AnnuAL REPORT OF BORD SCAnnÁn nA ... - Irish Film Board
AnnuAL REPORT OF BORD SCAnnÁn nA ... - Irish Film Board
AnnuAL REPORT OF BORD SCAnnÁn nA ... - Irish Film Board
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AnnuAl RepoRt/<br />
Ráitis AiRgeAdAis<br />
2010
Foilsithe ag/Published by<br />
Bord Scannán na hÉireann/the <strong>Irish</strong> <strong>Film</strong> <strong>Board</strong><br />
Queensgate, 23 Dock Road, Galway, Ireland<br />
Tel +353 91 561 398, Fax +353 91 561 405<br />
info@irishfilmboard.ie www.irishfilmboard.ie<br />
Comhaltaí/<strong>Board</strong> Members<br />
James Morris (Chair)<br />
Johnny Gogan<br />
Barry Grace<br />
Lesley McKimm<br />
Kevin Moriarty<br />
Tristan Orpen Lynch<br />
Kirsten Sheridan<br />
An Príomhfheidhmeannach/Chief Executive<br />
James Hickey<br />
Business Affairs/Chúrsaí Ghnó<br />
Ceannasaí Chúrsaí Gnó/Head of Business Affairs<br />
Teresa McGrane<br />
Rialtóir Airgeadais/Financial Controller<br />
Celine Forde<br />
Ceannasaí Chursaí Dlí/Head of Legal Affairs<br />
Mark Byrne<br />
Feidhmeannach Cúrsaí Tionscail/<br />
Industry Affairs Executive<br />
Patrick O’Neill<br />
Comhordaitheoir Chúrsaí Gnó agus Dlí/<br />
Business and Legal Affairs Co-Ordinator<br />
Aileen McCauley<br />
Comhordaitheoir Cúntas/Accounts Co-ordinator<br />
Suzanne Keane (Part-time)<br />
Léiriúcháin 7 Forbartha/Production & Development<br />
Feidhmeannach Léiriúcháin/Production Executives<br />
Alan Maher, Emma Scott<br />
Feidhmeannach Forbartha/Development Executive<br />
Andrew Meehan<br />
Comhordaitheoir Léiriúcháin agus Forbartha/<br />
Production & Development Co-ordinator<br />
Sarah Dillon<br />
Comhordaitheoir Iarratas agus Scéimeanna/<br />
Applications & Schemes Co-ordinator<br />
Jill McGregor<br />
Margaíochta/Marketing<br />
Feidhmeannach Margaíochta agus Cumarsáide/<br />
Marketing and Communications Executive<br />
Louise Ryan<br />
Coimisiún Scannán na hÉireann/<strong>Irish</strong> <strong>Film</strong> Commission<br />
Coimisinéir Scannán/<strong>Film</strong> Commissioner<br />
Naoise Barry<br />
Leas-Coimisinéir Scannán/Deputy <strong>Film</strong> Commissioner<br />
Mags O’Sullivan<br />
Riarachán/Administration<br />
Cúntóir Pearsanta ag an bPríomhoifigeach<br />
Feidhmiúcháin/PA to CEO<br />
Niamh O’Reilly<br />
COnTEnTS/ÁBHAIR<br />
PREAMBLE .............................................................................................................. 2<br />
RÉAMHRÁ ................................................................................................................ 3<br />
<strong>AnnuAL</strong> <strong>REPORT</strong> <strong>OF</strong> <strong>BORD</strong> <strong>SCAnnÁn</strong> <strong>nA</strong> hÉIREAnn ........................ 8<br />
<strong>BORD</strong> <strong>SCAnnÁn</strong> <strong>nA</strong> hÉIREAnn’S OBJECTIvES AnD POLICIES ...... 9<br />
FI<strong>nA</strong>nCE ................................................................................................................. 10<br />
STATEMENT <strong>OF</strong> BOARD RESPONSIBILITIES .............................................................. 11<br />
STATEMENT <strong>OF</strong> INTERNAL FINANCIAL CONTROL .................................................... 12<br />
<strong>REPORT</strong> <strong>OF</strong> THE COMPTROLLER AND AuDITOR GENERAL ...................................... 13<br />
ACCOuNTING POLICIES .............................................................................................. 14<br />
FINANCIAL STATEMENTS <strong>OF</strong> <strong>BORD</strong> SCANNáN NA hÉIREANN/<br />
THE IRISH FILM BOARD YEAR ENDED 31 DECEMBER 2010 ...................................... 15<br />
NOTES TO THE FINANCIAL STATEMENTS .................................................................. 19<br />
APPEnDICES<br />
1. CAPITAL COMMITMENTS 2010 ................................................................................ 26<br />
2. OuTSTANDING COMMITMENTS 2010 ..................................................................... 29<br />
3. DETAILS <strong>OF</strong> LOAN CONDITIONS.............................................................................. 32<br />
4. PRINCIPLES & CRITERIA......................................................................................... 33<br />
5. LOCATION SERvICES ............................................................................................... 36<br />
<strong>BORD</strong> <strong>SCAnnÁn</strong> <strong>nA</strong> hÉIREAnn RÁITIS AIRGEADAIS .......................... 37<br />
CuSPóIRí AGuS BEARTAIS <strong>BORD</strong> <strong>SCAnnÁn</strong> <strong>nA</strong> hÉIREAnn ............ 38<br />
AIRGEADAS ............................................................................................................. 39<br />
RáITEAS AR DHuALGAIS CHOMHALTAí AN BHOIRD .................................................. 40<br />
RáITEAS FAOI CHóRAS RIALAITHE INMHEáNAIGH AIRGEADAIS ............................. 41<br />
TuAIRISC AN ARD-REACHTAIRE CuNTAS AGuS CISTE ............................................. 42<br />
BEARTAIS CHuNTASAíOCHTA ..................................................................................... 43<br />
RáITIS AIRGEADAIS <strong>BORD</strong> SCANNáN NA hÉIREANN<br />
DON BHLIAIN DAR CHRíOCH 31 NOLLAIG 2010 ......................................................... 44<br />
NóTAí AG GABHBáIL LEIS NA RáITIS AIRGEADAIS.................................................... 48<br />
AGuISíní<br />
1. TIOMANTAIS CHAIPITIL 2010................................................................................... 55<br />
2. TIOMANTAIS GAN íOC 2010 ..................................................................................... 58<br />
3. SONRAí NA GCOINNíOLLACHA IASACHTA ............................................................. 61<br />
4. PRIONSABAIL & CRITÉIR ........................................................................................ 62<br />
5. SEIRBHíSí SuíMH .................................................................................................... 65<br />
FEATuRE FILMS/FADSCAnnÁIn 1993 - 2010 ......................................... 66<br />
01
02<br />
THE GIARD<br />
PREAMBLE<br />
InTRODuCTIOn / HIGHLIGHTS<br />
In 2010 the <strong>Irish</strong> film and television sector had a record year in<br />
terms of production output contributing €225 million into the<br />
<strong>Irish</strong> economy, in terms of creating jobs and spend on local<br />
goods and services. This figure was an increase from €157.2<br />
million in 2009.<br />
Throughout the year the <strong>Irish</strong> film industry continued to build<br />
on its excellent international reputation garnering significant<br />
recognition and acclaim as new <strong>Irish</strong> features were selected<br />
for major international festivals and <strong>Irish</strong> talent picked up<br />
awards and received nominations for some of the industry’s<br />
highest accolades.<br />
Highlights include the <strong>Irish</strong> film industry receiving five<br />
Academy Award® nominations, three of which for the IFB<br />
supported films The Secret of Kells, Granny O’Grimm’s Sleeping<br />
Beauty and The Door while <strong>Irish</strong> animator Richard Baneham<br />
and his team picked up the Oscar for Best visual Effects for his<br />
work on Avatar.<br />
Other highlights include All Good Children being selected<br />
for the prestigious Directors Fortnight at Cannes, His &<br />
Hers picking up a prize for Excellence in Cinematography<br />
at Sundance and <strong>Irish</strong> films being selected for some of the<br />
world’s most renowned festivals including Toronto, Tribeca,<br />
SXSW, Karlovy vary, Edinburgh, Clermont Ferrand, Annecy,<br />
Hot Docs and London. These selections, nominations and<br />
awards reinforce Ireland as a centre of cultural excellence<br />
with a reputation for both creativity and professionalism on<br />
the world stage.<br />
It was also a record year also in terms of cinema releases, as<br />
a number of indigenous <strong>Irish</strong> films reached <strong>Irish</strong> audiences in<br />
2010 including four feature length documentaries. His & Hers<br />
was especially successful receiving critical acclaim and having<br />
an extended <strong>Irish</strong> cinema release due to popular demand and<br />
topping the <strong>Irish</strong> DvD charts.<br />
FunDInG<br />
Government funding, provided directly to the sector through<br />
Bord Scannán na hÉireann/the <strong>Irish</strong> <strong>Film</strong> <strong>Board</strong> (IFB) is a key<br />
component of the entire audiovisual content industry.<br />
In 2010 the IFB received a total of €19.3 million of government<br />
funding. This funding, together with the improved <strong>Irish</strong> tax<br />
incentive for film and television production Section 481,<br />
allowed 13 <strong>Irish</strong> features,1 <strong>Irish</strong> language Tv series, 6 creative<br />
co-productions, 6 animated projects and 17 documentaries<br />
with theatrical ambitions to go into production in the year.<br />
InTER<strong>nA</strong>TIO<strong>nA</strong>L PRODuCTIOn<br />
2010 proved to be one of the strongest years for incoming<br />
international film and television productions Ireland has<br />
experienced having attracted numerous big budget feature<br />
films, television series and television movies.<br />
The year got off to a great start when the major feature film<br />
Haywire, directed by Hollywood legend Steven Soderberg and<br />
starring Ewan McGregor and Michael Fassbender filmed<br />
in Ireland. With an <strong>Irish</strong> budget of €3.1 million, it shot in<br />
numerous locations around Dublin and Wicklow.<br />
THE RuNWAY<br />
REAMHRÁ<br />
RÉAMHRÁ / BuAICPHOInTí<br />
Bliain thar na bearta a bhí ag earnáil na scannán agus na teilifíse<br />
in Éirinn i 2010 ó thaobh aschuir táirgíochta de, bliain inar chuir<br />
an earnáil €225 milliún isteach i ngeilleagar na tíre, agus ó thaobh<br />
poist a chruthú agus caiteachas ar earraí agus ar sheirbhísí áitiúla<br />
de. Ba mhéadú an figiúr sin ó fhigiúr de €157 milliún sa bhliain<br />
2009.<br />
Lean tionscal na scannán in Éirinn ar aghaidh i gcaitheamh na<br />
bliana ag tógáil ar an gclú idirnáisiúnta atá aige atá ar fheabhas<br />
i gcónaí agus ghnóthaigh sé aitheantas agus moladh suntasach<br />
de réir mar a roghnaíodh príomhscannáin nua Éireannacha do<br />
mhórfhéiltí idirnáisiúnta agus de réir mar a ghnóthaigh talann<br />
Éireannach duaiseanna agus ainmniúcháin do chuid de na hacailídí<br />
is mó atá ar fáil sa dtionscal.<br />
I measc na mbuaicphointí bhí na cúig ainmniúcháin a fuair tionscal<br />
na scannán in Éirinn do Dhuaiseanna an Acadaimh®, trí chin<br />
acu do scannáin a fuair tacaíocht ó BSÉ / IFB, The Secret of Kells,<br />
Granny O’Grimm’s Sleeping Beauty and The Door agus an Oscar<br />
a bhuaigh Richard Baneham agus a fhoireann i gcomhair na<br />
Maisíochtaí Físiúla is Fearr dá shaothar ar an scannán Avatar.<br />
Bliain thar na bearta a bhí ann freisin ó thaobh eisiúintí cineama<br />
de, mar gur shroich líon áirithe scannán dúchasacha lucht<br />
féachana in Éirinn le linn 2010 ina measc ceithre scannán faisnéise<br />
ar fhad phríomhscannáin. D’éirigh go han-mhaith go háirithe le<br />
His & Hers a fuair ard-mholadh ó na léirmheastóirí agus a fuair<br />
eisiúint shínte cineama in Éirinn de bharr éileamh an phobail agus<br />
a bhain amach bharr na gcairteanna DvD in Éirinn.<br />
MAOInIÚ<br />
Tá maoiniú ón Rialtas, a sholáthraítear go díreach don earnáil<br />
trí Bhord Scannán na hÉireann/the <strong>Irish</strong> <strong>Film</strong> <strong>Board</strong> (IFB) ina<br />
phríomhchuid den dtionscal lánas closamhairc ar fad.<br />
Sa bhliain 2010 fuair an BSÉ/IFB iomlán de €19.3 milliún de<br />
mhaoiniú ón Rialtas. De bharr an maoiniúcháin sin, mar aon<br />
leis an an spreagadh cánach in Éirinn le haghaidh léiriúchán<br />
scannán agus teilifíse, Alt 481, cuireadh tús léiriúcháin le<br />
13 phríomhscannán, sraith teilifíse amháin i nGaeilge, 6<br />
chomhléiriúchán chruthaitheach, 6 thionscadal beochana<br />
agus 17 scannán faisnéise i rith na bliana.<br />
LÉIRIÚCHÁIn IDIRnÁISIÚnTA<br />
I measc na mbuaicphointí eile tá roghnú All Good Children don<br />
ócáid ghradamúil sin Coicíos na Stiúrthóirí ag Cannes, an duais<br />
a bhuaigh His & Hers ar son Feabhais sa Cineamatagrafaíocht ag Bhí 2010 ar cheann de na blianta ba láidre I dtaithí na hÉireann ó<br />
Sundance agus roghnú scannán Éireannacha do chuid de na féiltí thaobh léiriúcháin scannán agus teilifíse ag teacht isteach de mar<br />
is clúití ar domhan ina measc Toronto, Tribeca, SXSW, Karlovy vary, thoradh ar mhealladh isteach líon mór príomhscannán ar bhuiséid<br />
Dún Éideann, Clermont Ferrand, Annecy, Hot Docs agus Londain. mhóra, sraitheanna teilifíse agus scannáin teilifíse.<br />
Neartaíonn na roghnúcháin, na hainmniúcháin agus na duaiseanna<br />
sin seasamh na hÉireann mar lárionad feabhais chultúrtha agus Cuireadh tús den scoth leis an mbliain nuair a rinneadh an<br />
cuireann said lena cáil ó thaobh na cruthaitheachta agus ó thaobh scannánaíocht in Éirinn ar an mórphríomhscannán Haywire,<br />
na proifisiúntachta de ar stáitse an domhain.<br />
a raibh laoch Hollywood, Steven Soderberg, ina stiúrthóir air<br />
03
04<br />
A KISS FOR JED WOOD<br />
Big-budget period dramas made in Ireland included the<br />
television series Camelot starring Joseph Fiennes, Eva Green<br />
and Claire Forlani which filmed for 22 weeks in Ardmore with an<br />
<strong>Irish</strong> spend of €25.5 million and Game Of Thrones for which all<br />
the post production was completed in Ireland.<br />
Other series, television movies and mini-series to film in Ireland<br />
included Neverland (Sky Movies & SyFy) starring Rhys Ifans, Bob<br />
Hoskins and Anna Friel, Sinbad (Sky 1), Treasure Island (Sky 1 &<br />
ABC) starring Eddie Izzard and the hugely popular Primeval (ITv<br />
1, ProSieben, uKTv and BBC Americas) which had an estimated<br />
<strong>Irish</strong> budget of €12.3 million and filmed for 30 weeks in Dublin<br />
and Wicklow.<br />
Other international projects which filmed in and around the<br />
Dublin region were Paolo Sorrentino’s feature film This Must Be<br />
The Place which stars Sean Penn and Frances McDormand and<br />
Rodrigo Garcia’s Albert Nobbs, which was produced by and stars<br />
Glenn Close and had an <strong>Irish</strong> spend of €4.4 million.<br />
The upturn in incoming international production is due in large<br />
part to the improvements made to the Section 481 tax incentive<br />
in 2009 which increased Ireland’s competitive position as an<br />
international film and television destination.<br />
Attracting such major international productions provides<br />
an economic boost to Ireland with increased international<br />
investment in the economy and increased employment across a<br />
huge variety of sectors. Other positive spin-off effects of these<br />
productions are promoting Ireland as a tourist location and the<br />
improvement of Ireland as an industrial location for all aspects<br />
of creative endeavors.<br />
PROMOTIOn AnD IFB TRAInInG InITIATIvES<br />
2010 saw the IFB promoting <strong>Irish</strong> film industry and <strong>Irish</strong> creative<br />
talent at international festivals such as Clermont Ferrand,<br />
Berlin, and Cannes. An <strong>Irish</strong> delegation attended the Producers<br />
Guild of America’s ‘Produced By’ conference in LA. The IFB<br />
along with Culture Ireland and the IFI coordinated a special<br />
programme of <strong>Irish</strong> film for two of the biggest film festivals in<br />
China. Meanwhile the second Give Me Direction screenwriting<br />
conference and the Real Deal at the Galway <strong>Film</strong> Fleadh were an<br />
opportunity for the IFB to engage with the <strong>Irish</strong> film industry.<br />
LA Trade Mission and the Producers Guild of America<br />
‘Produced By’ Conference<br />
The IFB and a delegation of <strong>Irish</strong> producers travelled to Los<br />
Angeles to meet uS producers and attend the second annual<br />
‘Produced By’ conference, hosted by the Producers Guild of<br />
America at Fox Studios. The IFB took at booth at the conference,<br />
under the ‘Ireland on Screen’ banner where IFB staff and <strong>Irish</strong><br />
producers promoted the section 481 tax incentive and Ireland as<br />
a film location. The aim of the <strong>Irish</strong> presence at the conference<br />
was to take advantage of the opportunity to meet with<br />
international producers and broadcasters and reinforce Ireland’s<br />
profile as a destination for film and television production<br />
ultimately attracting inward investment to Ireland.<br />
Special <strong>Irish</strong> Programme at the Shanghai International<br />
<strong>Film</strong> Festival and the Beijing International Movie Festival<br />
A special programme of contemporary and retrospective<br />
<strong>Irish</strong> features and short films was coordinated to screen<br />
at the Shanghai International <strong>Film</strong> Festival and the Beijing<br />
International Movie Festival. The programme was presented<br />
in association with the IFB and the IFI’s Reel Ireland and was<br />
supported by Culture Ireland.<br />
THE LOOKING GLASS<br />
agus ina raibh Ewan McGregor agus Michael Fassbender mar<br />
phríomhaisteoirí. Bhí buiséad Éireannach de €3.1 milliún ag an<br />
scannán agus rinneadh scannánaíocht i líon mór suíomhanna<br />
thart ar Bhaile átha Cliath agus ar Chill Mhantáin.<br />
I measc na ndrámaí mórbhuiséad stairiúla a rinneadh in Éirinn<br />
bhí na sraitheanna teilifíse Camelot ina raibh Joseph Fiennes, Eva<br />
Green agus Claire Forlani mar phríomhaisteoirí agus a rinneadh<br />
22 seachtain scannánaíochta uirthi i stiúideonna an Aird Mhóir<br />
agus a raibh caiteachas in Éirinn de €25.5 milliún uirthi agus<br />
Game Of Thrones a rinneadh an t-iarléiriú ar fad uirthi in Éirinn.<br />
I measc na sraitheanna, scannáin teilifíse agus mion-sraitheanna<br />
a rinneadh scannánaíocht orthu in Éirinn bhí Neverland (Sky<br />
Movies & SyFy) ina raibh Rhys Ifans, Bob Hoskins agus Anna Friel<br />
marc phríomhaisteoirí, Sinbad (Sky 1), Treasure Island (Sky 1 &<br />
ABC) a raibh Eddie Izzard sa phríomhpháirt ann, agus scannán a<br />
raibh an-éileamh air - Primeval (ITv 1, ProSieben, uKTv agus BBC<br />
Americas) a raibh buiséad measta in Éirinn de €12.3 milliún aige<br />
agus a rinneadh scannánaíocht air ar feadh 30 seachtain i mBaile<br />
átha Cliath agus i gCill Mhantáin.<br />
I measc na dtionscadal idirnáisiúnta eile ar rinneadh<br />
scannánaíocht orthu i gceantar Bhaile átha Cliath agus máguaird<br />
bhí an príomhscannán de chuid Paolo Sorrentini - This Must Be<br />
The Place - ina raibh Sean Penn agus Frances McDormand sna<br />
príomhpháirteanna agus Albert Nobbs le Rodrigo Garcia, a léirigh<br />
Glenn Close agus í féin ina príomhaisteoir ann agus a raibh<br />
caiteachas in Éirinn de €4.4 milliún aige.<br />
Tharla an cor chun feabhais sin i gcúrsaí léiriúchán idirnáisiúnta<br />
a thagann isteach sa tír go mórmhór de bharr na bhfeabhsuithe<br />
a rinneadh I 2009 ar an ndreasacht cánach de réir Ailt 481 a chuir<br />
le seasamh iomaíoch na hÉireann mar shuíomh cheann scríbe<br />
scannánaíochta agus scannáníocht teilifíse.<br />
Nuair a mhealltar mórléiriúcháin idirnáisiúnta den chineál<br />
sin neartaíonn sé an tír seo leis an infheistíocht mhéadaithe i<br />
ngeilleagar na hÉireann agus méadú sa bhfostaíocht ar fud an<br />
iliomad earnálacha. I measc na n-iarmhairtí dearfacha eile a<br />
bhaineann leis na léiriúcháin sin tá cur chun cinn na hÉireann<br />
mar láthair turasóireachta agus feabhsú na hÉireann mar<br />
shuíomh tionsclaíoch do dhíchill chruthaitheacha de gach cineál.<br />
TIOnSC<strong>nA</strong>IMH CuR CHun CInn AGuS<br />
OILIÚ<strong>nA</strong> BSÉ/IFB<br />
Le linn 2010 leanBSÉ/IFB ar aghaidh ag cur tionscal na scannán<br />
in Éirinn agus talann cruthaitheach Éireannach chun cinn ag<br />
féiltí idirnáisiúnta ar nós Clermont Ferrand, Berlin agus Cannes.<br />
D’fhreastal toscaireacht Éireannach ar an gcomhdháil ‘Produced<br />
By’ a bhí eagraithe ag an Producers Guild of America i Los<br />
Angeles. Rinne BSÉ/IFB i dteannta Culture Ireland agus an IFI<br />
comhordú ar chlár speisialta scannán Éireannach le haghaidh<br />
dhá cheann de na féiltí scannán is mó sa tSín. Bhí deis chomh<br />
maith ag an IFB dul I dteagmháil le tionscal na scannán in Éirinn<br />
ag an dara chomhdháil scríbhneoireacht scáileáin ‘Give Me<br />
Direction’ agus ag an ‘Real Deal’ ag Fleadh Scannán na Gaillimhe.<br />
Misean Trádála chuig LA agus an Chomhdháil ‘Produced<br />
By’ de chuid an Producers Guild of America<br />
Thug BSÉ/IFB agus toscaireacht léiritheoirí Éireannacha cuairt ar<br />
Los Angeles chun bualadh le léiritheoirí ó na Stáit Aontaithe agus<br />
chun freastal ar an dara chomhdháil ‘Produced By’ ag a raibh<br />
an Producers Guild of America mar óstaigh agus a tionóladh ag<br />
Stiúideonna Fox. Thóg BSÉ/IFB both ag an gcomhdháil, faoi bhrat<br />
‘Ireland on Screen’ áit a raibh an dreasacht cánach, Alt 481, agus<br />
Éire mar shuíomh scannánaíochta á gcur chun cinn ag foireann<br />
BSÉ/IFB agus ag léiritheoirí Éireannacha. Bhí sé mar aidhm ag na<br />
hÉireannaigh a bhí i láthair a deis a thapú le bualadh le léiritheoirí<br />
