whisperer Two Hungry Fish Productions 2,000 

The Invention Lightbulb Lovely Productions 2,000 

Daylight Saving Time Jason Butler 2,000 

Spanx and Eve Tonyia Dowling 2,000 

Frameworks 





Iomlán 719,000

56 57 

PEIDHLEACáN SOLAIS (BuTTERFLY LIGHT) 

Léiriúcháin Scannán Faisnéise 

Geallta I 

A Glacier Beneath Image Now Films 240,000 



Children of the Revolution Transmission Films 40,000 



Dreams of a Life Soho Moon Pictures 150,000 



Good Robot Fastnet Films 15,000 

In the name of Dignity Lugh Films 15,000 

Jerry McGill: very Extremely Dangerous 

Screenworks 15,000 






Muerte and Me Fastnet Films 15,000 

Dáileachán 

Léiriú Scannán Beochana 

Geallta I 

Cur Chun Cinn & Fógraíocht/ 

Tacaíocht do Mhargaíocht 



His and Hers Element Distribution 74,560 

Little Foxes Eclipse Pictures 3,578 


Savage Eclipse Distribution 30,000 

Swansong Cinema North West 13,500 



vOLTA Element Distribution 225,000 


Dáiliúchán Díreach 

Colony Fastnet Films 567 

Colony Irish Film Institute 2,200 


Eamon Irish Film Institute 4,400 


Pyjama Girls Irish Film Institute 2,200 

Geallta I 



Otunnu Crossing the Line Films 10,000 

Pikin Players Chapter 01 Productions 10,000 

Possession of the Sea Still Films 20,000 



Showrunners Black Sheep Productions 10,000 

Stranger in a Strange Land Subotica Ltd 10,000 

The Boy George Story Parallel Film Productions 10,000 


The Master the Slave and the Bank Still Films 5,000 

The Men of Arlington House Hotshot Films 60,000 




Thilafushi: Lost in Paradise El Zorrero Films 7,000 


Iomlán 1,344,000 

Geallta I 

The Fading Light Irish Film Institute 2,200 

The Fading Light Park Films 2,258 


Tacaíocht do Phriontáil 

Anton Fox Glove Films 2,000 

Colony Fastnet Films 45,965 

Corduroy EMu Productions 2,631 

Eamon Zanita 1,992 

Fairycatcher 2000AD Productions 3,267 

Fall Zanzibar Films 5,500 

Granny O’Grimm Brown Bag Films 9,824 

His & Hers venom 2,062 

If I Should Fall Behind Tilted Pictures 484 

Moore St Masala Fish Films 10,172 


Please Say Something David O’Reilly 4,034 

Savage SP Films 55,000 

Swansong: The Story of Occi Cinema North West 4,142 

The Herd venom 2,265 

The Man Inside Broken Picture 2,307 

The Pool Warrior Films 8,530 

Iomlán 861,649 

Geallta I 

Punky Monster Animation & Design 200,000 

Thor: The Edda Chronicles Magma Productions 85,000 

Jo and Jack Dancing Girl Productions 150,000 

Tilly & Friends Jam Media 250,000 

Moon Man Cartoon Saloon 300,000 


Iomlán 1,065,000 

HORSES 

Isachtaí Forbartha do Phríomhscannáin 

Geallta I 

30 Eggs Treaure Entertainment 27,000 


An Exact Replica of a Figment of my Imagination 











Doll House CDS Limited 15,000 



Easy Does It Janey Pictures 5,000 

Future Fathers Happy Endings 10,000 






Hate SP Films 38,000 

Honoured Jasmina Kallay 12,000 





Julia Here Newgrange Picures 27,000 



Moscow never Sleeps Johnny O’Reilly 12,000 





Objects of Interest Mammoth Films 20,000 



Iasachtaí chun Scannáin Bheochana a Fhorbairt 


Geallta I 





Return of the Banshee Parallel Film Productions 11,500 






Synchronicity Paul Walker 12,000 


Ten Dates with Mad Mary Element Pictures 40,000 





The End of Romance Trish McAdam 12,000 

The Fourth McHenry Christian O’Reilly 12,000 


The Girl in the Green Kimono Jimmy Murakami/Mary D’arcy 16,000 









Traders Peter Murphy/Rachael Moriarty 16,000 

Twelve Twenty Three Parallel Film Productions 22,500 

unless Subotica Limited 15,000 

unsung Hero Joel Conroy 12,000 




La Mula Subotica 10,000 

Iomlán 1,374,700 

Geallta I 


Cosmo Monster Animation & Design 16,000 







Forbairt Tionscail 