agus le craoltóirí idirnáisiúnta agus próifíl na hÉireann a neartú<br />
mar cheann scríbe chun scannáin agus cláir teilifíse a léiriú.<br />
Clár Speisialta Éireannach ag Féile Idirnáisiúnta Scannán<br />
Shanghai agus ag Féile Idirnáisiúnta Scannán Beijing<br />
Comhordaíodh clár speisialta príomhscannán agus gearrscannán<br />
comhaimseartha agus siarghabhálach le taispeáint ag Féile<br />
05
06<br />
ALL GOOD CHILDREN<br />
An <strong>Irish</strong> contingent of directors, producers and talent travelled to<br />
Asia where both Zonad and Ondine were nominated for the Golden<br />
Goblet Awards (the Asian equivalent to the Oscars) at Shanghai.<br />
The inclusion of a programme of <strong>Irish</strong> film at these two major<br />
Chinese film festivals was a huge opportunity to spotlight <strong>Irish</strong><br />
talent and raise Irelands profile in China encouraging enterprise,<br />
trade and investment.<br />
Give Me Direction<br />
The 2nd Give Me Direction script writing conference took place in<br />
Dublin which focused, through a mix of public interviews, informal<br />
discussions, sessions and screenings, on the expansive topic of<br />
comedy in filmmaking.<br />
Curated by Lenny Abrahamson, Sharon Horgan and Pat McCabe,<br />
international guests included Bobby Farrelly (Kingpin, There’s<br />
Something About Mary), Nicole Holofcener (Please Give, Friends<br />
With Money) and Sam Bain and Jesse Armstrong (Peep Show, Four<br />
Lions). It was a great opportunity to engage with <strong>Irish</strong> writers and<br />
champion original writing for the screen.<br />
Real Deal<br />
The Real Deal took place once again during the Galway <strong>Film</strong><br />
Fleadh and focused on content with producers taking part in a<br />
round table discussion in the morning about what works for them<br />
in terms of the films they make and how it compares to what works<br />
in the market. The afternoon focused on content of animated films<br />
with a masterclass with Pixar’s Lee ulrich and Darla Anderson<br />
who have worked on features such as Toy Story 3, A Bugs Life and<br />
Monsters Inc. It was a chance to talk about the more creative side<br />
of the business and the thought process behind choosing projects.<br />
CORPORATE GOvER<strong>nA</strong>nCE<br />
The <strong>Irish</strong> <strong>Film</strong> <strong>Board</strong> fully complies with the Code of Practice for<br />
the Governance of State bodies. In line with section 10.2 of the<br />
code, I affirm to the best of my knowledge that:<br />
(i) There were no commercially significant developments<br />
affecting the body in 2010 other than those mentioned in<br />
the operational review of the year given above.<br />
(ii) All appropriate procedures for financial reporting,<br />
internal audit, procurement and assets’ disposals are<br />
being carried out.<br />
(iii) A Statement on the System of Internal Financial Control<br />
is given in page 12 of the Annual Report.<br />
(iv) The Codes of Business Conduct for Directors and<br />
Employees are in place.<br />
(v) The Government policy on the pay of Chief Executives and<br />
all State body employees is being complied with.<br />
(vi) The Government guidelines on the payment of Directors’<br />
fees are being complied with.<br />
(vii) No significant post balance sheet events occurred.<br />
(viii) The Guidelines for the Appraisal and Management of Capital<br />
Expenditure Proposals are being complied with.<br />
(ix) The Code of Practice for the Governance of State bodies<br />
has been adopted and is being complied with.<br />
James Morris<br />
Chairman<br />
THE FADING LIGHT<br />
Idirnáisiúnta Scannán Shanghai agus ag Féile Idirnáisiúnta<br />
Scannán Beijing. Cuireadh an clár i lathair i gcomhpháirt le BSÉ/<br />
IFB agus Reel Ireland de chuid an IFI agus fuair sé tacaíocht ó<br />
Culture Ireland.<br />
Thug meitheal stiúrthóirí, léiritheoirí agus talann as Éirinn<br />
cuairt ar an áis áit ar ainmníodh Zonad agus Ondine le haghaidh<br />
Gradam Golden Goblet (coibhéis na háise ar na gradaim Oscar)<br />
i Shanghai. Deis ríthábhachtach chun aird a dhíriú ar thalann<br />
Éireannach agus le próifíl na hÉireann a neartú sa tSín agus<br />
chun fiontar, trádáil agus infheistíocht a spreagadh ab ea clár<br />
scannán as Éirinn a chur isteach sa dá mhórfhéile scannán sin<br />
sa tSín.<br />
Give Me Direction<br />
Tionóladh an dara chomhdháil scríbhneoireacht scripte ‘Give<br />
Me Direction’ i mBaile átha Cliath agus dhírigh sé sin, trí<br />
mheascán d’agallaimh poiblí, comhphlé neamhfhoirmeálta,<br />
seisiúin agus taispeántais, ar an ábhar fairsing sin, an greann sa<br />
scannánaíocht.<br />
Lenny Abrahamson, Sharon Horgan agus Pat McCabe a bhí i<br />
mbun coimeádaíochta agus i measc na n-aíonna idirnáisiúnta<br />
bhí Bobby Farrelly (Kingpin, There’s Something About Mary),<br />
Nicole Holofcener (Please Give, Friends With Money) agus Sam<br />
Bain agus Jesse Armstrong (Peep Show, Four Lions). Deis<br />
iontach a bhí ann chun teagmháil a dhéanamh le scríbhneoirí<br />
Éireannacha agus le scríbhneoireacht urnua don scáileán a chur<br />
chun cinn.<br />
Real Deal<br />
Tionóladh an chomhdháil ‘Real Deal’ arís le linn Fleadh Scannán<br />
na Gaillimhe agus dhírigh sé ar chúrsaí lánais. Ghlac léiritheoirí<br />
páirt i gcomhphlé comhchéime i rith na maidine mar gheall<br />
ar na nithe a n-éiríonn leo dóibh siúd ó thaobh na scannán a<br />
dhéanann siad agus an chaoi gur féidir comparáid a dhéanamh<br />
idir an méid sin agus na nithe a n-éiríonn leo sa mhargadh.<br />
Dhírigh seisiúin an tráthnóna ar lánas scannán beochana agus<br />
tionóladh máistir-rang le Lee ulrich agus Darla Anderson ó<br />
Pixar a bhfuil obair déanta acu ar phríomhscannáin ar nós Toy<br />
Story 3, A Bugs Life agus Monsters Inc. Deis a bhí ann labhairt<br />
faoin dtaobh cruthaitheach den ghnó agus faoin bpróiséas<br />
smaointeoireachta atá taobh thiar de thionscadail a roghnú.<br />
RIALACHAS CORPORÁIDEACH<br />
Comhlíonann Bord Scannán na hÉireann/The <strong>Irish</strong> <strong>Film</strong> <strong>Board</strong><br />
an Cód Cleachtais um Rialachas Comhlachtaí Stáit ina iomlán.<br />
De réir Ailt 10.2 den Chód sin, deimhním, de réir mar is fearr is<br />
eol dom:<br />
(i) Nach raibh aon fhorbairtí suntasachta tráchtála a bhain<br />
leis an gcomhlacht le linn 2009 seachas na cinn sin atá<br />
luaite thuas i dtuarascáil oibríochtúil na bliana.<br />
(ii) Go bhfuil na nósanna imeachta ar fad maidir le tuairisciú<br />
airgeadais, iniúchadh inmheánach, soláthar agus diúscairt<br />
sócmhainní á ndéanamh.<br />
(iii) Go dtugtar Ráiteas maidir leis an gCóras Rialaithe<br />
Inmheánach Airgeadais ar Leathanach 12 den<br />
dTuarascáil Bhliantúil.<br />
(iv) Go bhfuil na Cóid maidir le hIompar Gnó do Stiúrthóirí<br />
agus Fostaithe i bhfeidhm.<br />
(v) Go bhfuil Polasaí an Rialtais maidir le pá na<br />
bPríomhfheidhmeannach agus na bhfostaithe ar fad i<br />
gcomhlachtaí stáit á chomhlíonadh.<br />
(vi) Go bhfuil treoirlínte an Rialtais maidir le táillí Stiúrthóirí<br />
a íoc á gcomhlíonadh.<br />
(vii) Nár tharla aon teagmhas suntasach iarchláir<br />
chomhordaithe.<br />
(viii) Go bhfuil na Treoirlínte maidir le Tograí Caiteachas Caipitil<br />
a Mheasúnú agus a Bhainistiú á gcomhlíonadh.<br />
(ix) Gur glacadh an Cód Cleachtais um Rialachas Comhlachtaí<br />
Stáit agus go bhfuil sé sin á chomhlíonadhh.<br />
James Morris<br />
Cathaoirleach<br />
07
08<br />
AS IF I WAS NOT THERE<br />
<strong>AnnuAL</strong> <strong>REPORT</strong> <strong>OF</strong><br />
<strong>BORD</strong> <strong>SCAnnÁn</strong> <strong>nA</strong> hÉIREAnn<br />
Bord Scannán na hÉireann/the <strong>Irish</strong> <strong>Film</strong> <strong>Board</strong> works within the<br />
framework of The <strong>Film</strong> <strong>Board</strong> Act 1980 and the <strong>Irish</strong> <strong>Film</strong> <strong>Board</strong><br />
(Amendment) Acts 1993, 1997, 2000, 2006.<br />
BOARD MEMBERS<br />
The members of Bord Scannán na hÉireann/the <strong>Irish</strong> <strong>Film</strong> <strong>Board</strong><br />
in 2010 were: Johnny Gogan, Barry Grace, Tristan Orpen Lynch,<br />
James Morris (Chair), Lesley McKimm, Kevin Moriarty and<br />
Kirsten Sheridan.<br />
STAFF<br />
The staff of Bord Scannán na hÉireann/the <strong>Irish</strong> <strong>Film</strong> <strong>Board</strong><br />
at 31st December 2010 were: Simon Perry, CEO; Teresa<br />
McGrane, Head of Business Affairs (Deputy CEO); Naoise<br />
Barry, <strong>Film</strong> Commissioner; Celine Forde, Financial Controller;<br />
Andrew Meehan, Development Executive; Alan Maher,<br />
Production Executive; Emma Scott, Production Executive;<br />
Mark Byrne, Business and Legal Executive; Louise Ryan,<br />
Marketing and Communications Executive; Jill McGregor,<br />
Applications and Schemes Co-ordinator; Sarah Dillon,<br />
Production and Development Co-ordinator; Mags O’Sullivan,<br />
Deputy <strong>Film</strong> Commissioner; Jonathan Loughran, vP, <strong>Irish</strong><br />
<strong>Film</strong> Commissioner, uS; Patrick O’Neill, Industry Affairs<br />
Executive; Niamh O’Reilly, Executive Assistant to CEO; Suzanne<br />
Keane, Accounts Co-ordinator (Part-time) and Aileen McCauley,<br />
Administrative Assistant.<br />
MEETInGS<br />
The <strong>Board</strong> held 9 meetings in 2010.<br />
<strong>OF</strong>FICES<br />
Bord Scannán na hÉireann/the <strong>Irish</strong> <strong>Film</strong> <strong>Board</strong>’s head office is<br />
based in Galway city:<br />
Queensgate, 23 Dock Road, Galway, Ireland.<br />
Tel +353 91 561398, Fax +353 91 561405<br />
Email info@irishfilmboard.ie, www.irishfilmboard.ie<br />
The <strong>Board</strong>’s office in Dublin is located at:<br />
14-16 Lord Edward Street, Dublin 2.<br />
SOME OTHER STORIES<br />
<strong>BORD</strong> <strong>SCAnnÁn</strong> <strong>nA</strong> hÉIREAnn’S<br />
OBJECTIvES AnD POLICIES<br />
<strong>BORD</strong> <strong>SCAnnÁn</strong> <strong>nA</strong> hÉIREAnn<br />
IS ESTABLISHED:<br />
• To promote the creative and commercial elements of <strong>Irish</strong><br />
film-making and film culture to a home and international<br />
audience. The <strong>Board</strong> supports film projects through the<br />
provision of development funding and also provides<br />
production finance by way of debt/equity investment.<br />
• To encourage the development and training of technical,<br />
artistic and production personnel as a means of improving<br />
the overall skills proficiency within the industry.<br />
• To assist the production and marketing of <strong>Irish</strong> films within<br />
Ireland and abroad as a means of stimulating an interest in<br />
Ireland, <strong>Irish</strong> culture and <strong>Irish</strong> films.<br />
THE BOARD <strong>OF</strong>FERS FunDInG TO THE<br />
DEvELOPMEnT AnD PRODuCTIOn <strong>OF</strong><br />
PROJECTS AS FOLLOwS:<br />
i) Development loans (repayable on the first day of principal<br />
photography) to a limit of €100,000 per project, as research,<br />
development and feasibility loans. Any funding above<br />
€50,000 to any one project must be matched by funding from<br />
other sources<br />
ii) Production loans for projects with budgets<br />
• In excess of €100,000 and not more than €1.5M,<br />
BSÉ/IFB can provide up to 65% of the production budget<br />
• In excess of €1.5M and not more than €5M, BSÉ/IFB<br />
can provide up to €1M or 40% of the budget, whichever<br />
is greater<br />
• In excess of €5M, BSÉ/IFB can provide up to €2 million<br />
or 25% of the budget, whichever is greater<br />
BOTH DEvELOPMEnT AnD PRODuCTIOn<br />
LOAnS ARE ASSESSED By A nuMBER<br />
<strong>OF</strong> CRITERIA:<br />
i Additionality<br />
ii Cultural Priorities, Industrial Priorities<br />
iii Making Cinema<br />
iv Originality<br />
(See appendix 4, page 33.)<br />
09
10<br />
BETWEEN THE CANALS<br />
FI<strong>nA</strong>nCE<br />
RECOuPMEnT<br />
The <strong>Board</strong> shares in and recoups profits from revenues<br />
generated from sales for cinema, television, video etc. The<br />
<strong>Board</strong> advanced a total of €15,091,300 in feature development<br />
and production loans during 2010. In the same period, the <strong>Board</strong><br />
recouped €738,198. This figure brings to 10% the recoupment<br />
rate on production feature loans advanced since the re-<br />
incorporation of BSÉ in 1993.<br />
ECOnOMIC DATABASE<br />
The Audiovisual Federation of IBEC, in conjunction with the<br />
<strong>Board</strong> and representatives of the Department of Arts, Sport<br />
and Tourism, Screen Producers Ireland, TG4 and RTÉ publishes<br />
annually the Economic Database. This report covers film and<br />
television projects made in Ireland each year.<br />
SCREEn TRAInInG IRELAnD<br />
During 2010, the <strong>Board</strong> made available €387,348 to FáS Screen<br />
Training Ireland for the direct provision of Industry Training.<br />
COnTRIBuTIOn TO EuROPEAn AGEnCIES<br />
BSÉ/IFB contributes financial support to the following<br />
European organisations:<br />
Eurimages<br />
Eurimages, founded by the Council of Europe, provides<br />
production finance for European co-productions. Ireland has<br />
participated in the scheme since 1992. Brendan McCarthy<br />
represented Ireland on the Eurimages committee in 2010. The<br />
<strong>Board</strong> paid Ireland’s subscription in 2010, which was €307,420.<br />
European <strong>Film</strong> Promotion<br />
European <strong>Film</strong> Promotion (EFP) is the only existing international<br />
network of organisations promoting and marketing European<br />
cinema worldwide. The network comprises professional<br />
organisations from 32 European countries who are experts in<br />
promoting and marketing their own national cinema. under the<br />
EFP umbrella, all of these organisations work together on the<br />
promotion of European cinema and talent around the world. The<br />
<strong>Board</strong> contributed €9,030 to EFP in 2010.<br />
European Audiovisual Observatory<br />
The Observatory is an information network, which collects and<br />
distributes legal, economic and practical information on the<br />
audiovisual industry in Europe for the benefit of professionals<br />
and companies within the fields of television, film and video. The<br />
<strong>Board</strong> paid Ireland’s subscription fee of €20,575 in 2010.<br />
MEDIA Desk Ireland<br />
MEDIA Desk Ireland provides information and advice on the<br />
MEDIA Programme, Eurimages, Eureka Audiovisual and also on<br />
Eu audiovisual policy. In 2010, the <strong>Board</strong> contributed €57,000 to<br />
the running of the Desk. The office is located in the <strong>Irish</strong> <strong>Film</strong><br />
Centre, 6 Eustace Street, Dublin 2, and is open to enquiries and<br />
consultancy meetings from Monday to Friday.<br />
MEDIA Antenna<br />
The MEDIA Antenna is located in Galway <strong>Film</strong> Centre, Cluain<br />
Mhuire, Monivea Road, Galway and serves as a regional MEDIA<br />
office. It also has a particular remit to provide information and<br />
services to the growing <strong>Irish</strong> language audiovisual community.<br />
In 2010 the <strong>Board</strong> contributed €12,200 to the running costs of<br />
the Antenna.<br />
SNAP<br />
STATEMEnT <strong>OF</strong> BOARD MEMBERS’ RESPOnSIBILITIES<br />
Section 20 (1) of the <strong>Irish</strong> <strong>Film</strong> <strong>Board</strong> Act 1980, requires the members of the <strong>Board</strong> to prepare Financial Statements<br />
in such form as may be approved by the Minister for Tourism, Culture and Sport with the consent of the Minister for<br />
Finance. In preparing those Financial Statements, the <strong>Board</strong> is required to:<br />
• Select suitable policies and then apply them consistently.<br />
• Make judgements and estimates that are reasonable and prudent.<br />
• Prepare the financial statements on the going concern basis unless it is inappropriate to presume<br />
that Bord Scannán na hÉireann/the <strong>Irish</strong> <strong>Film</strong> <strong>Board</strong> will continue in business.<br />
• State whether applicable accounting standards have been followed subject to any material departures<br />
disclosed and explained in the financial statements.<br />
Bord Scannán na hÉireann/the <strong>Irish</strong> <strong>Film</strong> <strong>Board</strong> is responsible for keeping proper books of account which disclose with<br />
reasonable accuracy at any time the financial position of Bord Scannán na hÉireann/the <strong>Irish</strong> <strong>Film</strong> <strong>Board</strong>. It is responsible<br />
for taking such steps as are necessary to safeguard the assets of Bord Scannán na hÉireann/the <strong>Irish</strong> <strong>Film</strong> <strong>Board</strong> and to<br />
prevent and detect fraud and other irregularities.<br />
James Morris Lesley McKimm<br />
Chair <strong>Board</strong> Member<br />
28 November 2011<br />
11
12<br />
CIRCuS FANTASTICuS<br />
STATEMEnT On InTER<strong>nA</strong>L<br />
FI<strong>nA</strong>nCIAL COnTROLS<br />
On behalf of Bord Scannán na hÉireann/the <strong>Irish</strong> <strong>Film</strong> <strong>Board</strong>,<br />
I acknowledge our responsibility for ensuring that an effective<br />
system of internal financial control is maintained and operated.<br />
The system can only provide reasonable and not absolute<br />
assurance that assets are safeguarded, transactions authorised<br />
and properly recorded, and that material errors or irregularities<br />
are either prevented or would be detected in a timely period.<br />
Key Control Procedures:<br />
The <strong>Board</strong> has put in place the following key internal<br />
financial control procedures to ensure an appropriate control<br />
environment exists:<br />
• An organisation plan exists which defines and<br />
allocates responsibilities to staff and identifies lines of<br />
reporting for all aspects of the <strong>Board</strong>’s operations.<br />
• Procedures and security measures exist to ensure the<br />
safe custody of the <strong>Board</strong>’s assets and assurance<br />
against unauthorised use or disposition.<br />
• A strong culture of openness and accountability is<br />
encouraged throughout the organisation.<br />
The <strong>Board</strong> has also established processes to identify and<br />
evaluate business risks:<br />
• Identifying the nature, extent and financial<br />
implication of risk facing the body including<br />
the extent which it regards as acceptable in<br />
different functions.<br />
• Assessing the likelihood of identified risks occurring<br />
and assessing the <strong>Board</strong>’s ability to manage and<br />
mitigate the risks that do occur.<br />
• Carrying out regular reviews of the <strong>Board</strong>’s strategic<br />
plans to ensure that these plans address the current<br />
business environment.<br />
• Setting short and long term targets for each unit<br />
within the <strong>Board</strong> and reviewing progress against same.<br />
• Establishing and enforcing standard procedures<br />
under which financial assistance may be made<br />
available to projects and reviewing these procedures<br />
where necessary.<br />
The <strong>Board</strong> reviewed its business risks in 2010 and is currently<br />
addressing any identified weaknesses.<br />
The system of financial controls is based on a framework of<br />
regular management information, administrative procedures<br />
including segregation of duties, authorisation, and a system of<br />
delegation and accountability. In particular it includes:<br />
• A comprehensive budgeting system with an annual<br />
budget which is reviewed and agreed by the <strong>Board</strong>.<br />
• Regular reviews of periodic and annual financial<br />
reports which indicate expenditure against forecasts.<br />
• Setting targets to measure financial and<br />
other performances.<br />
The <strong>Board</strong> has also established an Audit Committee which<br />
consists of representatives of the <strong>Board</strong> and the Executive with a<br />
view to furtherance of internal controls.<br />
Review of Internal Financial Control:<br />
The <strong>Board</strong> monitors the effectiveness of the system of internal<br />
financial controls by regular management review and periodic<br />
inspection and review studies by external consultants.<br />
The <strong>Board</strong> carried out a review of its internal financial controls<br />
for 2010.<br />
On behalf of the <strong>Board</strong><br />
________________________<br />
James Morris<br />
Chair<br />
GARTH AND BEv<br />
<strong>REPORT</strong> <strong>OF</strong> THE COMPTROLLER AnD<br />
AuDITOR GEnERAL FOR PRESEnTATIOn TO<br />
THE HOuSES <strong>OF</strong> THE OIREACHTAS<br />
Bord Scannán na hÉireann/the <strong>Irish</strong> <strong>Film</strong> <strong>Board</strong><br />
I have audited the financial statements of the <strong>Irish</strong> <strong>Film</strong> <strong>Board</strong><br />
for the year ended 31 December 2010 under the <strong>Irish</strong> <strong>Film</strong><br />
<strong>Board</strong> Act 1980. The financial statements, which have been<br />
prepared under the accounting policies set out therein, comprise<br />
the Accounting Policies, the Capital Income and Expenditure<br />