Geallta I 

The Factory CDS 100,000 

Iomlán 100,000

58 59 

LOLA YA BONOBO 

AGuISín 2 

TIOMAnTAIS GAn íOC 2010 

Iasachtaí Léiriúcháin do Phríomhscannáin 

Ar feitheamh I 











The Pier Black Equus films 5,000 


Roimh 2010 107,407 


Ciste do Chomhléiriúcháin Chruthaitheach 





This Must be the Place Element Pictures 50,000 

Roimh 2010 340,000 


Ciste Tacaíochta Réigiúnda 




Roimh 2010 62,500 


Críochnú 



Stand up: My Best Friend Maurice Linnane 50 


Iomlán 6,050 

Léiriú Scannán Beochana 


Punky Monster Animation 60,000 

Roimh 2010 62,400 


SEPARATIONS AGENCY 

Léiriú Scannán Faisnéise 






Dreams of a Life West Park Pictures West 30,000 

















Thilafushi: Lost in Paradise El Zorro Films 2,000 


Roimh 2010 358,975 


Dáiliúchán - Iasachtaí Cur Chun Cinn & Fógraíochta/Tacaíocht Mhargaíochta 




His & Hers Element Distribution 7,456 





Roimh 2010 46,289 

Iomlán Cinnte Cur Chun Cinn & Fógraíochta 126,895 

Dáiliúchán Díreach 




Iomlán Dáiliúchán Díreach 10,000 

Tacaíocht Priontála 


Fairycatcher 2000AD Productions 37 


The Herd venom 566 

Roimh 2010 6,385 

Iomlán Tacaíocht Priontála 14,488 

Scéimeanna 


Short Shorts 



Origin 2,000 


Signatures 



Frameworks 





Roimh 2010 112,195 

Iomlán 220,295

60 61 

BYE BYE NOW 

Iasachtaí Forbarha do Phríomhscannáin 


14 88 SP Films 3,000 

30 Eggs Treasure Entertainment 3,000 


An Exact Replica of a Figment of My Imagination 






























Iasachtaí Forbartha do Scannáin Beochana 






Return of the Banshee Parallel Films 1,500 




Spin City Johnny O’Reilly 2,000 



Ten Dates with Mad Mary Calipo Pictures 10,000 






The Girl in the Green Kimono Jimmy Murakami & Mary D’arcy 4,000 









Traders P Murphy & R Moriarty 4,000 

Twelve Twenty Three Parallel Films 2,500 





Roimh 2010 261,498 




Cosmo Monster Animation 3,000 





Roimh 2010 30,000 


SOMNIAC 

AGuISín 3 

SOnRAí MAIDIR LE COInníOLLACHA IASACHTAí 

(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 ceanglas 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 i ndeireadh na dála go gcaithfear iad a dhíscríobh. 

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

gníomhach aon airgead atá dlite. 

(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.

annpháirtíochta a bheidh ag pearsanra, gnéithe agus 

Éireannaigh sa réimse sin, agus cúinge an mhargaidh 

saoráidí Éireannacha sa dtionscadal, agus (c) go bhfuil 

idirnáisiúnta pictiúrlainne atá ann do phríomhscannáin 

gealltanas i bhfeidhm ag an gcomhléiritheoir tromlaigh go bheochana. Mar sin féin, tabharfar tús áite do shaothar 

ndéanfaidh sé comhalartú trí ghníomhú mar chomhstiúrthóir cruthaitheach ó thalainn Éireannacha a bhfuil an cuma air 

mionlaigh ar scannán Éireannach sa todhchaí 

go bhfuil sé cruthaitheach agus suntasach a dhóthain lena 

62 

CORDuROY 

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. 

chur in oiriúint d’fhormáid an mhórscáileáin ach an deis 

chuige sin a bheith ann. 

• Go ndéanfar ficsean teilifíse, cláracha aonair nó sraitheanna, 

a bhreithniú dá chaighdeán bunúsach ach go gcuirfear tosca 

63 

Beidh BSÉ/IFB airdeallach i gcónaí lena chinntiú i gcás scannán eile san áireamh freisin. Cuirfear béim láidir ar thacaíocht a 

AGuISín 4 

a dhéanann sé infheistíocht iontu go ndéantar cuid mhór dá 

gcaiteachas ar phearsanra Éireannach agus sa dtionscal in 

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

a dtaispeánann a dtaifead gairme go dtí seo go soiléir go 

Éirinn, agus tá sé dóchúil go mbeidh an gné sin den iarratas bhfuil an cumas iontu scannáin cineama a dhéanamh, nó go 

PRIOnSABAIL AGuS CRITÉIR 

an-thábhachtach maidir le cinneadh dearfach a dhéanamh. Ann bhfuil siad, i dtuairim BSÉ/IFB, ag dul i dtreo gairm bheatha 

Tá roinnt bunphrionsabal atá mar bhonn ag a chritéir 

chosúlacht orthu go bhfuil siad ar ardchaighdeán ach go bhfuil 

féin, áfach, ní bheidh sé ina thoisc chinntitheach, i gcás nach a bhaint amach sa scannánaíocht cineama. Ina theannta 

cinnteoireachta cláir maoiniúcháin BSÉ/IFB. Tá na prionsabail sé inbhraite go bhfuil siad leithleach agus difriúil ó scannáin atá 

bhfuil BSÉ/IFB cinnte dearfach maidir le caighdeán tionscadail, sin, beidh sé riachtanach a chur ina luí ar BSÉ/IFB go bhfuil 

sin mar seo a leanas: 

ar fáil i bpríomhshruth an mhargaidh. Ní chiallaíonn sé sin nach 

nó i gcás nach comhlíonann an tionscadal aon cheann de na a rannpháirtíocht airgeadais ríthábhachtach leis an gclár a 

• Breisíocht 

bhfuil spéis ag BSÉ/IFB ach i dtacaíócht a thabhairt d’ábhar 

tosaíochtaí leagtha amach thuas ar bhealaí eile. Tugtar níos mó thabhairt chun críche agus beifear ag súil le rannpháirtíocht 

• Tosaíochtaí Cultúir/Tosaíochtaí Tionscail 

‘neamhthráchtála’. A mhalairt ar fad atá fíor, tá raidhse fianaise 

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

eagarthóireachta maidir lena lánas. Ní bheidh tacaíocht 

• Cineama a Dhéanamh 

• 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’. 

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 

ann i stair na scannán a léiríonn gur minic gur ábhar iontais, 

ceannródaíochta agus imeallacha iad na móréachtaí cineama. 

Is cosúil go mbíonn athnuachan rialta de 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 dá mhaoiniúchán maoiniú seachas 

tionscadail 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 

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 

Cineama a Dhéanamh 

Cúis bhunúsach go bhfuil BSÉ/IFB ar an tsaol is ea chun saothar 

in Éirinn a dhéantar lena thaispeáint ar an scáileán mór a 

spreagadh, a chothú agus a chur chun cinn. 

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 fiú amháin maireachtáil faoi bhláth, 

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. 

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 

forbartha ó BSÉ/IFB d’ábhar atá dírithe go sonrach ar léirú 

teilifíse ar fáil ach go hannamh ar fad. 

Úrnuacht 

Ar mhaithe le sainiúlacht a bhaint amach sa tslí ina úsáideann 

sé a chuid acmhainní, agus go comhsheasmhach maidir leis 

na spriocanna breisíocht a bhfuil cur síos déanta orthu cheana 

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, 

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 

a dhéanamh air sin le dearbh-chruinneas, ag cur san áireamh Tabharfar aird dáiríre ar iarratais: 

faisnéise’; i gcás scannán atá dírithe ar shliotán teilifíse éiríonn le scannán nó má theipeann air, creideann BSÉ/IFB gur 

nádúr na n-idirbheartaíochtaí a bhíonn da dhíth i dtaca le • a mholann tionscadal atá go soiléir Éireannach (ó thaobh 

atá uair an chloig nó níos giorra ar fhad agus nach bhfuil aon féidir caiteachas airgid poiblí a chosaint go láidir matá rud éigin 

hairgeadas scannán, ach seasann an prionsabal agus cloífear suímh, carachtar, etc. de) ach a bheidh á stiúradh ag 

tarraingt nó nach bhfuil ach tarraingt an-bheag acu, ní dócha úrnua le rá ag an scannán,rud éigin úrnua le cur le hiomlán an 

go docht leis. 

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

go dtabharfar tacaíocht dóibh ach amháin i gcás go meastar cineama domhanda. 

Beidh tionchar freisin ag an sprioc 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 

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 

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 

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 n- 

aimseofar lucht féachana. 

ó thaobh BSÉ/IFB de maidir le gnéithe cruthaitheacha den 

I gcás nach mbíonn BSÉ/IFB den tuairim go gcloíonn tionscadal 

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

65 

le haon cheann de na treoirphrionsabail, ní bheidh a ndóthain 

de fhreagraí dearfacha agus diúltacha díospóireacht maidir le 

sna tosca eile sin le tairiscint maoiniúcháin a bhaint amach. 