Account, the Administration Income and Expenditure Account,<br />
the Statement of Total Recognised Gains and Losses, the Balance<br />
Sheet, the Cash Flow Statement and the related notes. The<br />
financial reporting framework that has been applied in their<br />
preparation is applicable law and Generally Accepted Accounting<br />
Practice in Ireland.<br />
Responsibilities of the Members of the <strong>Board</strong><br />
The <strong>Irish</strong> <strong>Film</strong> <strong>Board</strong> is responsible for the preparation of the<br />
financial statements, for ensuring that they give a true and fair<br />
view of the state of the <strong>Board</strong>’s affairs and of its income and<br />
expenditure, and for ensuring the regularity of transactions.<br />
Responsibilities of the Comptroller and Auditor General<br />
My responsibility is to audit the financial statements and report<br />
on them in accordance with applicable law.<br />
My audit is conducted by reference to the special considerations<br />
which attach to State Bodies in relation to their management and<br />
operation.<br />
My audit is carried out in accordance with the International<br />
Standards on Auditing (uK and Ireland) and in compliance with<br />
the Auditing Practices <strong>Board</strong>’s Ethical Standards for Auditors.<br />
Scope of Audit of the Financial Statements<br />
An audit involves obtaining evidence about the amounts and<br />
disclosures in the financial statements, sufficient to give<br />
reasonable assurance that the financial statements are free from<br />
material misstatement, whether caused by fraud or error. This<br />
includes an assessment of:<br />
• Whether the accounting policies are appropriate to the<br />
<strong>Board</strong>’s circumstances, and have been consistently applied<br />
and adequately disclosed<br />
• The reasonableness of significant accounting estimates<br />
made in preparation for the financial statements<br />
• The overall presentation of the financial statements<br />
I also seek to obtain evidence about the regularity of financial<br />
transactions in the course of the audit.<br />
In addition, I read all the financial and non-financial information<br />
in the Annual Report to identifiy material inconsistencies with the<br />
audited financial statements. If I become aware of any apparent<br />
material misstatements or inconsistencies I consider the<br />
implications for my report.<br />
Opinion on the Financial Statements<br />
In my opinion, the financial statements, which have been properly<br />
prepared in accordance wiith the Generally Accepted Accounting<br />
Practice in Ireland, give a true and fair view of the state of the<br />
<strong>Board</strong>’s affairs at 31 December 2010 and of its income and<br />
expenditure for the year then ended.<br />
In my opinion, proper books of account have been kept by the<br />
<strong>Board</strong>. The financial statements are in agreement with the books<br />
of account.<br />
Matters on which I report by exception<br />
I report by exception if:<br />
• I have not received all the information and explanations<br />
I required for my audit, or<br />
• My audit noted any material instance where moneys have<br />
not been applied for the purposes intended or where the<br />
transations did not conform to the authorities governing<br />
them, or<br />
• the information given in the <strong>Board</strong>’s Annual Report for the<br />
year for which the financial statements are prepared is not<br />
consistent with the financial statements, or<br />
• the statement of Internal FInancial Control does not reflect<br />
the <strong>Board</strong>’s compliance with the Code of Practice for the<br />
Governance of State Bodies, or<br />
• I find there are other material matters relating to the manner<br />
in which public business has been conducted<br />
I have nothing to report in regard to those matters upon which<br />
reporting is by exception.<br />
________________________<br />
Andrew Harkness<br />
For and on behalf of the Comptroller and Auditor General<br />
30 November 2011<br />
13
14<br />
BuRMA BETRAYAL<br />
ACCOunTInG POLICIES<br />
A. Basis of Accounting<br />
The financial statements consist of two Income and Expenditure<br />
Accounts and a Balance Sheet.<br />
• The Capital Income and Expenditure Account records the<br />
disbursement of the <strong>Board</strong>’s development and production<br />
loans and its contribution to Screen Training Ireland, the<br />
national training agency for the film industry in Ireland.<br />
• The Administration Income and Expenditure Account records<br />
the administrative transactions in respect of the <strong>Board</strong>.<br />
The financial statements are prepared under the historical<br />
cost convention and in accordance with Generally Accepted<br />
Accounting Practice (GAAP) on an accruals basis except as<br />
stated below. Financial Reporting Standards recommended<br />
by the recognised accounting bodies are adopted as they<br />
become applicable.<br />
B. Income<br />
Income shown in the financial statements under Oireachtas<br />
Grants represents the actual cash received. Other income is also<br />
taken to account on a cash receipts basis.<br />
C. Loans<br />
Production loans are made by the <strong>Board</strong> to assist in the<br />
production of films. Repayments and returns are dependent<br />
upon the commercial success of the related films.<br />
Development loans are made to filmmakers for the purpose<br />
of developing film projects. Repayments become payable in<br />
accordance with the terms of the loan agreements.<br />
These loans are not normally subject to interest charges, but<br />
include measures for recoupment and profit participation.<br />
Loans are reviewed by the <strong>Board</strong> on a periodic basis and<br />
appropriate provision is made against loans outstanding, based<br />
upon the historical performance of the <strong>Board</strong>’s loanbook. The<br />
provision is accounted for through the Capital Reserve.<br />
D. Capital Reserve<br />
The Capital Reserve represents the funding invested in<br />
films and Fixed Assets after provisions and amortisation.<br />
E. Tangible Fixed Assets<br />
Tangible Fixed Assets are shown at original historical cost.<br />
Assets over €250 are capitalised.<br />
Depreciation is provided at rates calculated to write off the original<br />
cost less the estimated residual value of each asset on a straightline<br />
basis over its expected useful life. The rates of depreciation<br />
are as follows:<br />
• Office Furniture and Equipment 20% per annum<br />
• Computer Equipment 33% per annum<br />
F. Pension Costs<br />
The <strong>Board</strong> operates a defined benefit pension scheme which is<br />
funded annually on a pay as you go basis from monies available<br />
to it, including monies provided by the Department of Tourism,<br />
Culture and Sport. The Scheme is operated on an administrative<br />
basis pending approval of the Minister of Finance.<br />
Pension Scheme liabilities are measured on an actuarial basis<br />
using the projected unit method.<br />
Pension costs reflect pension benefits earned by employees in<br />
the period and are shown net of staff pension contributions which<br />
are treated as refundable to the Department in accordance with<br />
agency financing arrangements. An amount corresponding to the<br />
pension charge is recognised as income to the extent that it is<br />
recoverable and offset by grants received in the year to discharge<br />
pension payments.<br />
Actuarial gains or losses arising from changes in Actuarial<br />
assumptions and from experience surpluses and deficits are<br />
recognised in the Statement of Total Recognised Gains and Losses<br />
for the year in which they occur and a corresponding adjustment<br />
is recognised in the amount recoverable from the Department of<br />
Tourism, Culture and Sport.<br />
Pension Liabilities represent the present value of future pension<br />
payments earned by staff to date. Deferred pension funding<br />
represents the corresponding asset to be recovered in future<br />
periods from the Department of Tourism, Culture and Sport.<br />
G. Foreign Exchange Policy<br />
Transactions denominated in foreign currencies are translated to<br />
the respective functional currencies at exchange rates at the dates<br />
of the transactions. Monetary assets and liabilities denominated<br />
in foreign currencies at the reporting date are translated to the<br />
functional currency at the exchange rate at that date. Any gain or<br />
loss arising from a change in exchange rates subsequent to the<br />
date of the transaction is included as an exchange gain or loss in<br />
the Income Statement.<br />
CRACKS<br />
FI<strong>nA</strong>nCIAL STATEMEnTS <strong>OF</strong> <strong>BORD</strong> <strong>SCAnnÁn</strong> <strong>nA</strong> hÉIREAnn/THE IRISH FILM BOARD<br />
yEAR EnDED 31 DECEMBER 2010<br />
Capital Income and Expenditure Account<br />
Year ended 31 December 2010<br />
notes 2010 2009<br />
Income I I<br />
Oireachtas Grants 1 16,500,000 18,817,000<br />
Contributions from other parties 161,175 152,350<br />
Other Income 72,689 72,428<br />
Repayment of Loans transferred from Capital Reserve 3 738,198 1,380,377<br />
Total 17,472,062 20,422,155<br />
Expenditure<br />
Screen Training Ireland (387,348 ) (532,000 )<br />
Production Loans 14 (13,385,800 ) (15,101,659 )<br />
Development Loans 14 (1,705,500 ) (2,201,585 )<br />
Other Capital Payments 4 (1,046,681 ) (1,271,028 )<br />
Total (16,525,329 ) (19,106,272 )<br />
Surplus/ (Deficit) 946,733 1,315,883<br />
Balance at beginning of year 4,364,599 3,048,716<br />
Balance at end of year 5,311,332 4,364,599<br />
The Accounting Policies and Notes 1-17 form part of these Financial Statements<br />
James Morris Lesley McKimm<br />
Chair <strong>Board</strong> Member<br />
28 November 2011<br />
15
16<br />
FAIRYCATCHER<br />
Administration Income and Expenditure Account<br />
Year ended 31 December 2010<br />
notes 2010 2009<br />
Income I I<br />
Oireachtas Grant 1 2,729,953 2,975,926<br />
Other Income 17,144 45<br />
Net Deferred Funding for Pension Costs 10c 351,461 346,494<br />
Transfer (to)/from Capital Reserve 13 58,031 74,650<br />
Total 3,156,589 3,397,115<br />
Expenditure<br />
Administration 5 1,973,034 2,074,400<br />
Organisations, Subscriptions and Research 7 218,316 194,905<br />
Marketing Costs 8 636,058 619,715<br />
Education 6,932 196,253<br />
Pension Costs 10a 309,414 299,420<br />
Total 3,143,754 3,384,693<br />
SuRPLuS/DEFICIT 12,835 12,422<br />
Balance at Beginning of Year (6,202) (18,624 )<br />
Balance at end of year 6,633 (6,202 )<br />
The Accounting Policies and Notes 1-17 form part of these Financial Statements<br />
James Morris Lesley McKimm<br />
Chair <strong>Board</strong> Member<br />
28 November 2011<br />
Statement of Total Recognised Gains and Losses<br />
Year ended 31 December 2010<br />
notes 2010 2009<br />
Surplus for the year I I<br />
Administration Account 12,835 12,422<br />
Capital Account 946,733 1,315,883<br />
Total 959,568 1,328,305<br />
Experience Gains on Pension Scheme Liabilities 10d 320,044 90,900<br />
Changes in Assumptions underlying the Present value of the Pension Scheme Liabilities (154,384 ) 162,302<br />
Actuarial gain/(loss) on pension liabilities 10b 165,660 253,202<br />
Adjustment to Deferred Pension Funding (165,660 ) (253,202 )<br />
Total recognised gain for the year 959,568 1,328,305<br />
The Accounting Policies and Notes 1-17 form part of these Financial Statements<br />
James Morris Lesley McKimm<br />
Chair <strong>Board</strong> Member<br />
28 November 2011<br />
MISS REMARKABLE & HER CAREER<br />
Balance Sheet<br />
Year ended 31 December 2010<br />
notes 2010 2009<br />
Fixed Assets I I<br />
Tangible Assets 11 85,328 143,359<br />
Investment in <strong>Film</strong>s<br />
Production Loans 3 1,046,797 1,207,134<br />
Development Loans 3 128,891 150,380<br />
1,175,688 1,357,514<br />
Current Assets<br />
Cash at Bank 6,232,600 4,556,381<br />
Prepayments/Debtors/Accrued Income 352,718 129,888<br />
Creditors<br />
6,585,318 4,686,269<br />
Amounts Falling Due within One year 12 (1,267,352 ) (327,871 )<br />
nET CuRREnT ASSETS 5,317,966 4,358,398<br />
Total Assets Less Current Liabilities Before Pensions 6,578,982 5,859,271<br />
Deferred Pension Funding Asset 2,188,000 2,002,199<br />
Pension Liabilities (2,188,000 ) (2,002,199 )<br />
net Assets 6,578,982 5,859,271<br />
Capital and Reserves<br />
Capital Account 5,311,332 4,364,599<br />
Administration Account 6,633 (6,202 )<br />
Capital Reserve 13 1,261,017 1,500,874<br />
Total 6,578,982 5,859,271<br />
The Accounting Policies and Notes 1-17 form part of these Financial Statements<br />
James Morris Lesley McKimm<br />
Chair <strong>Board</strong> Member<br />
28 November 2011<br />
17
18<br />
LITTLE MATADOR<br />
Cash Flow Statement<br />
Year ended 31 December 2010<br />
2010 2009<br />
I I<br />
Surplus/(Deficit) on Capital Account 946,733 1,315,883<br />
Surplus/(Deficit) on Administration Account 12,835 12,422<br />
959,568 1,328,305<br />
Adjustment for non-operating items<br />
Bank interest (72,689 ) (72,428 )<br />
Transfer to/(from) Administration Income and Expenditure Account (58,031 ) (74,650 )<br />
(130,720 ) (147,078 )<br />
Adjustment for non-cash items<br />
Depreciation 86,848 96,180<br />
(Increase)/Decrease in Debtors (222,830 ) 253,340<br />
Increase/(Decrease) in Creditors 939,481 (268,919 )<br />
net cash inflow from Operating activities 1,632,347 1,261,828<br />
Cash Flow Statement<br />
Net cash inflow from Operating activities 1,632,347 1,261,828<br />
Bank interest 72,689 72,428<br />
Payments to acquire assets (28,817 ) (21,529 )<br />
Inflow 1,676,219 1,312,727<br />
Reconciliation of net Cash Flow to Movement in net Funds<br />
Increase in Cash in Period 1,676,219 1,312,727<br />
Cash at 1 January 2010 4,556,381 3,243,654<br />
net Funds at 31 December 2010 6,232,600 4,556,381<br />
The Accounting Policies and Notes 1-17 form part of these Financial Statements<br />
James Morris Lesley McKimm<br />
Chair <strong>Board</strong> Member<br />
28 November 2011<br />
FIvE MINuTES <strong>OF</strong> HEAvEN<br />
nOTES TO THE FI<strong>nA</strong>nCIAL STATEMEnTS<br />
1. Oireachtas Grants<br />
The Oireachtas grant in respect of the <strong>Board</strong>’s capital expenditure is funded under the Productive Sector Operational Programme and the<br />
Employment and Human Resources Development Operational Programme of the National Development Plan 2007-2013.<br />
2010 2009<br />
Current Purposes I I<br />
<strong>Irish</strong> <strong>Film</strong> <strong>Board</strong> 2,772,000 3,023,000<br />
Less Pension Contributions (42,047 ) (47,074 )<br />
Total 2,729,953 2,975,926<br />
Capital purposes<br />
Investment in <strong>Film</strong> 16,500,000 18,817,000<br />
2. Limitation of Monies Provided by the <strong>Board</strong><br />
under Section 10 of the <strong>Irish</strong> <strong>Film</strong> <strong>Board</strong> Act, 1980 as amended, the maximum amount of any investments, loans, grants and guarantees<br />
(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,<br />
€174,780,208 had been provided).<br />
3. Investment in <strong>Film</strong>s<br />
Production Development<br />
notes Loans Loans TOTAL<br />
I I I<br />
Advanced during the year 13,385,800 1,705,500 15,091,300<br />
Recoupment during the year (604,682 ) (133,516 ) (738,198 )<br />
Provision for year (12,941,455 ) (1,593,473 ) (14,534,928 )<br />
Movement in the Year 13 (160,337 ) (21,489 ) (181,826 )<br />
Balance at 1 January 2010 1,207,134 150,380 1,357,514<br />
Balance as at 31/12/10 1,046,797 128,891 1,175,688<br />
19
20<br />
ALIBI THE TREMBLING vEIL <strong>OF</strong> BONES<br />
4. Other Capital Payments<br />
In addition to the payments made to Production and Development Loans, the <strong>Board</strong> made the following other capital payments in the year.<br />
2010 2009<br />
European Organisations I I<br />
Eurimages 307,420 291,669<br />
European <strong>Film</strong> Promotion 9,030 9,905<br />
European Observatory 20,575 19,737<br />
Media Antenna 12,200 12,200<br />
Media Desk 57,000 57,011<br />
Industry Guilds<br />
<strong>Irish</strong> Playwrights and Screenwriters Guild 81,000 80,000<br />
Screen Directors Guild 83,000 80,000<br />
<strong>Film</strong> Market/Industry Event Support<br />
Dublin International <strong>Film</strong> Festival 30,000 30,000<br />
Galway <strong>Film</strong> Fair 40,000 40,000<br />
Guth Gafa <strong>Film</strong> Festival 10,000 10,000<br />
Stranger Than Fiction 10,000 5,500<br />
Cinemagic 5,950 -<br />
Darklight <strong>Film</strong> Festival 12,000 -<br />
Dingle <strong>Film</strong> Festival 5,000 5,000<br />
European <strong>Film</strong> Market Support 39,835 7,000<br />
Other 1,398 6,576<br />
Others<br />
Cinemobile 60,000 60,000<br />
IFTA 120,000 140,000<br />
Other Training 52,716 48,711<br />
Scouting/Travel Grants 35,385 50,277<br />
Scriptreaders 54,172 62,442<br />
Solas Picture Palace - 255,000<br />
Total 1,046,681 1,271,028<br />
5. Administration<br />
2010 2009<br />
I I<br />
Administration Salaries 983,021 1,038,238<br />
<strong>Board</strong> Member Fees 44,888 47,250<br />
Staff Training 10,341 13,332<br />
Rent and Service Charges 278,146 285,897<br />
Insurance 8,190 7,579<br />
Light / Heat 17,336 18,432<br />
Telephone / Fax 59,589 67,436<br />
Postage / Couriers 24,500 25,705<br />
Office Stationery/Printing 21,551 10,266<br />
Repairs/Maintenance 37,727 63,583<br />
Staff Travel / Subsistence 158,110 155,180<br />
Bank Interest and Charges 1,506 2,082<br />
<strong>Board</strong> Meetings and Expenses 10,463 6,839<br />
Legal Fees 4,447 -<br />
Audit Fees 14,852 14,852<br />
Sundry 11,615 14,816<br />
Depreciation 86,848 96,180<br />
Consultancy 143,906 201,818<br />
Recruitment Costs 55,998 -<br />
Database Development - 2,316<br />
Foreign Exchange Loss - 2,599<br />
Total 1,973,034 2,074,400<br />
6. <strong>Board</strong> Remuneration and Employees<br />
The average number of employees including the Chief Executive, during the year was as follows:<br />
2010 2009<br />
Number Number<br />
Chief Executive 1 1<br />
Employees 15 15<br />
The CEO’s remuneration package for 2010 was made up as follows: Annual basic salary: €110,844 (2009: €120,382). The CEO’s pension<br />
entitlements do not extend beyond the standard entitlements in the public sector defined benefit superannuation scheme. Expenses<br />
of €48,153 were incurred in respect of the CEO and include the following categories: accommodation, airfares, mobile phone charges,<br />
subsistence, taxis and train fares. The CEO spent 77 days abroad on official business in 2010 in order to raise international finance for<br />
the IFB slate of feature films, to market Ireland as a film location and to promote awareness of <strong>Irish</strong> film internationally. The CEO is also<br />
required to attend extensive meetings in Dublin as part of his role.<br />
Pension levy deductions from staff salaries of €58,856 were paid to the Department of Culture, Tourism and Sport in 2010.<br />
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<br />
to €9,330. €4,358 related to foreign travel while €4,972.46 related to <strong>Irish</strong> expenses including hotels, travel costs and subsistence.<br />
7. Organisations, Subscriptions and Research<br />
2010 2009<br />
I I<br />
IBEC 12,434 13,925<br />
Subscriptions to Publications 5,415 7,211<br />
Screen Producers Ireland 50,000 -<br />
<strong>Irish</strong> <strong>Film</strong> Archive 104,000 104,000<br />
LA Events 46,467 49,769<br />
Cinema Northwest - 20,000<br />
Total 218,316 194,905<br />
8. Marketing<br />
2010 2009<br />
I I<br />
Festival Promotion 145,568 154,644<br />
Advertising 59,663 53,777<br />
Events/PR 83,302 67,625<br />
Publications 29,932 30,060<br />
Marketing Materials 24,532 64,544<br />
Web Site /Online Promotion 15,209 38,252<br />
Locations Services 18,242 11,908<br />
Overseas Marketing 76,422 31,258<br />
LA Office* 183,188 167,647<br />
Total 636,058 619,715<br />
* 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).<br />
21
22<br />
PYJAMA GIRLS<br />
9. Lease of Premises<br />
The <strong>Board</strong> has commitments until 2016 in respect of its office in Galway at Queensgate, 23 Dock Road. The annual cost of this lease is<br />
€76,350 plus vAT. The <strong>Board</strong> also has commitments until 2017 in respect of its offices at 14-16 Lord Edward St, Dublin 2 at an annual cost<br />
of €116,000 plus vAT.<br />
10. Superannuation<br />
2010 2009 2008 2007<br />
a. Analysis of total pension costs charged to Expenditure I I I I<br />
Current service cost 266,270 271,079 188,129 208,460<br />
Interest on Pension Scheme Liabilities 85,191 75,415 62,121 57,859<br />
Employee Contributions (42,047 ) (47,074 ) (44,591 ) (43,826)<br />
Total 309,414 299,420 205,659 222,493<br />
2010 2009 2008 2007<br />
b. Movement in net Pension Liability during the financial year I I I I<br />
Net Pension Liability at 1 January 2,002,199 1,908,907 1,330,100 1,181,523<br />
Current Service Cost 266,270 271,079 188,129 208,460<br />
Interest Cost 85,191 75,415 62,121 57,859<br />
Actuarial Loss/(gains) (165,660 ) (253,202 ) 328,557 (117,742 )<br />