THE BALLAD OF KID KANTuRK 

méid agus modh ghealltanas BSÉ/IFB. 

Ach i gcás tionscadail ina meastar go bhfuil an t-ábhar agus an 

fhoireann 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. 

• Teist gairme an léiritheora go dtí seo 

• An ndearna an léiritheoir bainistiú agus seachadadh 

proifisiúnta agus éifeachtúil ar scannáin roimhe seo? 

• An bhfuil dea-thaithí ag BSÉ/IFB roimhe seo maidir le 

plé a dhéanamh leis an léiritheoir? 

• 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 

teicniúla lena líonadh ag pearsanra Éireannach? 

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

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? 

• An mbainfidh an léiriúchán feidhm fhairsing as saoráidí 

léiriúcháin agus iar-léiriúcháin in Éirinn? 

• An meallfaidh an tionscadal infheistiócht isteach 

i ngeilleagar na hÉireann? 

• Díolachán agus Dáileachán 

• An bhfuil baint ag gníomhaire díolacháin idirnáisiúnta 

leis an scannán? 

• An bhfuil dáileoir Éireannach ag an scannán? 

• An bhfuil airgeadas léiriúcháin á sholáthar ag aon 

dáileoir nó craoltóir? 

• Struchtúr Airgeadais 

• An bhfuil na hairgeadaithe atá á moladh don scannán 

iontaofa? 

• An gcuirfidh na socruithe airgeadais atá a moladh ar 

chumas BSÉ/IFB idirbheartaíocht a dhéanamh i dtaca 

le seasamh réasúnach aisghabhála. 

• An mbeidh follasacht reasúnach cuntasaíochta i gceist 

maidir le hioncam díolacháin, e.g. trí ghníomhaire 

bailiúcháin a úsáid? 

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 

Critéir Athraitheacha 

Tá critéir sainiúla dá gcuid féin ag cuid de chláir maoiniúcháin 

BSÉ/IFB agus ní gá go rialódh na prionsabail atá leagtha amach 

thuas iad: 

• 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. 

• Léiriúchán Idirnáisiúnta 

Cé go bhfuil an clár seo i dtéarmaí ginearálta faoi réir 

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

an tionscail ná na cruthaitheachta. An fhad is go bhfuil 

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

bhfuil cuma sochreidthe ar an bpacáiste cruthaitheach, 

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 téarmaí tagartha an chláir seo go heisiatach eacnamaíoch. 

Lena bheith incháilithe, ní mór go mbeadh maoiniú léiriúcháin 

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 

oiread i gceist leis an méid sin agus an méid maoiniúcháin 

a éilítear. 

• Doiciméadú ar na hEalaíona 

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 an clár Soláthar Priontaí ar bhonn uathoibríoch, 

trína mbíonn scannáin incháilithe le haghaidh tacaíochta i 

gcás go roghnaítear iad d’fhéile amháin ar liosta na bhféilte 

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

an mhaoiniúcháin. Cuirtear maoiniú le haghaidh Priontaí agus 

Fógraíócht ar fáil do dháileoirí Éireannacha ar scannáin 

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

bhfeabhsóidh tacaíocht ó BSÉ/IFB cur chun cinn scannáin 

i margadh na hÉireann. 

AGuISín 5 

SEIRBHíSí SuíMH 

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. 

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

• 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. 

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

a bhaineann le scannánaíocht in Éirinn. 

• 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. 

• Déanann muid comhoibriú le comhlachtaí eile leis an dtimpeallacht oibre a dhéanamh chomh cairdiúil agus is 

féidir do lucht na scannán.

FEATuRE FILMS/FADSCAnnÁIn 

1993-2010 

32A 2007 / Director/Script: Marian Quinn, A Film with Me In It 2008 / Director: Ian Blind Flight 2004 / Director: John Furse, 

Circle of Friends 1993 / Director: Pat 

The Disappearance of Finbar 1994/95 / Flick 1999 / Director: Fintan Connolly, 

66 Producers: Tommy Weir, Roshanak 

Behesht Nedjad, Production Company: 

Fitzgibbon, Producers: Alan Molony, Susan 

Mullen, Script: Mark Doherty, Production 

Producers: Sally Hibbin, David Collins, Eddie 

Dick, Script: Brian Keenan, John Furse, 

O’Connor, Producers: Frank Price, Arlene 

Sellers, Alex Winitsky, Script: Andrew 

Director: Sue Clayton, Producers: David 

Collins/Bertil Ohlsson, Martin Bruce 

Producer: Fiona Bergin, Script: Fintan 

Connolly, Production Company: Fubar. 

67 

Janey Pictures. 

Company: Parallel Film Productions. 

Production Company: Samson Films. 

Davies, Production Company: Good Girls. Clayton, Script: Dermot Bolger, Production 

Company: Samson Films. 

Frankie Starlight 1994/95 / Director: 

48 Angels 2006 / Director: Marion Comer, A Love Divided 1998 / Director: Syd 

Bloody Sunday 2001 / Director/Script: Paul 

Circus Fantasticus 2010 / Director/Script: 

Michael Lindsay-Hogg, Producer: Noel 

writers: Marion Comer, Craig Holland, Macartney, Producers: Tim Palmer, 

Greengrass, Producers: Mark Redhead, 

Janez Burger, Producers: Morgan Bushe, Disco Pigs 2000 / Director: Kirsten Sheridan, Pearson, Script: Chet Raymo, Ronan 

Producers: John McDonnell, Robert 

Alan Moloney, Gerry Gregg, Script: 

Jim Sheridan, Arthur Lappin, Production 

Jozko Rutar Petri Rossi, Production 

Producer: Ed Guiney, Script: Enda Walsh, O’Leary, Production Company: 

Medema, Marion Comer, Production 

Stuart Hepburn, Production Company: Company: Hell’s Kitchen. 

Companies: Fastnet Films, Staragara 

Production Company: Temple Films. 

Ferndale Films. 

Company: Reflected Light Pictures. 

Parallel Films. 

Productions. 

A 

About Adam 1999 / Director: Gerard 

Stembridge, Producers: Anna Devlin, 

Marina Hughes, Script: Gerard 

Stembridge, Production Company: 

venus Film & Television. 

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 


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, 


All Good Children 2010 / Director: Alicia 

Duffy, Producers: Ed Guiney, Andrew Lowe, 

Jonathan Cavendish, Tom Dercourt, Patrick 

Quinet, Production Company: Element 

Pictures. 

All Things Bright and Beautiful 1993 

/ Director: Barry Devlin, Producer: 

Katy McGuinness, Script: Barry Devlin, 

Production Company: The Good Film Co. 

A Kiss For Jed wood 2010 / Director: 

Maurice Linnane, Producer: Tim Palmer, 

Script: Barry Devlin, Maurice Linnane, 

Production Company: Ignition Film 

Productions. 

A Man of no Importance 1993 / Director: 

Suri Krishnama, Producer: Jonathan 

Cavendish, Script: Barry Devlin, Production 

Company: Little Bird. 

A Shine of Rainbows 2009 / Director: vic 

Sarin, Producers: Tina Phelme, Kim Roberts, 

James Flynn, Script: Danis Foon, Catherine 

Spear, vic Sarin, Production Companies: 

Octagon Films, Sepia Films. 

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. 

Between The Canals 2010 / Director/Script: 

Mark O’Connor, Producer: Deirdre Barry, 

Production Company: Avalon Films. 

Black Day at Black Rock 2000 / Director/ 

Script: Gerard Stembridge, Producers: 

Anna Devlin, Marina Hughes, Production 

Company: venus Films. 

Bloom 2004 / Director/Script: Sean Walsh, 

Producers: Sean Walsh, Gerry Murphy, 

Mark Byrne, Production Company: 

Odyssey Pictures. 

Bogwoman 1997 / writer/Director: Tom 

Collins, Producers: Martha O’Neill, Tom 

Collins, Production Company: De Facto 

Film & video. 

Borstal Boy 2000 / Director: Peter Sheridan, 

Producers: Pat Moylan, Arthur Lappin, Jim 

Sheridan, Script: Peter Sheridan, Nye Heron, 

Production Company: Hell’s Kitchen. 

Boxed 2003 / Director/Script: Marion Comer, 

Producers: Laurence Penn, Lene Bausager, 

Douglas Graham, Production Companies: 

Fireproof Films, ugly Duckling Films. 

The Boxer 1998 / Producer/Director: 

Jim Sheridan, Producer: Arthur Lappin, 

Script: Terry George, Production Company: 

Hell’s Kitchen. 

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. 

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. 

Cowboys & Angels 2004 / Director/Script: 

David Gleeson, Producer: Nathalie 

Lichtenthaeler, Production Company: 

Wide Eye Films. 

The Crooked Mile 2001 / Director/Script: 

Stephen Kane, Producers: Triona Campbell, 

Avril Ryan, Production Company: Campbell 

Ryan Productions. 