net Pension Liability at 31 December 2,188,000 2,002,199 1,908,907 1,330,100<br />
c. Deferred Funding for Pensions<br />
The <strong>Board</strong> recognises these amounts as an asset corresponding to the unfunded deferred liability for pensions on the basis of the set<br />
of assumptions described above and a number of past events. These events include the statutory backing for the establishment of the<br />
pension scheme, and the policy and practice in relation to funding public service pensions including contributions by employees and the<br />
annual estimates process. The <strong>Board</strong> has no evidence that this funding policy will not continue to meet such sums in accordance with<br />
current practice.<br />
The Net Deferred Funding for Pensions recognised in Income and Expenditure Account was as follows:<br />
2010 2009<br />
I I<br />
Funding Recoverable in Respect of Current Year Pension Costs 351,461 346,494<br />
State Grant Applied to Pay Pensioners - -<br />
Total 351,461 346,494<br />
The deferred funding asset for pensions as at 31 December 2010 amounted to €2,188,000 (€2,002,199 in 2009)<br />
2010 2009 2008 2007<br />
d. History of defined benefit obligations I I I I<br />
Defined Benefit Obligations 2,188,000 2,002,199 1,908,907 1,330,100<br />
Experience (gains)/losses on Scheme Liabilities Amount (320,044 ) (90,900 ) 53,735 (18,546 )<br />
Percentage of Scheme Liabilities -15% -5% 3% -1%<br />
e. General Description of the Scheme<br />
The pension scheme is a defined benefit final salary pension arrangement with benefits and contributions defined by reference to current<br />
“model” public sector scheme regulations. The scheme provides a pension (eightieths per year of service), a gratuity or lump sum (three<br />
eightieths per year of service) and spouse’s and children’s pensions. Normal retirement age is a member’s 65th birthday, and pre 2004<br />
members have an entitlement to retire without actuarial reduction from age 60. Pensions in payment (and deferment) normally increases in<br />
line with general public sector salary inflation.<br />
The valuation used for FRS 17 (Revised) Disclosures has been based on a full actuarial valuation at each date performed by an independent<br />
qualified actuary to take account of the requirements of FRS 17 in order to assess the scheme liabilities at 31 December 2010.<br />
HAPPY EvER AFTERS<br />
The Principal Actuarial Assumptions were as follows:<br />
31/12/2010 31/12/2009 31/12/2008 31/12/2007<br />
Rate of increase in salaries 3.50% 3.50% 3.50% 4.00%<br />
Rate of increase in pension payment 3.50% 3.50% 3.50% 4.00%<br />
Discount Rate 4.00% 4.30% 4.00% 4.75%<br />
Inflation 2.00% 2.00% 2.00% 2.50%<br />
The mortality basis adopted allows for improvements in life expectancy over time, so that life expectancy at retirement will depend on the<br />
year in which a member attains retirement age (age 65).<br />
The mortality rates adopted are as follows:<br />
Life Expectancy for Male aged 65 21.8 years<br />
Life Expectancy for Female aged 65 23.4 years<br />
Life Expectancy for Male aged 45 Now (from 65) 24.1 years<br />
Life Expectancy for Female aged 45 Now (from 65) 25.5 years<br />
11. Tangible Fixed Assets<br />
Furniture Computers Total<br />
Cost I I I<br />
At 1 January 2010 429,610 356,943 786,553<br />
Additions 2,409 26,408 28,817<br />
Disposals (45,361 ) (159,212 ) (204,573 )<br />
At 31 December 2010 386,658 224,139 610,797<br />
Depreciation<br />
As at 1 January 2010 302,271 340,923 643,194<br />
Charge for year 69,038 17,810 86,848<br />
Disposals (45,361 ) (159,212 ) (204,573 )<br />
At 31 December 2010 325,948 199,521 525,469<br />
net Book value<br />
As at 31 December 2010 60,710 24,618 85,328<br />
As at 31 December 2009 127,339 16,020 143,359<br />
Movement (66,629 ) 8,598 (58,031 )<br />
12. Creditors<br />
2010 2009<br />
I I<br />
PAYE/PRSI 36,369 52,351<br />
Other Accruals 462,602 136,839<br />
Withholding Tax 17,651 23,052<br />
Pension Contribution 7,958 -<br />
Trade Creditors 742,772 115,629<br />
Total 1,267,352 327,871<br />
23
24<br />
CHAIRS<br />
13. Capital Reserve<br />
notes 2010 2009<br />
I I<br />
Balance at 01/01/10 1,500,874 1,859,291<br />
Investment in <strong>Film</strong>s 3 (181,826 ) (283,767 )<br />
Movement in Fixed Asset Funding (58,031 ) (74,650 )<br />
Balance at 31/12/10 1,261,017 1,500,874<br />
The movement in Fixed Asset funding is comprised as follows:<br />
Income allocated for Capital purposes 28,817 21,529<br />
Amortisation 86,848 (96,179 )<br />
Total (58,031 ) (74,650 )<br />
14. Commitments<br />
Feature Documentary Animation Distribution<br />
Production* Production Production Loans Schemes Total<br />
Production Loans I I I I I I<br />
Commitments @ 01/01/10 1,351,546 725,471 251,800 74,270 274,265 2,677,352<br />
Commitments in 2010 9,091,588 1,344,000 1,065,000 861,649 719,000 13,081,237<br />
Commitments expired 2010 - (15,000 ) - - (34,078 ) (49,078 )<br />
Total Commitments 10,443,134 2,054,471 1,316,800 935,919 959,187 15,709,511<br />
Payments in 2010 (9,149,477 ) (1,518,496 ) (1,194,400 ) (784,535 ) (738,892 ) (13,385,800 )<br />
Commitments at 31/12/10 1,293,657 535,975 122,400 151,384 220,295 2,323,711<br />
* 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<br />
legal costs.<br />
Animation Feature<br />
Development Development Industry Total<br />
Development Loans I I I I<br />
Commitments @ 01/01/10 60,001 510,998 - 570,999<br />
Commitments in 2010 215,000 1,374,700 100,000 1,689,700<br />
Commitments expired 2010 - - - -<br />
Total Commitments 275,001 1,885,698 100,000 2,260,699<br />
Payments in 2010 (211,000 ) (1,394,500 ) (100,000 ) (1,705,500 )<br />
Commitments at 31/12/10 64,001 491,198 - 555,199<br />
15. Provisional Offers of Assistance to <strong>Film</strong> Projects<br />
In addition to the contracted commitments outstanding at year-end of €2,878,910 disclosed in Note 14 an additional €5,157,300 in<br />
respect of provisional offers of assistance was outstanding. The major portion of such commitments, €4,045,000 is in respect of feature<br />
productions where offers are subject to certain terms and conditions which include the procurement of finance. They remain valid for a<br />
period of up to six months at which stage they are subject to review. These offers are also conditional on the availability of <strong>Board</strong>’s funds.<br />
The <strong>Board</strong> also had unquantified offers of assistance to a further eleven feature productions at the year end.<br />
THE PIPE<br />
16. <strong>Board</strong> Members - Disclosure of Transactions<br />
In the normal course of business the <strong>Irish</strong> <strong>Film</strong> <strong>Board</strong> may approve assistance to film projects and enter into other contractual<br />
arrangements with undertakings in which <strong>Board</strong> Members are employed or otherwise interested. The <strong>Irish</strong> <strong>Film</strong> <strong>Board</strong> has adopted<br />
procedures in relation to the disclosures of interests by <strong>Board</strong> members and these procedures were adhered to during the year.<br />
In 2010 the following loans were approved in which a <strong>Board</strong> Member was employed or had an interest:<br />
name Company I<br />
Lesley McKimm newgrange Pictures<br />
Stella Days (Production) 845,000<br />
Stella Days (Regional Support) 120,000<br />
Stella Days (Development) 25,000<br />
Call Girl (Production) 150,000<br />
Happy Ever Afters (P&A) 37,500<br />
An Exact Replica of a Figment of My Imagination (Development) 15,000<br />
Julia Here (Development) 27,000<br />
James Morris Treasure Entertainment<br />
30 Eggs (Development) 15,000<br />
Simple Simon (Development) 22,500<br />
A Month in the Country (Development) 28,000<br />
Tristan Orpen Lynch Subotica Entertainment<br />
Flowers of Desire (Production) 300,000<br />
A Stranger in a Strange Land (Documentary Promo) 10,000<br />
Gold (Development) 10,500<br />
unless (Development) 15,000<br />
War Dog (Development) 50,000<br />
La Mula (Development) 10,000<br />
Subotica also received provisional offers of assistance in respect of Gold<br />
and A Stranger in a Strange Land<br />
Kirsten Sheridan warehouse Pictures<br />
Doll House (Development) 15,000<br />
Doll House (Production) 365,000<br />
CDS<br />
The Rafters (Production) 600,000<br />
The Rafters (Regional Support) 120,000<br />
The Factory (Industry Development) 100,000<br />
Johnny Gogan Bandit <strong>Film</strong>s<br />
The Straits (Production) 495,000<br />
Black Ice (Development) 20,000<br />
The Wet Senor (Development) 5,000<br />
Cinema northwest<br />
Swansong (Distribution) 17,642<br />
Total 3,418,142<br />
17. <strong>Board</strong> Approval<br />
The financial statements were approved by the <strong>Board</strong> on the 28th November 2011.<br />
25
26<br />
HELEN<br />
APPEnDIx 1<br />
Appendices 1 to 5 are for information and do not form part of the accounts from pages 15 to 25.<br />
CAPITAL COMMITMEnTS 2010<br />
Feature Production Loans<br />
Committed I<br />
Albert nobbs Parallel <strong>Film</strong> Productions 750,000<br />
Citadel Blinder <strong>Film</strong>s 657,000<br />
Come On Eileen Blinder <strong>Film</strong>s 80,000<br />
Corp & Anam Magamedia 300,000<br />
Death of a Superhero Grand Pictures 600,000<br />
Doll House Warehouse Pictures 365,000<br />
Earthbound Paper Dreams 650,000<br />
Grabbers Samson <strong>Film</strong>s 500,000<br />
Losing It Samson <strong>Film</strong>s 235,000<br />
Lotus Eaters Fastnet <strong>Film</strong>s 100,000<br />
My Brothers Rubicon <strong>Film</strong>s 15,577<br />
Silence South Wind Blows 300,000<br />
Stella Days Newgrange Pictures 845,000<br />
The Looking Glass Emu Productions 4,000<br />
The Other Side of Sleep Fastnet <strong>Film</strong>s 625,000<br />
The Pier Black Equus <strong>Film</strong>s 100,000<br />
The Rafters CDS Ltd 600,000<br />
The Runway Fastnet <strong>Film</strong>s 65,000<br />
Schemes<br />
Committed I<br />
Short Shorts<br />
Loft underground <strong>Film</strong>s 15,000<br />
Honeycomb Samson <strong>Film</strong>s 15,000<br />
Dummy Parallel <strong>Film</strong>s 15,000<br />
Riders to the Sea Dig Productions 15,000<br />
Origin Souljacker 15,000<br />
Standby Black Sheep Productions 15,000<br />
Signatures<br />
Shoe Zanita <strong>Film</strong>s 66,000<br />
Crossing Salween Red Rage <strong>Film</strong>s 83,000<br />
Pentecost Emu Productions 65,000<br />
This is a Test Image Now <strong>Film</strong>s 71,000<br />
The Christening underground <strong>Film</strong>s 80,000<br />
Reality Bites<br />
Horizontal Collaboration Fastnet <strong>Film</strong>s 15,000<br />
Blue Rinse Zucca <strong>Film</strong>s 15,000<br />
How Can I Play Wildfire <strong>Film</strong>s 15,000<br />
needle Exchange venom 15,000<br />
Committed I<br />
Creative Co-Production Fund<br />
Istanbul Ripple World Pictures 178,000<br />
Snake Dance West Park Pictures West 80,000<br />
The Last Furlong (The Hideaways) Octagon <strong>Film</strong>s 350,000<br />
The Moth Diaries Samson <strong>Film</strong>s 400,000<br />
This Must Be The Place Element Pictures 500,000<br />
Regional Support Fund<br />
Corp & Anam Magamedia 60,000<br />
Grabbers Samson <strong>Film</strong>s 100,000<br />
Stella Days Newgrange Pictures 120,000<br />
The Last Furlong Octagon <strong>Film</strong>s 70,000<br />
The Other Side of Sleep Fastnet <strong>Film</strong>s 120,000<br />
The Rafters CDS 120,000<br />
Completion<br />
The Liberties Areamann Productions 15,000<br />
Jimmy Murakami: non Alien Loopline <strong>Film</strong>s 15,000<br />
Stand up My Best Friend Long Grass Productions 10,000<br />
Total 8,929,577<br />
Committed I<br />
virtual Cinema<br />
Our Poor Son Rubicon <strong>Film</strong>s 2,000<br />
Ol’ One Eye Joanne Cunningham 2,000<br />
Signs vincent Gallagher 2,000<br />
The Monk and the Fly Souljacker 2,000<br />
Tv Dinner Two Hungry Fish Productions 2,000<br />
<strong>Irish</strong> Dog whisperer Two Hungry Fish Productions 2,000<br />
The Invention Lightbulb Lovely Productions 2,000<br />
Daylight Saving Time Jason Butler 2,000<br />
Spanx and Eve Tonyia Dowling 2,000<br />
Frameworks<br />
After you Cel Division 47,000<br />
we the Masses Still <strong>Film</strong>s 45,500<br />
Here to Fall Blacknorth Studio 44,500<br />
umbra And Maps and Plans 49,000<br />
Total 719,000<br />
CIRCuS MAN<br />
Documentary Production Loans<br />
Committed I<br />
A Glacier Beneath Image Now <strong>Film</strong>s 240,000<br />
Art will Save the world Happy Endings Productions 90,000<br />
Barbaric Genius Screenworks 15,000<br />
Children of the Revolution Transmission <strong>Film</strong>s 40,000<br />
Darkness into Light Atlantic <strong>Film</strong> Alliance 15,000<br />
Doodle venom 15,000<br />
Dreams of a Life Soho Moon Pictures 150,000<br />
For One night Only Parallel <strong>Film</strong> Productions 100,000<br />
Good Days Bad Days Maccana Teo 10,000<br />
Good Robot Fastnet <strong>Film</strong>s 15,000<br />
In the name of Dignity Lugh <strong>Film</strong>s 15,000<br />
Jerry McGill: very Extremely Dangerous<br />
Screenworks 15,000<br />
King of Travellers (Knuckle) Rise <strong>Film</strong>s 100,000<br />
Land Ripple World Pictures 15,000<br />
Last Lion Zeitgeist <strong>Film</strong>s 15,000<br />
Making a Show of Myself Blinder <strong>Film</strong>s 10,000<br />
Martin Hayes in Five ways Moving Still Productions 90,000<br />
Muerte and Me Fastnet <strong>Film</strong>s 15,000<br />
Distribution<br />
Committed I<br />
P&A/Marketing Support<br />
All Good Children Element Distribution 9,300<br />
Happy Ever Afters Buena vista 37,500<br />
His and Hers Element Distribution 74,560<br />
Little Foxes Eclipse Pictures 3,578<br />
Perrier’s Bounty Element Distribution 75,000<br />
Savage Eclipse Distribution 30,000<br />
Swansong Cinema North West 13,500<br />
The Guard Element Distribution 75,000<br />
Trafficked Stoney Road 12,000<br />
vOLTA Element Distribution 225,000<br />
Zonad Element Distribution 75,000<br />
Direct Distribution<br />
Colony Fastnet <strong>Film</strong>s 567<br />
Colony <strong>Irish</strong> <strong>Film</strong> Institute 2,200<br />
Eamon Zanita <strong>Film</strong>s 7,211<br />
Eamon <strong>Irish</strong> <strong>Film</strong> Institute 4,400<br />
Pyjama Girls Still <strong>Film</strong>s 10,000<br />
Pyjama Girls <strong>Irish</strong> <strong>Film</strong> Institute 2,200<br />
The Fading Light <strong>Irish</strong> <strong>Film</strong> Institute 2,200<br />
The Fading Light Park <strong>Film</strong>s 2,258<br />
The Pipe underground <strong>Film</strong>s 10,000<br />
Animation Production Loans<br />
Committed I<br />
On Bourbon St Cadenza <strong>Film</strong>s 10,000<br />
One Minute to Midnight Crossing the Line <strong>Film</strong>s 15,000<br />
Otunnu Crossing the Line <strong>Film</strong>s 10,000<br />
Pikin Players Chapter 01 Productions 10,000<br />
Possession of the Sea Still <strong>Film</strong>s 20,000<br />
Roadside Installation Puddle <strong>Film</strong>s 15,000<br />
Sharp Knives Soft Targets Have More Fun 15,000<br />
Showrunners Black Sheep Productions 10,000<br />
Stranger in a Strange Land Subotica Ltd 10,000<br />
The Boy George Story Parallel <strong>Film</strong> Productions 10,000<br />
The Cause of Progress Zanzibar/Little Ease <strong>Film</strong>s 15,000<br />
The Master the Slave and the Bank Still <strong>Film</strong>s 5,000<br />
The Men of Arlington House Hotshot <strong>Film</strong>s 60,000<br />
The nightdancers Still <strong>Film</strong>s 15,000<br />
The Pipe underground <strong>Film</strong>s 37,000<br />
The Truth Teller Solas Productions 15,000<br />
Thilafushi: Lost in Paradise El Zorrero <strong>Film</strong>s 7,000<br />
what we Leave in Our wake Harvest <strong>Film</strong>s 100,000<br />
Total 1,344,000<br />
Committed I<br />
Print Support<br />
Anton Fox Glove <strong>Film</strong>s 2,000<br />
Colony Fastnet <strong>Film</strong>s 45,965<br />
Corduroy EMu Productions 2,631<br />
Eamon Zanita <strong>Film</strong>s 1,992<br />
Fairycatcher 2000AD Productions 3,267<br />
Fall Zanzibar <strong>Film</strong>s 5,500<br />
Granny O’Grimm Brown Bag <strong>Film</strong>s 9,824<br />
His & Hers venom 2,062<br />
If I Should Fall Behind Tilted Pictures 484<br />
Moore St Masala Fish <strong>Film</strong>s 10,172<br />
One Hundred Mornings Blinder <strong>Film</strong>s 30,000<br />
Please Say Something David O’Reilly 4,034<br />
Savage SP <strong>Film</strong>s 55,000<br />
Swansong: The Story of Occi Cinema North West 4,142<br />
The Herd venom 2,265<br />
The Man Inside Broken Pictures 2,307<br />
The Pool Warrior <strong>Film</strong>s 8,530<br />
Total 861,649<br />
Committed I<br />
Punky Monster Animation & Design 200,000<br />
Thor: The Edda Chronicles Magma Productions 85,000<br />
Jo and Jack Dancing Girl Productions 150,000<br />
Tilly & Friends Jam Media 250,000<br />
Moon Man Cartoon Saloon 300,000<br />
I’m a Monster Monster Distribution 80,000<br />
Total 1,065,000<br />
27
28<br />
THE SECRET <strong>OF</strong> KELLS<br />
Feature Development Loans<br />
Committed I<br />
30 Eggs Treaure Entertainment 27,000<br />
6 Hours Samson <strong>Film</strong>s 25,000<br />
An Exact Replica of a Figment of my Imagination<br />
Newgrange Pictures 15,000<br />
Before Midnight Alan Brennan 12,000<br />
Billy Goes to war Lee Cronin 12,000<br />
Black Ice Bandit <strong>Film</strong>s 20,000<br />
Blackrock Element Pictures 22,500<br />
Blinky and the war Machine Floodland Pictures 45,000<br />
Cell Six Fantastic <strong>Film</strong>s 10,000<br />
Closed Circuit Ian Power 12,000<br />
Clovis Teazle Andrew Legge 12,000<br />
Cycle Samson <strong>Film</strong>s 30,000<br />
Doll House CDS Limited 15,000<br />
Down to the Sunless Sea Wide Eye <strong>Film</strong>s 15,000<br />
Earthbound Paper Dreams 10,000<br />
Easy Does It Janey Pictures 5,000<br />
Future Fathers Happy Endings 10,000<br />
Glass Houses Fantastic <strong>Film</strong>s 5,000<br />
Gold (aka Six Days) Subotica 10,500<br />
Grooskill Mark O’Connor 12,000<br />
Guitar Heroes Brian Lynch 12,000<br />
Harm’s way Nightingale <strong>Film</strong>s 15,000<br />
Hate SP <strong>Film</strong>s 38,000<br />
Honoured Jasmina Kallay 12,000<br />
I Am not a Serial Killer Floodland Pictures 13,000<br />
I’m a wheel Paul Freaney/Alan Gilsenan 16,000<br />
Immaculate Ray Lawlor 12,000<br />
Jericho Fastnet <strong>Film</strong>s 15,000<br />
Julia Here Newgrange Picures 27,000<br />
Julius winsome Nightingale <strong>Film</strong>s 15,000<br />
Killing Tom Soho Moon Pictures 10,000<br />
Mister John Samson <strong>Film</strong>s 10,000<br />
Moscow never Sleeps Johnny O’Reilly 12,000<br />
Ms Mansfield and Me Paul Walker 12,000<br />
My Father’s Daughter Carmel Winters 12,000<br />
napoleon and Josephine Octagon <strong>Film</strong>s 50,000<br />
Objects of Interest Mammoth <strong>Film</strong>s 20,000<br />
Peacekeepers Jane Doolan 12,000<br />
Pilgrimage Savage Productions 18,000<br />
Animation Development Loans<br />
Committed I<br />
Princess Footnote Productions 20,000<br />
Prophet x Mike McCormack 12,000<br />
Reading in the Dark DeFacto <strong>Film</strong>s 10,000<br />
Red Brian Finola Geraghty 12,000<br />
Reeling Parallel <strong>Film</strong> Productions 12,500<br />
Return of the Banshee Parallel <strong>Film</strong> Productions 11,500<br />
Sanctuary venom 4,000<br />
Scumbot Ciaran Foy 12,000<br />
Simple Simon Treasure Entertainment 22,500<br />
Standby Black Sheep Productions 10,000<br />
Stella Days Newgrange Pictures 25,000<br />
Synchronicity Paul Walker 12,000<br />
Synchronicity Parallel <strong>Film</strong> Productions 30,000<br />
Ten Dates with Mad Mary Element Pictures 40,000<br />
The Book of Lost Things Coastguard <strong>Film</strong>s 50,000<br />
The Brave Tin Soldier Colin Downey 12,000<br />
The Canal Park <strong>Film</strong>s 15,000<br />
The Cherry Tree Fantastic <strong>Film</strong>s 15,000<br />
The End of Romance Trish McAdam 12,000<br />
The Fourth McHenry Christian O’Reilly 12,000<br />
The Gathering Goldfish <strong>Film</strong>s 26,700<br />
The Girl in the Green Kimono Jimmy Murakami/Mary D’arcy 16,000<br />
The Islanders Pierce Ryan 12,000<br />
The Leviathan Floodland Pictures 48,000<br />
The Ranger Fastnet <strong>Film</strong>s 26,000<br />
The Siege of Jadotville The Cannibal Corporation 50,000<br />
The Trial ursula Rani Sarma 12,000<br />
The wet Senor Bandit <strong>Film</strong>s 5,000<br />
The winter Truce Audrey O’Reilly 12,000<br />
Three Days Brock Norman Brock 12,000<br />
Traders Peter Murphy/Rachael Moriarty 16,000<br />
Twelve Twenty Three Parallel <strong>Film</strong> Productions 22,500<br />
unless Subotica 15,000<br />
unsung Hero Joel Conroy 12,000<br />
war Dog Subotica 50,000<br />
your Girlfriend and Me unstoppable <strong>Film</strong>s 15,000<br />
Love Eternal Fastnet <strong>Film</strong>s 5,000<br />
La Mula Subotica 10,000<br />
Total 1,374,700<br />
Committed I<br />
Bedheads Kavaleer Productions 48,000<br />
Cosmo Monster Animation & Design 16,000<br />
Cú - The Hound of ulla Pillarstone Productions 29,000<br />
Fronkey, Hugh & Chonkey Avalon <strong>Film</strong>s 10,000<br />
I’m a Monster Monster Distribution 48,000<br />
nightgliders Brown Bag <strong>Film</strong>s 30,000<br />
The Selfish Giant NDN Productions 34,000<br />
Total 215,000<br />
Industry Development<br />
Committed I<br />
The Factory CDS 100,000<br />
Total 100,000<br />
A CLOWN’S REQuIEM<br />
APPEnDIx 2<br />
OuTSTAnDInG COMMITMEnTS 2010<br />
Feature Production Loans<br />
Pending I<br />
Citadel Blinder <strong>Film</strong>s 65,700<br />
Come On Eileen Blinder <strong>Film</strong>s 1,700<br />
Corp & Anam Magamedia 18,000<br />
Death of a Superhero Grand Pictures 60,000<br />
Doll House Warehouse Pictures 73,000<br />
Earthbound Paper Dreams 65,000<br />
Losing It Samson <strong>Film</strong>s 23,500<br />
Lotus Eaters Fastnet <strong>Film</strong>s 10,000<br />
Stella Days Newgrange Pictures 96,500<br />
The Other Side of Sleep Fastnet <strong>Film</strong>s 38,500<br />
The Pier Black Equus films 5,000<br />
The Rafters CDS Ltd 72,000<br />
Pre 2010 107,407<br />
Total 636,307<br />
Creative Co-Production Fund<br />
Pending I<br />
Istanbul Ripple World Pictures 17,800<br />
The Last Furlong Octagon <strong>Film</strong>s 35,000<br />
The Moth Diaries Samson <strong>Film</strong>s 40,000<br />
This Must be the Place Element Pictures 50,000<br />
Pre 2010 340,000<br />
Total 482,800<br />
Regional Support Fund<br />
Pending I<br />
The Last Furlong Octagon <strong>Film</strong>s 70,000<br />
The Other Side of Sleep Fastnet <strong>Film</strong>s 36,000<br />
Pre 2010 62,500<br />
Total 168,500<br />
Completion<br />
Pending I<br />
Jimmy Murakami: non Alien Loopline <strong>Film</strong>s 3,000<br />
Stand up: My Best Friend Maurice Linnane 50<br />
The Liberties Areamann Productions 3,000<br />
Total 6,050<br />
Animation Production Loans<br />
Pending I<br />
Punky Monster Animation 60,000<br />
Pre 2010 62,400<br />
Total 122,400<br />
29
30<br />
WAvERIDERS<br />
Documentary Production Loans<br />
Pending I<br />
Art will Save the world Happy Endings Productions 31,500<br />
Barbaric Genius Screenworks 3,000<br />
Darkness into Light Atlantic <strong>Film</strong> Alliance 3,000<br />
Doodle venom 3,000<br />
Dreams of a Life West Park Pictures West 30,000<br />
For One night Only Parallel <strong>Film</strong> Productions 20,000<br />
Good Days Bad Days Maccana Teo 2,000<br />
King of Travellers (Knuckle) Rise <strong>Film</strong>s 10,000<br />
Land Ripple World Pictures 3,000<br />
Last Lion Zeitgeist <strong>Film</strong>s 3,000<br />
Making a Show of Myself Blinder <strong>Film</strong>s 2,000<br />
Martin Hayes in Five ways Moving Still Productions 27,000<br />
Distribution - P&A /Marketing Support<br />
Pending I<br />
All Good Children Element Distribution 4,650<br />
Happy Ever Afters Buena vista 15,000<br />
His & Hers Element Distribution 7,456<br />
Perrier’s Bounty Element Distribution 7,500<br />
The Guard Element Distribution 37,500<br />
Trafficked Stoney Road 1,000<br />
Zonad Element Distribution 7,500<br />
Pre 2010 46,289<br />
Total Definite P&A 126,895<br />
Direct Distribution<br />
Pending I<br />
On Bourbon St Cadenza <strong>Film</strong>s 2,000<br />
One Minute to Midnight Crossing the Line <strong>Film</strong>s 3,000<br />
Roadside Installation Puddle <strong>Film</strong>s 3,000<br />
Sharp Knives Soft Targets Have More Fun 7,000<br />
The Cause of Progress Zanzibar/Little Ease <strong>Film</strong>s 3,000<br />
The nightdancers Still <strong>Film</strong>s 1,500<br />
The Pipe underground <strong>Film</strong>s 8,000<br />
The Truth Teller Solas Productions 3,000<br />
Thilafushi: Lost in Paradise El Zorro <strong>Film</strong>s 2,000<br />
what we Leave in Our wake Harvest <strong>Film</strong>s 10,000<br />
Pre 2010 358,975<br />
Total 535,975<br />
Pending I<br />
Pyjama Girls Still <strong>Film</strong>s 5,000<br />
The Pipe underground <strong>Film</strong>s 5,000<br />
Total Direct Distribution 10,000<br />
Print Support<br />
Pending I<br />
Fairycatcher 2000AD Productions 37<br />
One Hundred Mornings Blinder <strong>Film</strong>s 7,500<br />
The Herd venom 566<br />
Pre 2010 6,385<br />
Total Print Support 14,488<br />
Short <strong>Film</strong> Schemes<br />
Pending I<br />
Short Shorts<br />
Dummy Parallel <strong>Film</strong>s 2,000<br />
Loft underground <strong>Film</strong>s 2,000<br />
Origin 2,000<br />
Riders to the Sea Dig Productions 2,000<br />
Signatures<br />
This is a Test Image Now <strong>Film</strong>s 7,100<br />
Pending I<br />
Frameworks<br />
After you Cel Division 23,500<br />
we the Masses Still <strong>Film</strong>s 22,750<br />
Here to Fall Blacknorth Studio 22,250<br />
umbra And Maps and Plans 24,500<br />
Pre 2010 112,195<br />
Total 220,295<br />
DONKEY<br />
Feature Development Loans<br />
Pending I<br />
14 88 SP <strong>Film</strong>s 3,000<br />
30 Eggs Treasure Entertainment 3,000<br />
6 Hours Samson <strong>Film</strong>s 10,000<br />
An Exact Replica of a Figment of My Imagination<br />
Newgrange Pictures 3,000<br />
Before Midnight Alan Brennan 2,000<br />
Billy Goes to war Lee Cronin 2,000<br />
Black Ice Bandit <strong>Film</strong>s 2,000<br />
Blackrock Element Pictures 7,500<br />
Blinky and the war Machine Floodland Pictures 5,000<br />
Cell Six Fantastic <strong>Film</strong>s 2,000<br />
Closed Circuit Ian Power 2,000<br />
Clovis Teazle Andrew Legge 12,000<br />
Cycle Samson <strong>Film</strong>s 5,000<br />
Down to the Sunless Sea Wide Eye <strong>Film</strong>s 3,000<br />
Glass Houses Fantastic <strong>Film</strong>s 1,000<br />
Gold (aka Six Days) Subotica 2,500<br />
Grooskill Mark O’Connor 2,000<br />
Guitar Heroes Brian Lynch 2,000<br />
Harm’s way Nightingale <strong>Film</strong>s 3,000<br />
I Am not a Serial Killer Floodland Pictures 3,000<br />
I’m a wheel Paul Freaney/Alan Gilsenan 4,000<br />
Immaculate Ray Lawlor 2,000<br />
Jericho Fastnet <strong>Film</strong>s 3,000<br />
Julius winsome Nightingale <strong>Film</strong>s 3,000<br />
Killing Tom Soho Moon Pictures 2,000<br />
Mister John Samson <strong>Film</strong>s 2,000<br />
Ms Mansfield and Me Paul Walker 2,000<br />
My Father’s Daughter Carmel Winters 2,000<br />
napoleon and Josephine Octagon <strong>Film</strong>s 5,000<br />
Peacekeepers Jane Doolan 2,000<br />
Pilgrimage Savage Productions 3,000<br />
Princess Footnote Productions 5,000<br />
Animation Development Loans<br />
Pending I<br />
Prophet x Mike McCormack 2,000<br />
Reading in the Dark DeFacto <strong>Film</strong>s 2,000<br />
Red Brian Finola Geraghty 2,000<br />
Reeling Parallel <strong>Film</strong> Productions 2,500<br />
Return of the Banshee Parallel <strong>Film</strong>s 1,500<br />
Sanctuary venom 1,000<br />
Scumbot Ciaran Foy 2,000<br />
Simple Simon Treasure Entertainment 4,500<br />
Spin City Johnny O’Reilly 2,000<br />
Standby Black Sheep Productions 2,000<br />
Synchronicity Parallel <strong>Film</strong> Productions 18,000<br />
Ten Dates with Mad Mary Calipo Pictures 10,000<br />
The Book of Lost Things Coastguard <strong>Film</strong>s 5,000<br />
The Brave Tin Soldier Colin Downey 2,000<br />
The Canal Park <strong>Film</strong>s 3,000<br />
The Cherry Tree Fantastic <strong>Film</strong>s 3,000<br />
The Gathering Goldfish <strong>Film</strong>s 3,700<br />
The Girl in the Green Kimono Jimmy Murakami & Mary D’arcy 4,000<br />
The Islanders Pierce Ryan 2,000<br />
The Leviathan Floodland Pictures 8,000<br />
The Ranger Fastnet <strong>Film</strong>s 8,000<br />
The Siege of Jadotville The Cannibal Corporation 5,000<br />
The Trial ursula Rani Sarma 2,000<br />
The wet Senor Bandit <strong>Film</strong>s 1,000<br />
The winter Truce Audrey O’Reilly 2,000<br />
Three Days Brock Norman Brock 2,000<br />
Traders P Murphy & R Moriarty 4,000<br />
Twelve Twenty Three Parallel <strong>Film</strong>s 2,500<br />
unless Subotica 5,000<br />
war Dog Subotica 10,000<br />
your Girlfriend and Me unstoppable <strong>Film</strong>s 3,000<br />
Love Eternal Fastnet <strong>Film</strong>s 1,000<br />
Pre 2010 261,498<br />
Total 491,198<br />
Pending I<br />
Bedheads Kavaleer Productions 8,000<br />
Cosmo Monster Animation 3,000<br />
Cú - The Hound of ulla Pillarstone Productions 9,000<br />
Fronkey, Hugh & Chonkey Avalon <strong>Film</strong>s 2,000<br />
nightgliders Brown Bag <strong>Film</strong>s 5,000<br />
The Selfish Giant NDN Productions 7,000<br />
Pre 2010 30,000<br />
Total 64,000<br />
31
32<br />
JOHN FORD - DREAMING THE QuIET MAN<br />
APPEnDIx 3<br />
DETAILS <strong>OF</strong> LOAn COnDITIOnS<br />
(a) Development Funds<br />
Development Loans are advanced on a phased payment basis with approximately 50-60% paid on satisfactory execution of<br />
Development Loan contracts between the <strong>Board</strong> and the Producer, the balance being paid upon compliance with specific<br />
conditions outlined by the <strong>Board</strong>.<br />
Loans for development are up to a maximum of €100,000, €50,000 at any one time. Teams or individuals (producer/<br />
director/script-writer) may apply. The Producer is obliged to repay the Advance to the <strong>Board</strong> on the first day of principal<br />
photography.<br />
These should be seen as development/ feasibility loans; the <strong>Board</strong> makes every effort to track these monies and provides<br />
information and support for independent producers seeking other potential production partners. Some of the projects<br />
receiving development loans from the <strong>Board</strong> will not proceed into production and may eventually have to be written off.<br />
However, all projects which are successfully brought to fruition, are closely monitored by the <strong>Board</strong> and collection of<br />
monies due is actively pursued.<br />
(b) Production Loans<br />
The <strong>Board</strong>’s involvement takes the form of investment in the production and in its sales for cinema, television, video and<br />
ancillary markets (cable, satellite, home box-office etc.) both in Ireland and worldwide. The investment is not subject to<br />
interest; rigorous measures for recoupment and profit participation are applied. All offers of investment are ‘in principle’<br />
and subject to contract.<br />
WIDE OPEN SPACES<br />
APPEnDIx 4<br />
PRInCIPLES & CRITERIA<br />
BSÉ/IFB’s funding programmes are guided by some<br />
fundamental principles which form the basis of its decision-<br />
making criteria. The principles are:<br />
• Additionality<br />
• Cultural Priorities, Industrial Priorities<br />
• Making Cinema<br />
• Originality<br />
These are explained in more detail below. Thereafter we set out<br />
some further considerations that may influence a decision in<br />
favour of one project over another.<br />
Additionality<br />
An essential rationale for making public money available to<br />
an industry is that it should create activity that would not<br />
otherwise occur, i.e. that the market, left to itself, would not<br />
engender. It follows that films backed by BSÉ/IFB should be<br />
films that will not be made, or will not be made with the same<br />
level of benefit to Ireland, unless enabled to do so with the<br />
support of the agency. Such films, and the benefits that flow<br />
from them, will represent ‘additional’ economic activity.<br />
The procedures for considering submissions for production<br />
funding are intended to ensure more effectively that the<br />
extent of BSÉ/IFB’s involvement in a project really reflects<br />
the extent to which its involvement is needed: specifically,<br />
that the level of BSÉ/IFB’s investment is what is required to<br />
complete a film’s financing and no more. Clearly this is hard<br />
to police with absolute accuracy, given the nature of film<br />
financing negotiations, but the principle holds good and will<br />
be closely observed.<br />
The aim to fund films that are ‘additional’ will also affect<br />
BSÉ/IFB’s preferences in seeking out projects to support.<br />
Additionality implies making a difference, and BSÉ/IFB will<br />
tend to be drawn towards supporting projects that appear to<br />
be of high quality but tangibly distinct and different from films<br />
available in the mainstream marketplace. This does not mean<br />
that BSÉ/IFB is interested only in supporting ‘un-commercial’<br />
material. On the contrary, there is a wealth of cinema history<br />
evidence to show that the big hits are frequently groundbreaking,<br />
left-field surprises. The market appears to need<br />
regular refreshment. BSÉ/IFB will give energetic backing to<br />
producers who display an ambition to achieve market success<br />
– with projects that display an awareness of the market, but not<br />
a prostration to it.<br />
Cultural Priorities, Industrial Priorities<br />
Consistent with its government remit, and responding to the<br />
present perceived needs of the <strong>Irish</strong> film industry, BSÉ/IFB<br />
considers that certain projects, in terms of their content,<br />
provenance or benefit to the industry, represent clear priorities<br />
for its funding as against others.<br />
Strong preference will be given to submissions on behalf of<br />
projects which:<br />
• Are of ‘<strong>Irish</strong> initiation’ in a creative sense; that is,<br />
conceived, written and to be directed by <strong>Irish</strong> talents<br />
• Tell <strong>Irish</strong> stories, drawing on and depicting Ireland’s<br />
culture, history, way of life, view of the world and of itself<br />
• Entail new <strong>Irish</strong> filmmaking talent in key creative roles,<br />
i.e. director, writer, producer, composer, principal actor<br />
Serious attention will also be paid to submissions which:<br />
• Propose a strongly <strong>Irish</strong> project (in terms of setting,<br />
characters, etc) that is to be directed by a non-<strong>Irish</strong> talent,<br />
where BSÉ/IFB regards the director’s track-record as an<br />
assurance of quality<br />
• Involve an <strong>Irish</strong> producer as minority co-producer of a film,<br />
where (a) BSÉ/IFB is convinced of the quality of the project,<br />
(b) the amount of BSÉ/IFB’s investment corresponds to the<br />
level of involvement of <strong>Irish</strong> personnel, elements and<br />
facilities in the project, and (c) a commitment is in place by<br />
the majority co-producer to reciprocate by acting as<br />
minority co-producer of a future <strong>Irish</strong> film<br />
Submissions on behalf of films to be made predominantly in<br />
the <strong>Irish</strong> language will continue to be particularly welcomed by<br />
BSÉ/IFB.<br />
BSÉ/IFB will always be vigilant in ensuring that films in which<br />
it invests entail a high volume of expenditure on <strong>Irish</strong> personnel<br />
and in the <strong>Irish</strong> industry, and this aspect of a submission is<br />
likely to play a material part in a positive decision.<br />
33
34<br />
GuNS, BEES AND TADPOLES IF THESE WALLS COuLD TALK<br />
It will not in itself be a decisive factor, however, where BSÉ/IFB<br />
is unconvinced by the quality of a project, or where the project<br />
in other respects does not comply with any of the priorities<br />
set out above. This is dealt with in more detail under Further<br />
Considerations below.<br />
Making Cinema<br />
A fundamental reason for BSÉ/IFB’s existence is to encourage,<br />
sustain and promote work in Ireland that is made to be shown<br />
on the big screen.<br />
This has not prevented BSÉ/IFB from supporting work for which<br />
the main exhibition outlet in practice is television. Moreover, to<br />
the extent that this enables production companies to survive<br />
and even thrive, and reflects a healthy and necessary synergy<br />
between the cinema and television media, in a country the size<br />
of Ireland it would be unrealistic for BSÉ/IFB to confine its<br />
support to filmmaking for the cinema.<br />
But, while continuing to respond positively to occasional<br />
submissions on behalf of projects that are most likely to find<br />
an audience on television, even including made-for-Tv films<br />
and series, BSÉ/IFB will place somewhat greater emphasis<br />
on its obligations towards cinema work and cinema talents<br />
in the future.<br />
In practice this will mean:<br />
• Documentaries will be more rigorously assessed in<br />
terms of their potential to achieve theatrical release or<br />
stimulate interest from international film festivals.<br />
Preference will be given to ‘feature documentaries’; films<br />
aimed at a one-hour Tv slot or shorter, with little or no<br />
international appeal, are likely to be supported only if<br />
they are felt to be of an irresistible quality. Besides BSÉ/<br />
IFB’s emphasis on cinema, this approach is also designed<br />
to respond to the manifest increase in theatrical<br />
audiences’ desire to see documentaries.<br />
• Animation will be treated with more flexibility, in<br />
recognition both of the growing importance of <strong>Irish</strong> work<br />
in this field, and of the narrowness of the theatrical market<br />
that exists for animated features. Preference will<br />
nonetheless be given to original work from <strong>Irish</strong> talents<br />
that appears to be sufficiently inventive and striking<br />
to measure up to the big-screen format if an opportunity<br />
becomes available.<br />
• Television fiction, whether singles or series, will be<br />
considered for its inherent quality but other factors will<br />
also come into play. Strong emphasis will be placed on<br />
backing directors (and, on occasions, writers) whose<br />
careers to date clearly demonstrate an ability to make<br />
cinema films, or who in the view of BSÉ/IFB are headed for<br />
a career in cinema filmmaking. Further, BSÉ/IFB will need<br />
to be convinced that its financial involvement is crucial to<br />
the realisation of the programme and will expect to<br />
contribute editorially to its content. Development support<br />
by BSÉ/IFB for material specifically aimed at television<br />
production will be forthcoming very rarely indeed.<br />
Originality<br />
In the interests of achieving distinction in the way in which<br />
it utilises its resources, and consistent with the additionality<br />
objectives already outlined, BSÉ/IFB will set considerable<br />
store by originality in seeking out and selecting projects for<br />
support. Artistic benefits apart, there is ample evidence that<br />
in a market dominated by high-budget products, the films<br />
that compete most effectively are those that offer audiences<br />
something not seen before – in terms of controversial content,<br />
provocative viewpoint, fresh humour, twisted genre, or new<br />
depths of emotion.<br />
This will lead BSÉ/IFB to favour directors (and writers) with<br />
distinctive ‘voices’, whose work depicts a strongly individual<br />
view of the world, portrays life in such a way as to give it new<br />
meaning, holds a mirror up to aspects of nature that more<br />
conventional filmmakers avoid or fail to notice. BSÉ/IFB is<br />
concerned to back films that reach as wide an audience as<br />
possible, and expects filmmakers to demonstrate a similar<br />
ambition. At the same time it recognises that box-office success<br />
eludes many. Whether a film succeeds or fails, BSÉ/IFB<br />
believes that expenditure of public money can be vigorously<br />
defended if the film has something original to say, something<br />
original to add to the mass of world cinema.<br />
Further Considerations<br />
The guiding principles described above should serve to give<br />
applicants insight into the way in which BSÉ/IFB’s executives<br />
and advisors will assess a project from the point of view of its<br />
content and the creative team involved. In assessing production<br />
funding applications, other factors may come into play,<br />
concerning the economic effects of the project, the financial<br />
arrangements, and the prospects of reaching audiences.<br />
Where BSÉ/IFB does not consider that a project adheres to<br />
any of the guiding principles, these other factors will not in<br />
themselves be sufficient to secure an offer of funding. But,<br />
in the case of a project where content and creative team are<br />
seen as persuasive, the following considerations may affect<br />
negotiations between BSÉ/IFB and the filmmakers as to the<br />
level of BSÉ/IFB’s investment and the way in which the film<br />
will be financed, produced and distributed:<br />
• Track record of the producer<br />
• Has the producer managed and delivered films in a<br />
professional and efficient manner before?<br />
• Has BSÉ/IFB had good previous experience of dealing<br />
with the producer?<br />
• In a co-production, do any non-<strong>Irish</strong> producers involved<br />
have good professional track records?<br />
• <strong>Irish</strong> employment<br />
• Are key creative and technical positions to be filled<br />
by <strong>Irish</strong> personnel?<br />
• In a co-production, is the proportion of these<br />
appropriate?<br />
• Will the production offer employment to <strong>Irish</strong> personnel<br />
across all possible grades?<br />
• Spend in the <strong>Irish</strong> economy<br />
• Will the film be shot in Ireland?<br />
• Will the production make extensive use of <strong>Irish</strong><br />
production and post-production facilities?<br />
• Will the project attract inward investment into the<br />
<strong>Irish</strong> economy?<br />
• Sales and Distribution<br />
• Is an international sales agent attached to the film?<br />
• Does the film have an <strong>Irish</strong> distributor?<br />
• Are any distributors or broadcasters providing<br />
production finance?<br />
• Financial structure<br />