Cracks 2009 / Director: Jordan Scott, 

Producers: Julie Payne, Kwesi Dickson, 

Rosalie Swedlin, Andrew Lowe, Christine 

vachon, Script: Caroline Ip, Ben Court, 

Jordan Scott, Production Companies: 

Element Pictures, Future Films, Antenna 

3 Films, Scott Free. 

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. 

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. 

E 

Eamon 2009 / Director/Script: Margaret 

Corkery, Producer: Seamus Byrne, 

Production Company: Zanita Films 

The Eclipse 2009 / Director: Conor 

McPherson, Producer: Rob Walpole, Script: 

Conor McPherson, Billy Roche, Production 

Company: Treasure Entertainment. 

Eden 2008 / Director: Declan Recks, 

Producer: David Collins, Script: 

Eugene O’Brien, Production Company: 

Samson Films. 

The Englishman 2008 / Director: Ian 

Sellers, Producers: Teresa Mulqueen, David 

Collins, Script: Ian Sellers, Brendan Grant, 


The Escapist 2007 / Director: Rupert 

Wyatt, Producers: Adrian Sturges, Alan 

Molony, Script: Rupery Wyatt, Daniel 

Hardy, Production Company: Parallel 

Film Productions. 

F 

The Fading Light 2010 / Director/Script: 

Ivan Kavanagh, Producer: Anne Marie 

Naughton, Production Company: Park 

Films. 

The Fifth Province 1997 / Director: 

Frank Stapleton, Producer: Catherine 

Tiernan, Nina Fitzpatrick, Frank Stapleton, 

Production Company: Ocean Films. 

Five Day Shelter 2010 / Director/Script: 

Ger Leonard, Producers: Liam O’Neill, villi 

Ragnarsson, Production Company Paradox 

Pictures. 

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. 

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. 

Gold in the Streets 1996 / Director: 

Elizabeth Gill, Producer: Noel Pearson, 

Script: Janet Noble, Noel Pearson, 

Production Company: Ferndale Films. 

Goldfish Memory 2003 / Director/Script: 

Liz Gill, Producer: Breda Walsh, Production 

Company: Goldfish Films. 

The Guard 2010 / Director/Script: John 

Michael McDonagh, Producers Ed Guiney, 

Andrew Lowe, Chris Clark, Flora 

Fernandez Marengo, Production Companies: 

Element Pictures, Reprisal Films. 

Guiltrip 1994/95 / Director: Gerry 

Stembridge, Producer: Ed Guiney, Script: 

Gerry Stembridge, Production Company: 

Temple Films. 

H 

H3 2001 / Director: Les Blair, Producers: 

James Flynn, Juanita Wilson, Script: 

Laurence McKeown, Brian Campbell, 

Production Company: Metropolitan 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: Intermission 2003 / Director: John Crowley, Love and Rage 1998 / Producer/Director: 

n 

Outcast 2010 / Director/Script: Colm 

Seaside Stories 2010 / Director/Producer/ 

68 Stephen Burke, Producer: Lesley McKimm, Producers: Neil Jordan, Alan Moloney, Cathal Black, Producer: Rudolf Wichmann, 

night Train 1998 / Director: John Lynch, McCarthy, Producers: John McDonnell, Script: Fergus Tighe, Production Company: 69 

Production Company: Newgrange Pictures. Stephen Woolley, writer: Mark O’Rowe, Script: Brian Lynch, Production Company: 

Producer: Tristan Orpen Lynch, Script: Brendan McCarthy, Production Companies: Gallivanting Media. 

Production Companies: Parallel Films, Cathal Black. 

Aodhan Madden, Production Company: Fantastic Films, Makar Films. 

Headrush 2003 / Director/Script: Shimmy Company of Wolves. 


The Secret of Kells 2008 / Directors: Tomm 

Marcus, Producer: Edwina Forkin, 

Love and Savagery 2009 / Director: John 

P 

Moore, Nora Twomey, Producers: Paul 

Production Company: Zanzibar Films. 

Isolation 2006 / Director/writer: Billy Smith, Producers: Barbara Doran, Lynne 

niko and the way to the Stars 2008 / 

Park 1999 / Directors: John Carney, Tom Young, Didier Brunner, vivian van Fleteran, 

O’Brien, Producers: Ruth Kenley-Letts, Wilson, Kevin Tierney, Tristan Orpen Lynch, 

Directors: Michael Hegner, Kari Juusonen, Hall, Producers: John Carney, Tom Hall, Script: Fabirce Ziolkowski, Tomm Moore, 

Helen 2009 / Directors/Script: Christine Bertrand Faivre, Ed Guiney, Production Script: Des Walsh, Production Companies: 

Script: Hannu Tuomainen, Marteinn 

Script: John Carney, Production Company: Production Company: Cartoon Saloon. 