• Are the proposed co-financiers of the film reliable?<br />
• Will the proposed financing arrangements allow BSÉ/<br />
IFB to negotiate a reasonable recoupment position?<br />
• Will there be reasonable transparency of accounting<br />
with regard to sales revenues, e.g. by use of a collection<br />
agent?<br />
It should be emphasised that for a project to be offered<br />
production funding it is not necessary for all these questions<br />
to be answered affirmatively. But negative answers to a<br />
high proportion of them could undermine a strongly positive<br />
disposition on the part of BSÉ/IFB towards the creative<br />
aspects of a project. At the very least, a mix of affirmative and<br />
negative answers will provoke discussion as to the extent and<br />
manner of BSÉ/IFB’s commitment.<br />
variant Criteria<br />
Some BSÉ/IFB funding programmes have specific criteria of<br />
their own and are not necessarily governed by the principles<br />
set out above:<br />
• Multiple Project Development (MPD)<br />
Although the guiding principles are applied to assessment<br />
of the slates of projects proposed, the MPD programme<br />
carries its own additional criteria which should be checked<br />
before an application is made.<br />
• International Production<br />
This programme, although subject in broad terms to<br />
BSÉ/IFB’s normal cultural criteria, is more industrially<br />
driven than creatively driven. Provided that the principal<br />
producer has a good track record, and the creative package<br />
appears plausible, assessment by BSÉ/IFB will be based<br />
primarily on consideration of the economic ‘multiplier’<br />
effect of its funding, and of the opportunities for <strong>Irish</strong><br />
personnel to be employed in key positions.<br />
• Regional Support<br />
This programme has an exclusively economic remit. To<br />
be eligible, a project must already be in receipt of BSÉ/<br />
IFB production funding, and no further creative judgment<br />
is applied. An assessment is made of the amount of<br />
the production budget to be spent in Ireland outside the<br />
metropolitan and adjacent area; this must be at least twice<br />
the amount of funding requested.<br />
• Documenting the Arts<br />
There are guidelines specific to this programme, as<br />
drawn up with the Arts Council which oversees the<br />
selection procedure.<br />
• Distribution<br />
The Print Provision programme functions on an automatic<br />
basis, whereby films become eligible for support if selected<br />
for one of a list of approved festivals, subject to agreement<br />
with BSÉ/IFB as to the level of funding. Prints & Advertising<br />
funding is provided to <strong>Irish</strong> distributors of BSÉ/IFB-backed<br />
films who demonstrate that support from BSÉ/IFB will<br />
enhance the promotion of a film in the <strong>Irish</strong> market.<br />
35
36<br />
JERICHO<br />
APPEnDIx 5<br />
LOCATIOn SERvICES<br />
Location Services serves to facilitate and encourage filming of all kinds. We can help whether you are making feature<br />
films, television, documentaries, commercials, corporates, music videos or still photography; anything that ends up on<br />
screen. Our marketing team is here to answer your questions. Our service is free.<br />
Here are just some of the services we offer:<br />
• The Location Services unit handles all enquiries relating to filming in Ireland. F.I.L.M (<strong>Film</strong> Industry Location Manager)<br />
is a searchable digital photo database that streamlines our location finding capabilities. The use of the service is free<br />
to <strong>Irish</strong> location scouts, as well as film makers contacting us from abroad.<br />
• As part of our service we also provide visual reference books and other reference information on matters relating<br />
to filming in Ireland.<br />
• We also act as the hub for a growing network of regional film offices. Our co-operation with the Northern <strong>Irish</strong> <strong>Film</strong><br />
and Television Commission means a combination of coverage of the island as a whole.<br />
• We co-operate with other national bodies to make the working environment as film friendly as possible.<br />
FIvE DAY SHELTER<br />
<strong>BORD</strong> <strong>SCAnnÁn</strong> <strong>nA</strong> hÉIREAnn<br />
RÁITIS AIRGEADAIS<br />
Oibríonn Bord Scannán na hÉireann faoi chreathlach Acht um<br />
Bord Scannán 1980 agus Achtanna um Bord Scannáin (Leasú)<br />
1993, 1997, 2000, 2006.<br />
COMHALTAí<br />
B’iad comhaltaí Bord Scannán na hÉireann i 2010 ná: Johnny<br />
Gogan, uasal; Barry Grace, uasal; Tristan Orpen Lynch, uasal;<br />
James Morris, uasal (Cathaoirleach); Lesley McKimm, uasal;<br />
Kevin Moriarty, uasal and Kirsten Sheridan, uasal.<br />
FOIREAnn<br />
B’íad foireann Bord Scannán na hÉireann ar 31ú Mí na Nollag<br />
2010 ná: Simon Perry, Príomhoifigeach Feidhmiúcháin; Teresa<br />
McGrane, Ceannasaí Chúrsaí Gnó/Leas P<strong>OF</strong>; Naoise Barry,<br />
Coimisiúnaitheoir Scannán; Celine Forde, Rialtóir Airgeadais;<br />
Andrew Meehan, Feidhmeannach Forbartha; Alan Maher,<br />
Feidhmeannach Léiriúchán; Emma Scott, Feidhmeannach<br />
Léiriúchán; Mark Byrne, Feidhmeannach Gnó agus<br />
Dlí; Louise Ryan, Feidhmeannach Margaíochta agus<br />
Cumarsáide; Jill McGregor, Comhordaitheoir Iarratas agus<br />
Scéimeanna; Sarah Dillon, Comhordaitheoir Léiriúcháin agus<br />
Forbartha; Mags O’Sullivan,Leas-Coimisinéir Scannán; Jonathan<br />
Loughran, vP, Coimisiún na Scannán Éireannach S.A.M; Patrick<br />
O’Neill, Feidhmeannach Chursaí Tionscail; Niamh O’Reilly,<br />
Feidhmiúcháin; Suzanne Keane, Comhordaitheoir Cuntas (Páirtaimseartha);<br />
agus Aileen McCauley, Cúntóir Riaracháin.<br />
CRuInnITHE<br />
Bhí 9 gcruinniú ag an mBord i 2010.<br />
OIFIG<br />
Tá ceannáras Bord Scannán na hÉireann le fáil i gcathair<br />
na Gaillimhe:<br />
Queensgate, 23 Bóthar na nDuganna, Gaillimh, Éire.<br />
Teil +353 91 561398, Faics +353 91 561405<br />
R-phost info@irishfilmboard.ie, www.irishfilmboard.ie<br />
Tá oifig Bord Scannán na hÉireann i mBaile átha Cliath<br />
le fáil ag: 14-16 Lord Edward Street, Dublin 2<br />
37
38 39<br />
SENSATION<br />
CuSPóIRí AGuS BEARTAIS<br />
<strong>BORD</strong> <strong>SCAnnÁn</strong> <strong>nA</strong> hÉIREAnn<br />
Bu<strong>nA</strong>íODH <strong>BORD</strong> <strong>SCAnnÁn</strong> <strong>nA</strong> hÉIREAnn<br />
D’FHOnn:<br />
• Na gnéithe cruthaitheacha agus na gnéithe tráchtála a<br />
ghabhann le scannánaíocht agus le cultúr scannán na<br />
hÉireann a chur chun cinn ar mhaithe le lucht féachana na<br />
tíre agus ar mhaithe le lucht féachana idirnáisiúnta. Tacaíonn<br />
an Bord le tionscadail scannánaíochta trí mhaoiniú forbartha<br />
a sholáthar agus cuirtear airgeadas léiriúcháin ar fáil chomh<br />
maith trí infheistíocht fhiachais/chothromais.<br />
• Forbairt agus oiliúint phearsanra theicniúil, ealaíne agus<br />
léiriúcháin a spreagadh mar shlí le feabhas a chur ar<br />
inniúlacht fhoriomlán scileanna laistigh den tionscal.<br />
• Cúnamh a thabhairt chun scannáin Éireannacha a<br />
dhéanamh agus le margaíocht a dhéanamh orthu laistigh<br />
de thír na hÉireann agus thar lear mar bhealach le spéis a<br />
mhúscailt i dtír na hÉireann, i gcultúr na hÉireann agus i<br />
scannáin Éireannacha.<br />
TAIRGíOnn An <strong>BORD</strong> MAOInIÚCHÁn CHun<br />
TIOnSCADAIL A FHORBAIRT AGuS A LÉIRIÚ<br />
MAR SEO A LEA<strong>nA</strong>S:<br />
i Iasachtaí forbartha (inaisíoctha ar an gcéad lá<br />
phríomhscannánaíochta) suas go dtí teorainn de €100,000 in<br />
aghaidh an tionscadail, mar iasachtaí taighde, forbartha agus<br />
féidearthachta. Ní mór ionannú a dhéanamh ó fhoinsí eile<br />
i gcás aon mhaoiníucháin atá sa bhreis ar €50,000 d’aon<br />
tionscadal amháin.<br />
ii Iaschtaí léiriúcháin do thionscadail a bhfuil buiséid acu atá<br />
• De bhreis ar €100,000 agus gan a bheith níos mó na<br />
€1.5M, is féidir le BSÉ/IFB suas go dtí 65% den bhuiséad<br />
léiriúcháin a chur ar fáil<br />
• De bhreis ar €1.5M agus gan a bheith níos mó ná €5M, is<br />
féidir le BSÉ/IFB suas go dtí €1M nó 40% den bhuiséad,<br />
cibé acu is mó, a chur ar fáil<br />
• De bhreis ar €5M, is féidir le BSÉ/IFB suas go dtí €2<br />
milliún nó 25% den bhuiséad, cibé acu atá níos mó, a chur<br />
ar fáil<br />
DÉAnTAR IASACHTAí FORBARTHA AGuS<br />
IASACHTAí LÉIRIÚCHÁIn A MHEASÚnÚ DE<br />
RÉIR ROInnT CRITÉAR:<br />
i Breisíocht<br />
ii Tosaíochtaí Cultúir, Toasíochtaí Tionscail<br />
iii Déanamh Cineama<br />
iv Cruthaitheacht<br />
(Féach Aguisín 4, Leathanach 62)<br />
MY BROTHERS<br />
AIRGEADAS<br />
AISGHABHÁIL<br />
European <strong>Film</strong> Promotion<br />
Is é European <strong>Film</strong> Promotion (EFP) an t-aon líonra idirnáisiúnta<br />
Roinneann an Bord an brabús a thagann as ioncam a ghintear le eagraíochtaí atá ann a bhfuil cur chun cinn agus margaíocht á<br />
díolachán pictiúrlainne, teilifíse agus físeán agus faigheann sé dhéanamh aige ar cineama Eorpach ar fud an domhain. Is éard atá<br />
aisíocaíocht ón mbrábús sin. Chuir an Bord iomlán de €15,091,300 sa líonra ná eagraíochtaí proifisiúnta ó 32 thíorthe Eorpacha<br />
ar fáil in iasachtaí i dtaca le príomhscannáin a fhorbairt agus a gur saineolaithe iad i dtaobh a gcuid cineama náisiúnta féin a<br />
léiriú i gcaitheamh na bliana 2010. I gcaitheamh an ama chéanna, chur chun cinn agus margaíocht a dhéanamh air. Faoi scáth an<br />
fuair an Bord aisíocaíochtaí de €738,198. Tugann an figiúr sin go dtí EFP, feidhmíonn na heagraíochtaí sin ar fad as lámha a chéile<br />
10% an ráta aisíoctha ar iasachtaí léiriúchán príomhscannán chu cineama Eorpach agus talann Eorpach a chur chun cinn ar fud<br />
a tugadh amach ó rinneadh ath-inchorprú ar BSÉ i 1993.<br />
an domhain. Rinne an Bord ranníocaíocht de €9, 030 le EFP<br />
Bu<strong>nA</strong>CHAR SOnRAí EAC<strong>nA</strong>MAíOCHTA<br />
sa bhliain 2010.<br />
MEDIA Desk Ireland<br />
Foilsíonn an Audiovisual Federation de chuid IBEC, i gcomhar Cuireann MEDIA Desk Ireland eolas ar fáil maidir leis an gclár<br />
leis an mBord agus le hionadaithe ón Roinn Ealaíon,<br />
MEDIA, Eurimages, Eureka Audiovisual agus maidir le beartas<br />
Oidhreachta agus Gaeltachta, Screen Producers Ireland,<br />
closamhairc an AE agus tugann sé comhairle mar gheall orthu<br />
TG4 agus RTÉ an Bunachar Sonraí Eacnamaíochta ar bhonn sin. Sa bhlian 2010, chuir an Bord €57,000 ar fáil leis an Desk a<br />
bliantúil. Clúdaíonn an tuarascáil sin tionscadail scannán<br />
reáchtáil. Tá an oifig lonnaithe san <strong>Irish</strong> <strong>Film</strong> Centre, 6 Sráid an<br />
agus teilifíse a dhéantar in Éirinn gach bliain.<br />
Iústásaigh, Baile átha Cliath 2, agus bíonn sé ar oscailt le<br />
SCREEn TRAInInG IRELAnD<br />
haghaidh fiosruithe agus le haghaidh cruinnithe comhairliúcháin<br />
ó Luan go hAoine.<br />
I gcaitheamh na bliana 2010, chuir an Bord €387,348 ar fáil do<br />
FáS Screen Training Ireland d’fhonn Oiliúint Tionscail a sholáthar<br />
go díreach.<br />
RAnníOCAíOCHT LE<br />
GníOMHAIREACHTAí EORPACHA<br />
Tugann Bord Scannán na hÉireann/the <strong>Irish</strong> <strong>Film</strong> <strong>Board</strong> tacaíocht<br />
airgeadais do na heagraíochtaí seo a leanas:<br />
Eurimages<br />
Cuireann Eurimages, eagraíocht a bhunaigh Comhairle na hEorpa,<br />
airgeadas léiriúcháin ar fáil i dtaca le comhléiriúcháin Eorpacha.<br />
Tá Éire rannpháirteach sa scéim ó 1992 i leith. D’fheidhmigh<br />
Brendan McCarthy mar ionadaí na hÉireann ar choiste Eurimages<br />
i 2010. D’íoc an Bord suibscríbhinn na hÉireann i 2010, íocaíocht<br />
de €307,420.<br />
MEDIA Antenna<br />
Tá MEDIA Antenna lonnaithe sa Galway <strong>Film</strong> Centre, Cluain Mhuire,<br />
Bóthar Mhuine Mheá, Gaillimh agus feidhmíonn sé mar oifig<br />
réigiúnach MEDIA. Tá cúram áirithe air freisin eolas agus seirbhísí<br />
a chur ar fáil do phobal closamhairc na Gaeilge, atá ag méadú de<br />
réir a chéile. I 2010, chuir an Bord €12,200 ar fáil mar chúnamh do<br />
chostais reatha an Antenna.<br />
European Audiovisual Observatory<br />
Is líonra faisnéise í an Fhaireachlann, a bhailíonn agus a dháileann<br />
faisnéis dlí, eacnamaíochta agus praiticiúil maidir leis an<br />
dtionscal closamhairc san Eoraip ar mhaithe le lucht gairme agus<br />
cuideachtaí i réimse na teilifíse, na scannán agus na bhfíseán. D’íoc<br />
an Bord síntiús na hÉireann don bhliain 2010, táille de €20,575.
40 41<br />
REWIND<br />
RÁITEAS MAIDIR LE DuALGAIS CHOMHALTAí BOIRD<br />
Éilítear in Alt 20 (1) d’Acht um Bord Scannán na hÉireann 1980 go n-ullmhóidh comhaltaí an Bhoird Ráitis Airgeadais i<br />
bhfoirm a d’fhéadfadh an tAire Turasóireachta, Cultúir agus Spóirt a cheadú, le toiliú ón Aire Airgeadais. Nuair a bheidh<br />
na Ráitis Airgeadais sin á n-ullmhú aige, tá ceanglas ar an mBord:<br />
• Beartais oiriúnacha a roghnú agus ansin iad a chur i bhfeidhm go comhsheasmhach.<br />
• Breithiúnais agus meastacháin a dhéanamh atá réasúnta agus stuama.<br />
• Na Ráitis Airgeadais a ullmhú ar bhonn gnóthais leantaigh ach amháin i gcás nach bhfuil sé cuí glacadh leis go<br />
leanfaidh an Bord ag feidhmiú.<br />
• A chur in iúl gur cloíodh le caighdeáin chuntasaíochta infheidhme faoi réir aon difríochtaí ábhartha a nochtadh agus a<br />
míníodh sna ráitis airgeadais.<br />
Tá an Bord freagrach as leabhair chearta cuntasaíochta a choinneáil a nochtaíonn le cruinneas réasúnta staid airgeadais<br />
an Bhoird ag am ar bith. Tá sé freagrach as cibé bearta is gá a chur i bhfeidhm chun sócmhainní Bhord Scannán na<br />
hÉireann a chosaint agus le calaois agus mírialtachtaí eile a chosc agus a aimsiú.<br />
Thar ceann an Bhoird:<br />
James Morris Lesley McKimm<br />
Cathaoirleach Comhalta Boird<br />
28 Samhain 2011<br />
SEASIDE STORIES<br />
RÁITEAS MAIDIR LE RIALÚ InMHEÁ<strong>nA</strong>CH<br />
AIRGEADAIS<br />
Admhaímse leis seo, thar ceann Bhord Scannán na hÉireann/<br />
the <strong>Irish</strong> <strong>Film</strong> <strong>Board</strong>, go bhfuil freagracht orainn a chinntiú go<br />
gcoinnítear agus go bhfeidhmítear córas éifeachtach i dtaca le<br />
rialú inmheánach airgeadais.<br />
Ní féidir leis an gcóras ach deimhniú réasúnta agus ní dearbhdheimhniú<br />
iomlán a thabhairt go gcosnaítear sócmhainní, go<br />
mbíonn idirbhearta údaraithe agus taifeadta mar is cuí, agus<br />
go gcuirfear cosc le hearráidí nó mírialtachtaí ábhartha nó go<br />
n-aimseofar iad go tráthúil.<br />
na Príomhnósanna Imeachta i dtaca le Rialú:<br />
Tá na príomhnósanna imeachta seo a leanas maidir le rialú<br />
inmheánach airgeadais curtha i bhfeidhm ag an mBord chun<br />
timpeallacht chuí a chinntiú i dtaca le rialú:<br />
• Tá plean eagraíochta i bhfeidhm a shainmhíníonn agus a<br />
leithdháileann freagrachtaí ar an bhfoireann agus a<br />
aithníonn línte maidir le tuairisciú i dtaobh gach gné<br />
d’oibríochtaí an Bhoird.<br />
• Tá nósanna imeachta agus bearta slándála i bhfeidhm<br />
lena chinntiú go gcosnaítear sócmhainní an Bhoird<br />
agus le dearbh-dheimhniú in aghaidh úsáid nó diúscairt<br />
neamhúdaraithe a chinntiú.<br />
• Moltar cultúr láidir follasachta agus freagrachta ar fud<br />
na heagraíochta.<br />
Tá próisis bunaithe ag an mBord chomh maith chun rioscaí gnó<br />
a aithint agus meastóireacht a dhéanamh orthu trí:<br />
• Nádúr, méid agus impleachtí airgeadais an riosca atá roimh<br />
an gcomhlacht a aithint, lena n-áirítear an méid a cheaptar<br />
a bheith inghlactha maidir le feidhmeanna éagsúla.<br />
• Measúnú a dhéanamh ar an ndóchúlacht go dtarlóidh rioscaí<br />
aitheanta agus measúnú a dhéanamh ar chumas an Bhoird<br />
na rioscaí a tharlaíonn a bhainistiú agus a mhaolú.<br />
• Athbhreithnithe rialta a dhéanamh ar phleananna<br />
straitéiseacha an Bhoird lena chinntiú go dtugann na<br />
pleananna sin aghaidh ar an dtimpeallacht reatha gnó.<br />
• Spriocanna gearrthéarmacha agus fadtéarmacha a leagadh<br />
síos do gach Aonad laistigh den Bhord agus athbhreithniú a<br />
dhéanamh ar a ndul chun cinn i dtaca leis na spriocanna sin.<br />
• Nósanna imeachta caighdeánacha faoinar féidir cúnamh<br />
airgeadais a chur ar fáil do thionscadail a bhunú agus a<br />
fhorfheidhmiú agus na nósanna imeachta sin a athbhreithniú<br />
de réir mar is gá.<br />
Rinne an Bord athbhreithniú ar a chuid rioscaí gnó i 2010<br />
agus tá aghaidh á thabhairt aige faoi láthair ar aon laigeachtaí<br />
a aithníódh.<br />
Tá an córas rialaithe airgeadais bunaithe ar chreat oibre<br />
d’fhaisnéis rialta bainistíochta, ar nósanna imeachta riaracháin<br />
lena n-áirítear deighilt dualgas, údarú agus córas tarmligin agus<br />
freagrachta. áirítear air sin, go háirithe:<br />
• Córas cuimsitheach maidir le buiséadú lena bhfuil buiséad<br />
bliantúil i gceist a dhéanann an Bord iad a athbhreithniú<br />
agus a chomhaontú.<br />
• Athbhreithnithe rialta ar thuarascálacha tréimhsiúla agus<br />
bliantúla a léiríonn caiteachas i gcomparáid le réamhaisnéis.<br />
• Spriocanna a shocrú chun feidhmíocht airgeadais agus<br />
feidhmíocht eile a thomhas.<br />
Tá Coiste Iniúchta bunaithe chomh maith ag an mBord atá<br />
comhdhéanta d’ionadaithe ón mBord agus ón bhFheidhmeannas<br />
agus é mar sprioc ag an gCoiste sin rialúcháin inmheánacha a<br />
neartú.<br />
Athbhreithniú i dtaca le Rialú Inmheánach Airgeadais:<br />
Déanann an Bord monatóireacht ar éifeachtúlachtacht an<br />
chórais rialaithe inmheánaigh airgeadais trí athbhreithniú<br />
bainistíochta agus iniúchadh thréimhsiúil a dhéanamh agus<br />
trí staidéir a dhéanamh ar athbhreithnithe le comhairleoirí<br />
seachtracha. Tá athbhreithniú déanta ag an mBord ar a chuid<br />
rialuithe inmheánacha airgeadais don bhliain 2010.<br />
Thar ceann an Bhoird<br />
________________________<br />
James Morris<br />
Cathaoirleach
42 43<br />
THE YELLOW BITTERN - THE LIFE AND TIMES <strong>OF</strong> LIAM CLANCY<br />
ARD-REACHTAIRE CunTAS AGuS CISTE<br />
TuARASCÁIL LE CuR FAOI BHRÁID TITHE<br />
An OIREACHTAIS<br />
Bord Scannán na hÉireann<br />
Tá ráitis airgeadais Bhord Scannán na hÉireann/the <strong>Irish</strong> <strong>Film</strong><br />
<strong>Board</strong> don bhliain dar críoch 31 Nollaig 2010 iniúchta agam de<br />
réir Acht na dTeangacha Oifigiúla 2003. Tá na ráitis airgeadais,<br />
a ullmhaíodh faoi na beartais chuntasaíochta arna leagan<br />
amach sna ráitis, comhdhéanta den Ráiteas faoi Beartais<br />
Chuntasaíochta, an Cuntas Ioncaim agus Caiteachais, an Clár<br />
Comhardaithe agus na nótaí gaolmhara. Is é an creat thuairisciú<br />
airgeadais a cuireadh i bhfeidhm chun iad a ullmhú ná an dlí a<br />
bhaineann agus na Cleachtais Chuntasaíochta a nGlactar Leo go<br />
Coitianta in Éirinn.<br />
Freagrachtaí Chomhaltaí an Bhoird<br />
Tá an Bord freagrach as na ráitis airgeadais a ullmhú, as a<br />
chinntiú go dtugann siad léargas fíor agus cothrom maidir leis<br />
an riocht ghóthaí Oifig Choimisinéir na dTeangacha Oifigiúla agus<br />
ar a ioncam agus a chaiteachas, agus as rialtacht a n-idirbhearta<br />
a chinntiú.<br />
Freagrachtaí an Ard-Reachtaire Cuntas agus Ciste<br />
Is é mo fhreagrachtsa na ráitis airgeadais a iniúchadh agus<br />
tuairisciú a dhéanamh orthu i gcomhréir leis an dlí a bhaineann.<br />
Déantar m’iniúchadh faoi réir na gcúrsaí speisialta a bhaineann<br />
le comhlachtaí Stáit ó thaobh a mbainistiú agus a bhfeidhmiú de.<br />
Déantar m’iniúchadh i gcomhréir le Caighdeáin Chuntasaíochta<br />
Idirnáisiúnta (Ríocht Aontaithe agus Éire) agus de réir Caighdeán<br />
Eiticiúla d’Iniúchóirí de chuid an Bhoird um Chleachtais<br />
Iniúchóireachta.<br />
Scóip an Iniúchta ar Ráitis Airgeadais<br />
Is éard atá i gceist le hiniúchadh ná faisnéis a fháil maidir leis<br />
na suimeanna agus na nochtuithe sna ráitis airgeadais, ar leor<br />
iad chun urrús réasúnta a thabhairt go bhfuil na ráitis airgeadais<br />
saor ó mhí-ráiteas ábhartha cibé calaois nó earráid is cúis leis<br />
sin. Clúdaíonn sé seo measúnú faoi<br />
• Cibé an bhfuil na beartais chuntasaíochta cuí do chúinsí an<br />
Bhoird agus gur cuireadh i bhfeidhm iad go seasmhach agus<br />
gur nochtaíodh iad go leormhaith<br />
• Cé chomh réasúnta is a bhí na meastacháin chuntasaíochta<br />
shuntasacha a rinneadh agus na ráitis airgeadais á n-ullmhú<br />
• Thíolachadh foriomlán na ráiteas airgeadais.<br />
Déanaim iarracht freisin fianaise a fháil le linn an iniúchta maidir<br />
le rialtacht na n-idirbhearta airgeadais.<br />
Ina theannta sin, léann mé an fhaisnéis airgeadais agus<br />
neamh-airgeadais sa dTuarascáil Bhliantúil le neamhréireachtaí<br />
ábharacha maidir leis na ráitis iniúchta airgeadais a aithint.<br />
Sa chás go dtagaim ar aon eolas i dtaobh aon mhíráiteas<br />
ábharach dealraitheach déanaim na himpleachtaí do mo<br />
thuarascáil a mheas.<br />
Tuairim faoi na Ráitis Airgeadais<br />
Is é mo thuairim, go dtugann na ráitis airgeadais, a ullmhaíodh<br />
go cuí i gcomhréir le Cleachtais Cuntasaíochta a nGlactar Leis<br />
go Coitianta in Éirinn, léargas fíor agus cothrom maidir leis an<br />
riocht ghnóthaí Oifig Choimisinéir na dTeangacha Oifigiúla ag 31<br />
Nollaig 2010 agus ar a ioncam agus ar a chaiteachas don bhliain<br />
dar críoch sin.<br />
Is é mo thuairim, gur choimeád Bord Scannán na hÉireann/the<br />
<strong>Irish</strong> <strong>Film</strong> <strong>Board</strong> leabhair chuntais chuí. Tá na ráitis airgeadais ag<br />
teacht leis na leabhair chuntais.<br />
nithe a Tuairiscím le hEisceacht<br />
Tuairiscím le heisceacht i gcás:<br />
• Nach bhfuair mé an fhaisnéis agus na mínithe go léir a bhí de<br />
dhíth orm le haghaidh m’iniúchta, nó<br />
• Gur nótáladh san iniúchadh aon chás ábhartha nuair nár<br />
úsáideadh suimeanna airgid chun na feidhmeanna a bhí<br />
beartaithe dóibh nó nach ndearnadh na hidirbhearta de réir<br />
na n-údarás a rialaíonn iad, nó<br />
• Nach bhfuil an fhaisnéis a tugadh i dTuarascáil Bhliantúil an<br />
Bhoird don bhliain ar ullmhaíodh na ráitis airgeadais dóibh<br />
i gcomhréir leis na ráitis airgeadais, nó<br />
• Nach léiríonn an Ráiteas um Rialú Inmheánach Airgeadais<br />
go gcomhlíonann an Bord an Cód Cleachtais maidir le<br />
Rialachas ar Chomhlachtaí Stáit, nó<br />
• Go bhfaighim amach go bhfuil cúrsaí ábhartha eile ann a<br />
bhaineann leis an gcaoi inar cuireadh gnó poiblí i gcrích.<br />
Níl aon ní le tuairisciú agam maidir leis na cúrsaí sin faoina<br />
ndéantar tuairisc le heisceacht.<br />
________________________<br />
Andrew Harkness<br />
Ar son agus thar ceann an Ard-Reachtaire Cuntas agus Ciste<br />
30 Samhain 2011<br />
RuNNERS<br />
BEARTAIS CHunTASAíOCHTA<br />
A. Bunús na Cuntasaíochta<br />
áirítear leis na ráitis airgeadais dhá Chuntas Ioncaim agus<br />
Caiteachais agus Clár Comhardaithe.<br />
• Tugann an Cuntas Caipitil Ioncaim agus Caiteachais<br />
taifead ar íocaíocht amach iasachtaí forbartha agus<br />
léiriúcháin an Bhoird agus an ranníocaíocht le haghaidh<br />
Screen Training Ireland, an ghníomhaireacht náisiúnta<br />
oiliúna don tionscal scannáin in Éirinn.<br />
• Tugann an Cuntas Ioncaim agus Caiteachais Riaracháin<br />
taifead ar na hidirbhearta riaracháin i ndáil leis an mBord.<br />
ullmhaíodh na ráitis airgeadais de réir choinbhinsiún an chostais<br />
stairiúil agus de réir an Chleachtais Cuntasaíochta a bhfuil Glacadh<br />
Leis (GAAP) ar bhonn fabhraithe ach amháin mar a luaitear thíos.<br />
Glactar le Caighdeáin i dtaca le Tuairisciú Airgeadais a mholann<br />
comhlachtaí cuntasaíochta de réir mar a thagann siad i bhfeidhm.<br />
B. Ioncam<br />
Léiríonn an t-ioncam a thaispeántar sna ráitis airgeadais faoi<br />
Dheontais Oireachtais an t-airgead iarbhír a fuarthas. Cuirtear<br />
ioncam eile san áireamh ar bhonn fáltas airgid.<br />
C. Iasachtaí<br />
Cuireann an Bord iasachtaí léiriúcháin ar fáil chun cabhrú le<br />
scannáin a léiriú. Braitheann aisíocaíochtaí agus aischuir ar rath<br />
tráchtála na scannán lena mbaineann.<br />
Tugtar iasachtaí forbartha do dhéantóirí scannán d’fhonn tionscadail<br />
scannán a fhorbairt. Bíonn aisíocaíochtaí iníoctha de réir théarmaí<br />
na gcomhaontuithe iasachta.<br />
Go hiondúil ní bhíonn na hiasachtaí sin faoi réir mhuirir úis, ach<br />
bíonn bearta aisghabháilte agus rannpháirtíocht brabúis san<br />
áireamh leo.<br />
Déanann an Bord athbhreithniú ar iasachtaí ar bhonn tréimhsiúil<br />
agus déantar soláthar cuí i gcoinne iasachtaí gan aisíoc, bunaithe<br />
ar fheidhmíocht stairiúil leabhar iasachta an Bhoird. Déantar an<br />
soláthar a chuntasú tríd an gCúlchiste Caipitil.<br />
D. Cúlchiste Caipitil<br />
Léiríonn an Cúlchiste Caipitil an maoiniú a infheistítear i Scannáin<br />
agus i Sócmhainní Seasta tar éis soláthar agus amúchadh.<br />
E. Sócmhainní Seasta Inláimhsithe<br />
Léirítear Sócmhainní Dochta Inláimhsithe ar a gcéad chostas<br />
stairiúil. Déantar caipitliú ar shócmhainní atá de bhreis ar €250.<br />
Cuirtear dímheas san áireamh ar rátaí a ríomhtar chun an<br />
chéad chostas a dhíscríobh lúide luach iarmharach measta gach<br />
sócmhainne faoin modh dronlíneach thar a saol úsáideach measta.<br />
Is mar seo a leanas atá na rátaí dímheasa:<br />
• Troscán agus Trealamh Oifige 20% sa bhliain<br />
• Trealamh Ríomhaireachta 33% sa bhliain<br />
F. Costais Pinsean<br />
Tá scéim pinsean le sochair sainithe i bhfeidhm ag an mBord a<br />
mhaoinítear go bliantúil ar bhonn íoc mar a thuillear as airgead<br />
atá ar fáil dó, lena n-áirítear airgead a sholáthraíonn an Roinn<br />
Turasóireachta, Cultúir agus Spóirt. Tá an Scéim á feidhmiú ar<br />
bhonn riaracháin ar feitheamh faomhadh ón Aire Airgeadais.<br />
Ríomhtar dliteanais na Scéime Pinsean ar bhonn achtúireachta<br />
agus modh chreidiúint réamh-mheasta an aonaid á úsáid.<br />
Léiríonn costais pinsin na sochair a thuilleann fostaithe le linn<br />
na tréimhse agus taispeántar iad glan ar ranníocaíochtaí pinsean<br />
foirne a n-áirítear mar íocaíochtaí inaisíoctha leis an Roinn de réir<br />
socruithe airgeadais gníomhaíochta. Aithnítear suim atá i<br />
gcomhréir leis an muirear pinsin mar ioncam sa mhéid is go<br />
bhfuil sé in-aisghabhála agus fritháirithe i gcoinne deontas a<br />
bhfuarthas iad i rith na bliana le híocaíochtaí pinsin a dhéanamh.<br />
Léirítear gnóthachain nó caillteanais achtúireacha a éiríonn as<br />
athruithe ar thoimhdí Achtúireachta agus as gnóthachain agus<br />
caillteanais ó thaithí sa Ráiteas Ghnóthachan agus Caillteanas<br />
Aitheanta don bhliain ina dtarlaíonn siad agus aithnítear coigeartú<br />
dá réir maidir leis an méid inaisghabháilte i dtréimhsí atá le<br />
teacht ón Roinn Turasóireachta, Cultúir agus Spóirt.<br />
Léiríonn dliteanais pinsin an luach atá faoi láthair ar íocaíochtaí<br />
pinsean amach anseo atá tuillte ag an bhfoireann go dtí seo.<br />
Léiríonn maoiniú pinsin iarchurtha an sócmhainn chomhréireach<br />
a bheidh inaisghabháilte sa todchaí ón Roinn Turasóireachta,<br />
Cultúir agus Spóirt.<br />
G. Beartas maidir le hAirgeadra Eachtrach<br />
Aistrítear idirbhearta atá ainmnithe in airgeadra eachtrach go<br />
dtí na hairgeadraí feidhmiúla faoi seach de réir na rátaí malairte<br />
ar dhátaí na n-idirbhearta. Aistrítear sócmhainní agus dliteanais<br />
airgeadaíochta atá ainmnithe in airgeadra eachtrach ar dháta a<br />
dtuairiscithe go dtí an airgeadra feidhmiúil ar an ráta malairte<br />
ar an dáta sin. Cuirtear san áireamh mar ghnóthachan nó mar<br />
chaillteanas malairte sa Ráiteas Ioncaim aon ghnóthachan nó<br />
caillteanas a éiríonn de bharr athruithe ar na rátaí malairte tar<br />
éis dáta an idirbhearta.
44 45<br />
MOORE STREET MASALA<br />
RÁITIS AIRGEADAIS <strong>BORD</strong> <strong>SCAnnÁn</strong> <strong>nA</strong> hÉIREAnn<br />
DOn BHLIAIn DAR CHRíOCH 31 nOLLAIG 2010<br />
Cuntas Ioncaim agus Caiteachais Chaipitil<br />
Don bhliain dar chríoch 31 Nollaig 2010<br />
nótaí 2010 2009<br />
Ioncam I I<br />
Deontais an Oireachtais 1 16,500,000 18,817,000<br />
Ranníocaíochtaí ó Pháirtithe Eile 161,175 152,350<br />
Ioncam Eile 72,689 72,428<br />
Aisíocíocht ar Iasachtaí a aistríodh ón gCúlchiste Caipitil 3 738,198 1,380,377<br />
Iomlán 17,472,062 20,422,155<br />
Caiteachas<br />
Screen Training Ireland (387,348 ) (532,000 )<br />
Iasachtaí Léiriúcháin 14 (13,385,800 ) (15,101,659 )<br />
Iasachtaí Forbartha 14 (1,705,500 ) (2,201,585 )<br />
íocaíochtaí Caipitiúla Eile 4 (1,046,681 ) (1,271,028 )<br />
Iomlán (16,525,329 ) (19,106,272 )<br />
Barrachas/(Easnamh) 946,733 1,315,883<br />
Iarmhéid ag tús na bliana 4,364,599 3,048,716<br />
Iarmhéid ag deireadh na bliana 5,311,332 4,364,599<br />
Is cuid de na Ráitis Airgeadais iad na Beartais Chuntasaíochta agus na nótaí 1-17<br />
James Morris Lesley McKimm<br />
Cathaoirleach Comhalta Boird<br />
28 Samhain 2011<br />
MR FOLEY<br />
Cuntas Ioncaim agus Caiteachais Riaracháin<br />
Don bhliain dar chríoch 31 Nollaig 2010<br />
nótaí 2010 2009<br />
Ioncam I I<br />
Deontas Oireachtais 1 2,729,953 2,975,926<br />
Ioncam Eile 17,144 45<br />
Glanchiste Iarchurtha do Chostais Pinsean 10c 351,461 346,494<br />
Aistriú (chuig)/ ón gCúlchiste Caipitiúil 13 58,031 74,650<br />
Total 3,156,589 3,397,115<br />
Caiteachas<br />
Riarachán 5 1,973,034 2,074,400<br />
Eagraíochtaí, Síntiúis agus Taighde 7 218,316 194,905<br />
Costais Margaíochta 8 636,058 619,715<br />
Oideachas 6,932 196,253<br />
Costais Phinsean 10a 309,414 299,420<br />
Iomlán 3,143,754 3,384,693<br />
BARRACHAS/EAS<strong>nA</strong>MH 112,835 12,422<br />
Iarmhéid ag tús na bliana (6,202) (18,624 )<br />
Iarmhéid ag deireadh na bliana 6,633 (6,202 )<br />
Is cuid de na Ráitis Airgeadais iad na Beartais Chuntasaíochta agus na nótaí 1-17<br />
James Morris Lesley McKimm<br />
Cathaoirleach Comhalta Boird<br />
28 Samhain 2011<br />
Ráiteas i dtaca le Gnóthachain agus Caillteanais Iomlána Aitheanta<br />
Don bhliain dar chríoch 31 Nollaig 2010<br />
nótaí 2010 2009<br />
Barrachas don bhliain I I<br />
Cuntas Riaracháin 12,835 12,422<br />
Cuntas Caipitiúil 946,733 1,315,883<br />
Iomlán 959,568 1,328,305<br />
Gnóthachain ó thaithí ar dhliteanais na scéime pinsin 10d 320,044 90,900<br />
Athruithe ar na bunbhoinn tuisceana maidir le luach dliteanas na scéime pinsin faoi láthair (154,384 ) 162,302<br />
Gnóthachan/(caillteanas) achtúireachta ar dhliteanais pinsin 10b 165,660 253,202<br />
Coigeartú ar mhaoiniú pinsin iarchurtha (165,660 ) (253,202 )<br />
Gnóthachan aitheanta iomlán don bhliain 959,568 1,328,305<br />
Is cuid de na Ráitis Airgeadais iad na Beartais Chuntasaíochta agus na nótaí 1-17<br />
James Morris Lesley McKimm<br />
Cathaoirleach Comhalta Boird<br />
28 Samhain 2011
46 47<br />
OLD FANGS TROLLEY BOY<br />
Clár Comhardaithe<br />
Don bhliain dar chríoch 31 Nollaig 2010<br />
nótaí 2010 2009<br />
Sócmhainní Seasta I I<br />
Socmhainní Inláimhsithe 11 85,328 143,359<br />
Infheistíocht i Scannáin<br />
Iasachtaí Léiriúcháin 3 1,046,797 1,207,134<br />
Iasachtaí Forbartha 3 128,891 150,380<br />
1,175,688 1,357,514<br />
Sócmhainní Reatha<br />
Airgead sa Bhanc 6,232,600 4,556,381<br />
Réamhíocaíochtaí/Feichiúnaithe/Ioncam Fabhraithe 352,718 129,888<br />
Creidiúnaithe<br />
6,585,318 4,686,269<br />
Suimeanna dlite laistigh de bhliain amháin 12 (1,267,352 ) (327,871 )<br />
GLAnSóCMHAInní REATHA 5,317,966 4,358,398<br />
Iomlán Sócmhainní Lúide Dliteanais Reatha roimh Pinsin 6,578,982 5,859,271<br />
Sócmhainn Maoinithe Pinsin Iarchurtha 2,188,000 2,002,199<br />
Dliteanais Phinsean (2,188,000 ) (2,002,199 )<br />
Glansócmhainní 6,578,982 5,859,271<br />
Caipiteal agus Cúlchístí<br />
Cuntas Caipitil 5,311,332 4,364,599<br />
Cuntas Riaracháin 6,633 (6,202 )<br />
Cúlchiste Caipitil 13 1,261,017 1,500,874<br />
Iomlán 6,578,982 5,859,271<br />
Is cuid de na Ráitis Airgeadais iad na Beartais Chuntasaíochta agus na nótaí 1-17<br />
James Morris Lesley McKimm<br />
Cathaoirleach Comhalta Boird<br />
28 Samhain 2011<br />
Ráiteas maidir le Sreabhadh Airgid<br />
Don bhliain dar chríoch 31 Nollaig 2010<br />
2010 2009<br />
Imréiteach Barrachais agus Glan-Insreabhadh Airgid ó Ghníomhaíochtaí Oibriucháin I I<br />
Barrachas/(Easnamh) ar an gCuntas Caipitil 946,733 1,315,883<br />
Barrachas/(Easnamh) ar an gCuntas Riaracháin 12,835 12,422<br />
959,568 1,328,305<br />
Coigeartú do mhíreanna neamhoibríochta<br />
Ús bainc (72,689 ) (72,428 )<br />
Aistriú chuig/(ó) Chuntas Ioncaim agus Caiteachais Riaracháin (58,031 ) (74,650 )<br />
(130,720 ) (147,078 )<br />
Coigeartú do mhíreanna nach míreanna airgid iad<br />
Dímheas 86,848 96,180<br />
(Méadú)/Laghdú i líon na bhfiachóirí (222,830 ) 253,340<br />
Méadú/(Laghdú) i líon na gcreidiúnaithe 939,481 (268,919 )<br />
Glan-insreabhadh airgid ó ghníomhaíochtaí Oibriucháin 1,632,347 1,261,828<br />
Ráiteas sreabhadh airgid<br />
Glan-insreabhadh airgid ó ghníomhaíochtaí Oibriúcháin 1,632,347 1,261,828<br />
Ús bainc 72,689 72,428<br />
íocaíochtaí chun sócmhainní a cheannach (28,817 ) (21,529 )<br />
Insreabhadh/eis-sreabhadh 1,676,219 1,312,727<br />
Imréiteach Glan-insreabhadh airgid agus gluaiseachtaí i nGlan-Chistí<br />
Méadú/Laghdú ar airgead tirim le linn na Tréimhse 1,676,219 1,312,727<br />
Glan-chistí mar a bhí ar an 1 Eanáir 2010 4,556,381 3,243,654<br />
Glan-chistí ar an 31 nollaig 2010 6,232,600 4,556,381<br />
Is cuid de na Ráitis Airgeadais iad na Beartais Chuntasaíochta agus na nótaí 1-17<br />
James Morris Lesley McKimm<br />
Cathaoirleach Comhalta Boird<br />
28 Samhain 2011
48 49<br />
THE POLISH LANGuAGE<br />
nóTAí LEIS <strong>nA</strong> RÁITIS AIRGEADAIS<br />
1. Deontais Oireachtais<br />
Maoinítear an deontas Oireachtais i dtaca le caiteachas caipitil an Bhoird faoin gClár Oibríochtúil don Earnáil Tháirgiúil agus faoin gClár<br />
Oibríochtúil Oiliúna agus Forbartha Acmhainní Daonna den bPlean Forbartha Náisiúnta 2007-2013<br />
2010 2009<br />
Cuspóirí Reatha I I<br />
Bord Scannán na hÉireann 2,772,000 3,023,000<br />
Lúide Ranníocaíochtaí Pinsin (42,047 ) (47,074 )<br />
Iomlán 2,729,953 2,975,926<br />
Cuspóirí Caipitil<br />
Infheistíocht Scannán 16,500,000 18,817,000<br />
2. Teorannú ar an Méid Airgid a Sholathraíonn an Bord<br />
De réir Alt 10 den Acht um Bord Scannán na hÉireann ní bheidh uasmhéid aon infheistíochtaí, iasachtaí, deontais agus barántais (lúide<br />
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<br />
curtha ar fáil).<br />
3. Infheistíocht i Scannáin<br />
Iasachtaí Iasachtaí<br />
Léiriúcháin Forbartha Iomlán<br />
nótaí I I I<br />
Tugtha ar airleacani rith na bliana 13,385,800 1,705,500 15,091,300<br />
Aisghabháil i rith na bliana (604,682 ) (133,516 ) (738,198 )<br />
Soláthar don bhliain (12,941,455 ) (1,593,473 ) (14,534,928 )<br />
Gluaiseacht i rith na bliana 13 (160,337 ) (21,489 ) (181,826 )<br />
Iarmhéid ar an 1 Eanáir 2010 1,207,134 150,380 1,357,514<br />
Iarmhéid mar a bhí ar an 31/12/10 1,046,797 128,891 1,175,688<br />
THE HERD<br />
4. íocaíochtaí Caipitil Eile<br />
I dteannta na n-íocaíochtaí a rinneadh le haghaidh iasachtaí Léiriúcháin agus Forbartha, rinna an Bord na híocaíochtaí caipitil eile seo a<br />
leanas i rith na bliana.<br />
2010 2009<br />
Eagraíochtaí Eorpacha I I<br />
Eurimages 307,420 291,669<br />
European <strong>Film</strong> Promotion 9,030 9,905<br />
European Observatory 20,575 19,737<br />
Media Antenna 12,200 12,200<br />
Media Desk 57,000 57,011<br />
Cuallaíochtaí Tionscail<br />
<strong>Irish</strong> Playwrights and Screenwriters Guild 81,000 80,000<br />
Screen Directors Guild 83,000 80,000<br />
Tacaiocht do Mhargadh na Scánnán/ócáidí Tionscail<br />
Féile Scannán Idirnáisiúnta Bhaile átha Cliath 30,000 30,000<br />
Fleadh Scannán na Gaillimhe 40,000 40,000<br />
Féile Scannán Guth Gafa 10,000 10,000<br />
Stranger Than Fiction 10,000 5,500<br />
Cinemagic 5,950 -<br />
Féile Scannán Darklight 12,000 -<br />
Féile Scannán an Daingin 5,000 5,000<br />
Tacaíocht do Mhargadh Scannán na hEorpa 39,835 7,000<br />
Eile 1,398 6,576<br />
Eile<br />
Cinemobile 60,000 60,000<br />
IFTA 120,000 140,000<br />
Oiliúint Eile 52,716 48,711<br />
Deontais i dtaca le Scabhtáil/Taisteal 35,385 50,277<br />
Léitheoirí Scripte 54,172 62,442<br />
Pictiúrlann Solas - 255,000<br />
Iomlán 1,046,681 1,271,028<br />
5. Riarachán<br />
2010 2009<br />
I I<br />
Tuarastail Riaracháin 983,021 1,038,238<br />
Táillí Comhaltaí Boird 44,888 47,250<br />
Oiliúint Foirne 10,341 13,332<br />
Muirir Cíosa agus Seirbhíse 278,146 285,897<br />
árachas 8,190 7,579<br />
Solas / Teas 17,336 18,432<br />
Teileafón/Facs 59,589 67,436<br />
Postas/Teachtairí 24,500 25,705<br />
Páipéarachas Oifige/Clódóireacht 21,551 10,266<br />
Deisiúcháin/Cothabháil 37,727 63,583<br />
Taisteal /Cothabháil Foirne 158,110 155,180<br />
Ús agus Muirir Bainc 1,506 2,082<br />
Cruinnithe agus Costais Boird 10,463 6,839<br />
Táillí Dlí 4,447 -<br />
Táillí Iniúchóirí 14,852 14,852<br />
Ilghnéitheach 11,615 14,816<br />
Dímheas 86,848 96,180<br />
Comhairliúchán 143,906 201,818<br />
Costais Earcaíochta 55,998 -<br />
Forbairt Bhunachar Sonraí - 2,316<br />
Caillteanas ar Airgeadra Eachtrach - 2,599<br />
Iomlán 1,973,034 2,074,400
50 51<br />
BEHIND THE DESERT WALL<br />
6. Luach Saothair an Bhoird agus Fostaithe<br />
I rith na bliana is mar seo a leanas a bhí meán-líon na bhfostaithe, an Príomhfheidhmeannach san áireamh:<br />
2010 2009<br />
Príomhfheidhmeannach 1 1<br />
Fostaithe 15 15<br />
Cuireadh pacáiste luach saothair an Phríomhfheidhmeannaigh don bhliain 2009 le chéile mar seo a leanas: Buntuarastal bliantúil:<br />
€110,844 (2009: €120,382). Ní théann teidlíochtaí pinsean an Phríomhfheidhmeannaigh níos faide ná na teidlíochtaí caighdeánacha<br />
i scéim aoisliúntais sochar sainithe na hearnála poiblí. Ní théann teidlíochtaí pinsean an Phríomhfheidhmeannaigh níos faide ná<br />
na teidlíochtaí caighdeánacha i scéim aoisliúntais sochar sainithe na hearnála poiblí. Tabhaíodh costais de €48,153 i dtaca leis<br />
an bPríomhfheidhmeannach agus áirítear iad sin sna catagóirí seo a leanas: cóiríocht, táillí aeir, muirir teileafóin póca, liúntais<br />
chothabhála, táillí tacsaí agus traenach. Chaith an Príomhfheidhmeannach 77 lá thar lear ar ghnó oifigiúil chun airgeadas idirnáisiúnta a<br />
thiomsú do shláta príomhscannán BSÉ/IFB, chun margaíocht a dhéanamh ar Éirinn mar shuíomh scannán agus le feasacht idirnáisiúnta<br />
i dtaobh scannán na hÉireann a chur chun cinn. Tá ceanglas ar an bPríomhfheidhmeannach chomh maith freastal ar líon fairsing<br />
cruinnithe i mBaile átha Cliath mar chuid dá dhualgas.<br />
íocadh asbhaintí tobhaigh pinsean de €58,856 ó thuarastail foirne leis an Roinn Cultúir, Turasóireachta agus Spóirt sa bhliain 2010.<br />
€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<br />
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<br />
taisteal agus costais cothabhála san áireamh.<br />
7. Eagraíochtaí, Síntiúis agus Taighde<br />
2010 2009<br />
I I<br />
IBEC 12,434 13,925<br />
Síntiúis le Foilsiucháin 5,415 7,211<br />
Screen Producers Ireland 50,000 -<br />
Cartlann Scannán na hÉireann 104,000 104,000<br />
ócáidí LA 46,467 49,769<br />
Cinema Northwest - 20,000<br />
Iomlán 218,316 194,905<br />
8. Margaíocht<br />
2010 2009<br />
I I<br />
Cur chun cinn Féilte 145,568 154,644<br />
Fógraíocht 59,663 53,777<br />
ócáidí/Caidreamh Poiblí 83,302 67,625<br />
Foilsiúcháin 29,932 30,060<br />
ábhair Margaíochta 24,532 64,544<br />
Láithreán Gréasáin/Cur Chun Cinn Ar Líne 15,209 38,252<br />
Seirbhísí Suímh 18,242 11,908<br />
Margaíocht Thar Lear 76,422 31,258<br />
Oifig LA * 183,188 167,647<br />
Iomlán 636,058 619,715<br />
• 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).<br />
THE MILL<br />
9. Léas ar Áitribh<br />
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<br />
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<br />
Cliath 2 ar chostas de € 116,000 móide CBL in aghaidh na bliana.<br />
10. Aoisliúntas<br />
a. Anailís ar na costais iomlána pinsean muirearaithe ar Chaiteachas<br />
2010<br />
I<br />
2009<br />
I<br />
2008<br />
I<br />
2007<br />
I<br />
Costas reatha ar sheirbhísiú 266,270 271,079 188,129 208,460<br />
Ús ar Dhliteanais na Scéime Pinsin 85,191 75,415 62,121 57,859<br />
Ranníocaíochtaí Foirne (42,047 ) (47,074 ) (44,591 ) (43,826)<br />
Iomlán 309,414 299,420 205,659 222,493<br />
b. Gluaiseacht i nDliteanais Pinsin glan i rith na bliana airgeadais<br />
2010<br />
I<br />
2009<br />
I<br />
2008<br />
I<br />
2007<br />
I<br />
Dliteanas Pinsin Glan ar an 1 Eanáir 2,002,199 1,908,907 1,330,100 1,181,523<br />
Costas Reatha ar Sheirbhísiú 266,270 271,079 188,129 208,460<br />
Costas Úis 85,191 75,415 62,121 57,859<br />
Caillteanas /(Gnóthachain) Achtúireachta (165,660 ) (253,202 ) 328,557 (117,742 )<br />
Dliteanas Glan Pinsin ar an 31 nollaig 2,188,000 2,002,199 1,908,907 1,330,100<br />
c. Sócmhainn Maoiniúcháin Iarchurtha do Phinsin<br />
Aithníonn an Bord na suimeanna seo mar shócmhainn gurb ionann í agus an dliteanas iarchurtha neamh-mhaoinithe i dtaca le pinsin<br />
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<br />
sin tá an bonn reachtúil leis an scéim pinsean a bhunú, agus an beartas agus an cleachtas maidir le pinsin seirbhíse poiblí a mhaoiniú<br />
lena n-áirítear ranníocaíochtaí fostaithe agus próiséas na meastachán bliantúla. Níl aon fhianaise ag an mBord nach leanfaidh an beartas<br />
maoiniúcháin sin ar aghaidh faoi chomhair na suimeanna sin de réir an chleachtais reatha.<br />
Is mar seo a leanas a bhí an Maoiniú Iarchurtha le haghaidh Pinsean aitheanta sa Chuntas Ioncaim agus Caiteachais:<br />
2010 2009<br />
I I<br />
Maoiniú Inghnóthaithe i dtaca le costais pinsean na bliana reatha 351,461 346,494<br />
Deontas Stáit i bhfeidhm chun pinsinéirí a íoc - -<br />
Iomlán 351,461 346,494<br />
Is é €2,188,000 an méid a bhí sa sócmhainn mhaoinithe iarchurtha do phinsin an 31 Nollaig 2010 (€2,002,199 i 2009).<br />
2010 2009 2008 2007<br />
d. Stair na n-oibligeaidí sochair sainithe I I I I<br />
Oibligeáidí sochair sainithe 2,188,000 2,002,199 1,908,907 1,330,100<br />
(Gnóchain)/caillteanais ó thaithí ar dhliteanais na scéime (320,044 ) (90,900 ) 53,735 (18,546 )<br />
Céatadán de Dhliteanais na Scéime -15% -5% 3% -1%<br />
e. Cur Síos Ginearálta ar an Scéim<br />
Socrú pinsean tuarastail dheiridh sochar sainithe is ea an scéim pinsean le sochair agus ranníócaíochtaí a sainmhínítear iad trí thagairt<br />
a dhéanamh do na rialúcháin reatha i dtaca le scéimeanna ‘eiseamláracha’ don earnáil phoiblí. Soláthraíonn an scéim pinsean (ochtóidí<br />
do gach bliain seirbhíse), aisce nó cnapshuim (trí ochtóidí do gach bliain seirbhíse) agus pinsin do chéilí agus do leanaí. Go hiondúil is<br />
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.<br />
Go hiondúil meadaíonn pinsin atá á n-íoc agus pinsin iarchurtha de réir boilsciú tuarastal ginearálta san earnáil phoiblí. Bunaíodh an<br />
luacháil a úsáideadh le haghaidh faisnéisithe FRS 17 (leasaithe) ar luacháil iomlán achtúireach a chuir achtúire neamhspleách i gcríoch<br />
ag cur riachtanas FRS 17 san áireamh chun measúnú a dhéanamh ar dhliteanais na scéime ar an 31 Nollaig 2010.