Molloy, Joe Lawlor, Producer: Joe Lawlor, Companies: Element Films, The Bureau. Subotica Entertainment, Morag Loves 

Thorisson, Mark Hodkinson, Production High Hat Productions. 

Production Company: Desperate Optimists. 

Company, Park Ex Pictures. 

Companies: Magma Films, Animaker, 

Sensation 2010 / Director/Script: Tom Hall, 

J 

ulysses Films, Afilm. 

Pavee Lackeen 2005 / Director: Perry Producers: Katie Holly, Kieron J Walsh, 

His & Hers 2009 / Director/Script: Ken Johnny was 2006 / Director: Mark 

M 

Ogden, Producers: Perry Ogden, Martina Production Company: Blinder Films. 

Wardrop, Producer: Andrew Freedman, Hammond, writer: Brendan Foley, 

The Magdalene Sisters 2003 / Director/ 

nora 1999 / Director: Pat Murphy, 

Niland, John Rocha, Script: Perry Ogden, 

Production Company: venom. 

Producers: Patrick Fitzsymons, Tom 

Script: Peter Mullan, Producers: Ed Guiney, 

Producers: James Flynn, Tracey 

Mark venner, Production Company: An Separation Anxiety 1997 / Director: Mark 

Maguire, Paul Largan, Lars Hermann, Ira Frances Higson, Production Company: 

Seaward, Script: Pat Murphy, Gerard 

Lár Films. 

Staunton, Producer: Liam O’Neill, Script: 

The Honeymooners 2004 / Director/Script: Besserman, Brendan Foley, Production Element Films. 

Stembridge, Production Company: 

Shelagh Harcourt, Production Company: 

Karl Golden, Producers: Martina Niland, Company: Borderline Productions. 

volta/Metropolitan Films. 

Peaches 2000 / Director/Script: Nick Paradox Pictures/Dogtown Films. 

Martin Brinkler, Production Company: 

Man About Dog 2004 / Director: Paddy 

Grosso, Producer: Ronan Glennane, 

Samson Films. 

K 

Breathnach, Producers: Robert Walpole, 

not Afraid, not Afraid 2001 / Director: Production Company: Stone Ridge Film. Shrooms 2007 / Director: Paddy Breathnach, 

Kill Daddy, Goodnight (Das vaterspiel) Simon Channing Williams, Script: Pearse 

Annette Carducci, Producers: Morgan 

Producers: Robert Walpole, Paddy 

How About you 2007 / Director: Anthony 2008 / Director/Script: Michael Glawogger, Elliott, Production Companies: Treasure 

O’Sullivan, James Flynn, Howard Gibbins, Perrier’s Bounty 2009 / Director: Ian McDonald, Script: Pearse Elliot, Production 

Byrne, Producer: Noel Pearson, Script: Producers: Christine Ruppert, Lesley 

Entertainment, Potboiler Productions. 

Script: Annette Carducci, Barry Devlin, Fitzgibbon, Producers: Alan Molony, 

Company: Treasure Entertainment. 

Jean Pasley, based on a short story by Maeve McKimm, Production Companies: Tatfilm, 

Production Company: World 2000. 

Stephen Woolley, Elizabeth Karlsen, Script: 

Binchy, Production Company: Ferndale Films Newgrange Films. 

Mapmaker 2001 / Director/Script: Johnny 

Mark O’Rowe, Production Company: Parallel Silent Grace 2001 / Director/Producer/ 

Gogan, Producer: Paul Donovan, Production 

nothing Personal 1994/95 / Director: Film Productions. 

Script: Maeve Murphy, Production 

How Harry Became a Tree 2001 / Director: Kings 2007 / Director/Script: Tom Collins, Company: Grand Pictures. 

Thaddeus O’Sullivan, Producers: Tracey 

Company: Follower Productions. 

Goran Paskaljevic, Producer: Liam O’Neill, Producer: Jackie Larkin, Production 

Seaward, Jonathan Cavendish, Script: Danny Pete’s Meteor 1998 / writer/Director: 

Script: Goran Paskaljevic, Stephen Walsh, Company: Newgrange Pictures 

Mickybo & Me 2005 / Director/Script: 

Mornin, Production Company: Little Bird. Joe O’Byrne, Producers: Liam O’Neill, Small Engine Repair 2007 / Director/Script: 

Production Company: Paradox Films. 

Terry Loane, Producers: Mark Huffam, 

John Lyons, Production Company: 

Niall Heery, Producers: Tristan Orpen Lynch, 

Mike McGeagh, Production Companies: 

Paradox Pictures. 

Dominic Wright, Production Company: 

Octagon 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 

Comerford, Producer: David Kelly, Script: 

Joe Comerford, Production Company: 

Sandy Films. 

I 

I Could Read the Sky 1999 / Director: Nichola 

Bruce, Producers: Janine Marmot, Nicholas 

O’Neill, Script: Nichola Bruce, based on 

the book by Timothy O’Grady & Steve Pyke, 

Production Company: Liquid 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. 

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. 

L 

The Last Bus Home 1997 / writer/Director: 

Johnny Gogan, Producer: Paul Donovan, 

Production Company: Grand Pictures. 

The Last of the High Kings 1994/95 / 

Director: David Keating, Producer: Tim 

Palmer, Script: David Keating, Gabriel Byrne, 

Production Company: Parallel 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. 

The Looking Glass 2010 / Director/Script: 

Colin Downey, Producer: Eimear O’Kane, 

Production Company: EMu Productions 

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. 

Moondance 1993 / Director: Dagmar Hirtz, 

Producers: James Mitchell, Jonathan 

Cavendish, Script: Burt Weinshanker, 

Production Company: Little Bird. 

The Most Fertile Man in Ireland 2000 / 

Director: Dudi Appleton, Producer: David 

Collins, Script: Jim Keeble, Production 


My Brothers 2010 / Director: Paul Fraser, 

Producers: Rebecca O’Flanagan, Rob 

Walpole, Script: William Collins, 

Production Company: Rubicon 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. 

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. 

On the nose 2000 / Director: David Caffrey, 

Producers: Tristan Orpen Lynch, Scott 

Kennedy, Script: Tony Philpott, Production 

Company: Subotica Entertainment. 

Once 2007 / Director/Script: John Carney, 

Producers: Martina Niland, David Collins, 


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. 

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. 

Rewind 2010 / Director: PJ Dillon, 

Producers: Alex Jones, John 

Wallace, Script: PJ Dillon, Ronan Carr, 

Production Company: Carbon Films. 

The Runaway 2010 / Director/Script: Ian 

Power, Producers: Macdara Kelleher, 

Brendan McDonald, Bernard Michaux, 

Production Companies: Fastnet Films, 

Lucil Films. 

S 

Saltwater 1999 / Director: Conor 

McPherson, Producer: Robert Walpole, 

Script: Conor McPherson, Production 

Company: Treasure Films. 

Savage 2009 / Director/Script: Brendan 

Muldowney, Producer: Conor Barry, 

Production Company: SP Films. 

Snakes and Ladders 1994/95 / Director: 

Trish McAdam, Producers: Lilyan Sievernich, 

Chris Sievernich, Script: Trish McAdam, 

Production Company: Livia Film. 

Snap 2010 / Director/Script: Carmel 

Winters, Producer: Martina Niland, 


Some Mother’s Son 1996 / Director/ writer: 

Terry George, Producers: Jim Sheridan, 

Arthur Lappin, Ed Burke, Production 

Company: Hell’s Kitchen. 

Some Other Stories 2010 / Directors: Ivona 

Juka, Ana Maria Rossi, Marija Dzidzeva, 

Ines Tanovic, Hannah Slak, Producers: Ian 

W Davis, James Flynn, Anita Juka, Nenad, 

Dukic, Alem Babic, Tomi Salkovski, Dunja, 

Kemenc, Script: Ivona Juka, Ana Maria 

Rossi, Ines Tanovic, Gjorche Stavreski, 

Hanna Slak, Production Companies: DIG 

Productions, Octagon Films, See Films Pro, 

Studio Maj Production, 4 Film, Dokument, 

Skopje Film Studio. 

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: 

Subotica Entertainment.

70 

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. 

Studs 2006 / Director/writer: Paul 

Mercier, Producers: Fiach Mac Conghail, 

Cuán Mac Conghail, Production Company: 

Brother Films. 

Sugar 2005 / Directors: Patrick Jolley, 

Reynold Reynolds, Producers: Samara 

Golden, Patrick Jolley, Reynold Reynolds, 

Edwina Forkin, Script: Reynold Reynolds, 

Samara Golden, Patrick Jolley, Production 

Companies: Zanzibar Films, Make Films. 

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. 

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:

Queensgate 

23 Dock Road 

Galway 

Ireland 

Geata na Banríona 

23 Bóthar na Duganna 

Gaillimh 

Éire 

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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