52 53<br />
SEAN SCuLLY WHY THIS, NOT THAT?<br />
Is mar seo a leanas a bhí na príómh-bhoinn tuisceana achtúireachta:<br />
31/12/2010 31/12/2009 31/12/2008 31/12/2007<br />
Ráta méadaithe tuarastal 3.50% 3.50% 3.50% 4.00%<br />
Ráta méadaithe pinsean á n-íoc 3.50% 3.50% 3.50% 4.00%<br />
Ráta Lascaine 4.00% 4.30% 4.00% 4.75%<br />
Boilsciú 2.00% 2.00% 2.00% 2.50%<br />
Ceadaíonn an bonn básmhaireachta a glacadh do fheabhsuithe maidir le hionchas saoil le linn tréimhse ama, ionas go mbeidh an<br />
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).<br />
Glacadh na rátaí b asmhaireachta mar seo a leanas:<br />
Ionchas Saoil d’Fhear atá 65 bliana d’aois 21.8 bliain<br />
Ionchas Saoil do bhean atá 65 bliana d’aois 23.4 bliain<br />
Ionchas Saoil d’fhear atá 45 bliana d’aois faoi láthair (ó aois 65) 24.1 bliain<br />
Ionchas Saoil do bhean atá 45 bliana d’aois faoi láthair (ó aois 65) 25.3 bliain<br />
11. Sócmhainní Seasta Inláimhsithe<br />
Troscán Ríomhairí Iomlán<br />
Costas I I I<br />
Ar an 1 Eanáir 2010 429,610 356,943 786,553<br />
Breiseanna 2,409 26,408 28,817<br />
Diúscairtí (45,361 ) (159,212 ) (204,573 )<br />
Ar an 31 nollaig 2010 386,658 224,139 610,797<br />
Dímheas<br />
Amhail ar 1 Eanáir 2010 302,271 340,923 643,194<br />
Muirear don bhliain 69,038 17,810 86,848<br />
Diúscairtí (45,361 ) (159,212 ) (204,573 )<br />
Ar an 31 nollaig 2010 325,948 199,521 525,469<br />
Glanluach Leabhar (nBv)<br />
Amhail ar 31 nollaig 2010 60,710 24,618 85,328<br />
Amhail ar 31 nollaig 2009 127,339 16,020 143,359<br />
Gluaiseacht (66,629 ) 8,598 (58,031 )<br />
12. Creidiúnaithe<br />
2010 2009<br />
I I<br />
IMAT/áSPC 36,369 52,351<br />
Fabhruithe Eile 462,602 136,839<br />
Cáin Shiarchoinneálach 17,651 23,052<br />
Ranníocaíocht Pinsean 7,958 -<br />
Creidiúnaithe Trádála 742,772 115,629<br />
Iomlán 1,267,352 327,871<br />
NA CLOIGNE<br />
13. Cúlchiste Caipitil<br />
nótaI 2010 2009<br />
I I<br />
Iarmhéid ar an 01/01/10 1,500,874 1,859,291<br />
Infheistíocht Scannán 3 (181,826 ) (283,767 )<br />
Gluaiseacht sa Mhaoiniúchán Sócmhainní Seasta (58,031 ) (74,650 )<br />
Iarmhéid ar an 31/12/10 1,261,017 1,500,874<br />
Tá an ghluaiseacht sa Mhaoiniúchán Sócmhainní Seasta comhdhéanta mar seo a leanas:<br />
Ioncam leithroinnte do chuspóirí Caipitil 28,817 21,529<br />
Amúchadh 86,848 (96,179 )<br />
Iomlán (58,031 ) (74,650 )<br />
14. Gealltanais<br />
Léiriúchán Léiriúchán Léiriúchán Iasachtaí<br />
Scannán Scannán Faisnéise Beochana Dáileacháin Scéimeanna Iomlán<br />
Iasachtaí Leiriúcháin I I I I I I<br />
Gealltanais @ 01/01/10 1,351,546 725,471 251,800 74,270 274,265 2,677,352<br />
Gealltanais i 2010 9,091,588 1,344,000 1,065,000 861,649 719,000 13,081,237<br />
Gealltanais in éag 2010 - (15,000 ) - - (34,078 ) (49,078 )<br />
Iomlán na nGealltanas 10,443,134 2,054,471 1,316,800 935,919 959,187 15,709,511<br />
íocaíochtaí i 2010 (9,149,477 ) (1,518,496 ) (1,194,400 ) (784,535 ) (738,892 ) (13,385,800 )<br />
Gealltanais ar an 31/12/2010 1,293,657 535,975 122,400 151,384 220,295 2,323,711<br />
*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<br />
costais dlí a bhain le léiriúchán.<br />
Beochana Príomh-Scannán<br />
Forbartha Forbartha Tionsca Iomlán<br />
Iasachtaí Forbartha I I I I<br />
Gealltanais @ 01/01/10 60,001 510,998 - 570,999<br />
Gealltanais i 2010 215,000 1,374,700 100,000 1,689,700<br />
Gealltanais in éag 2010 - - - -<br />
Iomlán na nGealltanas 275,001 1,885,698 100,000 2,260,699<br />
íocaíochtaí i 2010 (211,000 ) (1,394,500 ) (100,000 ) (1,705,500 )<br />
Gealltanais ar an 31/12/10 64,001 491,198 - 555,199<br />
15. Tairiscintí Sealadacha Cúnaimh do Thionscadail Scannán<br />
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<br />
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<br />
mbíonn tairiscintí faoi réir théarmaí agus coinníollacha áirithe, soláthar airgeadais san áireamh. Bíonn siad bailí ar feadh tréimhse suas<br />
go dtí 6 mhí agus tagann siad faoi réir athbhreithnithe ag deireadh na treimhse sin. Tá na tairiscintí sin coinníollach ar chistí Boird a<br />
bheith ar fáil. Bhí tairiscintí neamhcainníochtaithe ag an mBord chomh maith ag deireadh na bliana i dtaobh aon phríomhscannán déag<br />
eile ag deireadh na bliana.
54 55<br />
DENTAL BREAKDOWN<br />
16. Comhaltaí Boird - nochtadh idirbheart<br />
Tá sé ceadmhach do Bhord Scannán na hÉireann le linn a ghnáth-ghnó, cúnamh a cheadú do thionscadail scannán agus socruithe<br />
Conartha eile a dhéanamh le gnóthais a mbíonn Comhaltaí Boird fostaithe iontu nó a mbíonn leas eile acu iontu. Tá nosanna imeachta<br />
glactha ag Bord Scannán na hÉireann i ndáil le nochtuithe suime ag comhaltaí Boird agus cloíodh leis na nósanna imeachta sin i rith<br />
na bliana.<br />
Le linn 2010 tugadh faomhadh do na hiasachtaí seo a leanas do thionscadail a raibh leas ag Comhalta Boird iontu nó ina raibh<br />
Comhalta Boird fostaithe:<br />
Ainm Cuideachta I<br />
Lesley McKimm newgrange Pictures<br />
Stella Days (Production) 845,000<br />
Stella Days (Regional Support) 120,000<br />
Stella Days (Development) 25,000<br />
Call Girl (Production) 150,000<br />
Happy Ever Afters (P&A) 37,500<br />
An Exact Replica of a Figment of My Imagination (Development) 15,000<br />
Julia Here (Development) 27,000<br />
James Morris Treasure Entertainment<br />
30 Eggs (Development) 15,000<br />
Simple Simon (Development) 22,500<br />
A Month in the Country (Development) 28,000<br />
Tristan Orpen Lynch Subotica Entertainment<br />
Flowers of Desire (Production) 300,000<br />
A Stranger in a Strange Land (Documentary Promo) 10,000<br />
Gold (Development) 10,500<br />
unless (Development) 15,000<br />
War Dog (Development) 50,000<br />
La Mula (Development) 10,000<br />
Fuair Subotica tairiscintí sealadacha cúnaimh chomh maith i dtaobh Gold<br />
agus A Stranger in a Strange Land<br />
Kirsten Sheridan warehouse Pictures<br />
Doll House (Development) 15,000<br />
Doll House (Production) 365,000<br />
CDS<br />
The Rafters (Production) 600,000<br />
The Rafters (Regional Support) 120,000<br />
The Factory (Industry Development) 100,000<br />
Johnny Gogan Bandit <strong>Film</strong>s<br />
The Straits (Production) 495,000<br />
Black Ice (Development) 20,000<br />
The Wet Senor (Development) 5,000<br />
Cinema northwest<br />
Swansong (Distribution) 17,642<br />
Total 3,418,142<br />
17. Faomhadh an Bhoird<br />
Thug an Bord faomhadh do na Ráitis Airgeadais ar an 28ú Samhain 2011.<br />
THE ROAD FROM KOLKATA<br />
AGuISín 1<br />
Tá aguisíní 1 go 5 ann mar thagairt eolais agus ní mar chuid de na cuntais ar leathanaigh 37 go 54.<br />
GEALLTA<strong>nA</strong>IS CHAIPITIÚLA 2010<br />
Iasachtaí Léiriúcháin do Phríomhscannáin<br />
Geallta I<br />
Albert nobbs Parallel <strong>Film</strong> Productions 750,000<br />
Citadel Blinder <strong>Film</strong>s 657,000<br />
Come On Eileen Blinder <strong>Film</strong>s 80,000<br />
Corp & Anam Magamedia 300,000<br />
Death of a Superhero Grand Pictures 600,000<br />
Doll House Warehouse Pictures 365,000<br />
Earthbound Paper Dreams 650,000<br />
Grabbers Samson <strong>Film</strong>s 500,000<br />
Losing It Samson <strong>Film</strong>s 235,000<br />
Lotus Eaters Fastnet <strong>Film</strong>s 100,000<br />
My Brothers Rubicon <strong>Film</strong>s 15,577<br />
Silence South Wind Blows 300,000<br />
Stella Days Newgrange Pictures 845,000<br />
The Looking Glass Emu Productions 4,000<br />
The Other Side of Sleep Fastnet <strong>Film</strong>s 625,000<br />
The Pier Black Equus <strong>Film</strong>s 100,000<br />
The Rafters CDS Ltd 600,000<br />
The Runway Fastnet <strong>Film</strong>s 65,000<br />
Scéimeanna Gearrscannán<br />
Geallta I<br />
Short Shorts<br />
Loft underground <strong>Film</strong>s 15,000<br />
Honeycomb Samson <strong>Film</strong>s 15,000<br />
Dummy Parallel <strong>Film</strong>s 15,000<br />
Riders to the Sea Dig Productions 15,000<br />
Origin Souljacker 15,000<br />
Standby Black Sheep Productions 15,000<br />
Signatures<br />
Shoe Zanita <strong>Film</strong>s 66,000<br />
Crossing Salween Red Rage <strong>Film</strong>s 83,000<br />
Pentecost Emu Productions 65,000<br />
This is a Test Image Now <strong>Film</strong>s 71,000<br />
The Christening underground <strong>Film</strong>s 80,000<br />
Reality Bites<br />
Horizontal Collaboration Fastnet <strong>Film</strong>s 15,000<br />
Blue Rinse Zucca <strong>Film</strong>s 15,000<br />
How Can I Play Wildfire <strong>Film</strong>s 15,000<br />
needle Exchange venom 15,000<br />
Geallta I<br />
Creative Co-Production Fund<br />
Istanbul Ripple World Pictures 178,000<br />
Snake Dance West Park Pictures West 80,000<br />
The Last Furlong Octagon <strong>Film</strong>s 350,000<br />
The Moth Diaries Samson <strong>Film</strong>s 400,000<br />
This Must Be The Place Element Pictures 500,000<br />
Regional Support Fund<br />
Corp & Anam Magamedia 60,000<br />
Grabbers Samson <strong>Film</strong>s 100,000<br />
Stella Days Newgrange Pictures 120,000<br />
The Last Furlong (The Hideaways) Octagon <strong>Film</strong>s 70,000<br />
The Other Side of Sleep Fastnet <strong>Film</strong>s 120,000<br />
The Rafters CDS 120,000<br />
Completion<br />
The Liberties Areamann Productions 15,000<br />
Jimmy Murakami: non Alien Loopline <strong>Film</strong>s 15,000<br />
Stand up My Best Friend Long Grass Productions 10,000<br />
Iomlán 8,929,577<br />
Geallta I<br />
virtual Cinema<br />
Our Poor Son Rubicon <strong>Film</strong>s 2,000<br />
Ol’ One Eye Joanne Cunningham 2,000<br />
Signs vincent Gallagher 2,000<br />
The Monk and the Fly Souljacker 2,000<br />
Tv Dinner Two Hungry Fish Productions 2,000<br />
<strong>Irish</strong> Dog whisperer Two Hungry Fish Productions 2,000<br />
The Invention Lightbulb Lovely Productions 2,000<br />
Daylight Saving Time Jason Butler 2,000<br />
Spanx and Eve Tonyia Dowling 2,000<br />
Frameworks<br />
After you Cel Division 47,000<br />
we the Masses Still <strong>Film</strong>s 45,500<br />
Here to Fall Blacknorth Studio 44,500<br />
umbra And Maps and Plans 49,000<br />
Iomlán 719,000
56 57<br />
PEIDHLEACáN SOLAIS (BuTTERFLY LIGHT)<br />
Léiriúcháin Scannán Faisnéise<br />
Geallta I<br />
A Glacier Beneath Image Now <strong>Film</strong>s 240,000<br />
Art will Save the world Happy Endings Productions 90,000<br />
Barbaric Genius Screenworks 15,000<br />
Children of the Revolution Transmission <strong>Film</strong>s 40,000<br />
Darkness into Light Atlantic <strong>Film</strong> Alliance 15,000<br />
Doodle venom 15,000<br />
Dreams of a Life Soho Moon Pictures 150,000<br />
For One night Only Parallel <strong>Film</strong> Productions 100,000<br />
Good Days Bad Days Maccana Teo 10,000<br />
Good Robot Fastnet <strong>Film</strong>s 15,000<br />
In the name of Dignity Lugh <strong>Film</strong>s 15,000<br />
Jerry McGill: very Extremely Dangerous<br />
Screenworks 15,000<br />
King of Travellers (Knuckle) Rise <strong>Film</strong>s 100,000<br />
Land Ripple World Pictures 15,000<br />
Last Lion Zeitgeist <strong>Film</strong>s 15,000<br />
Making a Show of Myself Blinder <strong>Film</strong>s 10,000<br />
Martin Hayes in Five ways Moving Still Productions 90,000<br />
Muerte and Me Fastnet <strong>Film</strong>s 15,000<br />
Dáileachán<br />
Léiriú Scannán Beochana<br />
Geallta I<br />
Cur Chun Cinn & Fógraíocht/<br />
Tacaíocht do Mhargaíocht<br />
All Good Children Element Distribution 9,300<br />
Happy Ever Afters Buena vista 37,500<br />
His and Hers Element Distribution 74,560<br />
Little Foxes Eclipse Pictures 3,578<br />
Perrier’s Bounty Element Distribution 75,000<br />
Savage Eclipse Distribution 30,000<br />
Swansong Cinema North West 13,500<br />
The Guard Element Distribution 75,000<br />
Trafficked Stoney Road 12,000<br />
vOLTA Element Distribution 225,000<br />
Zonad Element Distribution 75,000<br />
Dáiliúchán Díreach<br />
Colony Fastnet <strong>Film</strong>s 567<br />
Colony <strong>Irish</strong> <strong>Film</strong> Institute 2,200<br />
Eamon Zanita <strong>Film</strong>s 7,211<br />
Eamon <strong>Irish</strong> <strong>Film</strong> Institute 4,400<br />
Pyjama Girls Still <strong>Film</strong>s 10,000<br />
Pyjama Girls <strong>Irish</strong> <strong>Film</strong> Institute 2,200<br />
Geallta I<br />
On Bourbon St Cadenza <strong>Film</strong>s 10,000<br />
One Minute to Midnight Crossing the Line <strong>Film</strong>s 15,000<br />
Otunnu Crossing the Line <strong>Film</strong>s 10,000<br />
Pikin Players Chapter 01 Productions 10,000<br />
Possession of the Sea Still <strong>Film</strong>s 20,000<br />
Roadside Installation Puddle <strong>Film</strong>s 15,000<br />
Sharp Knives Soft Targets Have More Fun 15,000<br />
Showrunners Black Sheep Productions 10,000<br />
Stranger in a Strange Land Subotica Ltd 10,000<br />
The Boy George Story Parallel <strong>Film</strong> Productions 10,000<br />
The Cause of Progress Zanzibar/Little Ease <strong>Film</strong>s 15,000<br />
The Master the Slave and the Bank Still <strong>Film</strong>s 5,000<br />
The Men of Arlington House Hotshot <strong>Film</strong>s 60,000<br />
The nightdancers Still <strong>Film</strong>s 15,000<br />
The Pipe underground <strong>Film</strong>s 37,000<br />
The Truth Teller Solas Productions 15,000<br />
Thilafushi: Lost in Paradise El Zorrero <strong>Film</strong>s 7,000<br />
what we Leave in Our wake Harvest <strong>Film</strong>s 100,000<br />
Iomlán 1,344,000<br />
Geallta I<br />
The Fading Light <strong>Irish</strong> <strong>Film</strong> Institute 2,200<br />
The Fading Light Park <strong>Film</strong>s 2,258<br />
The Pipe underground <strong>Film</strong>s 10,000<br />
Tacaíocht do Phriontáil<br />
Anton Fox Glove <strong>Film</strong>s 2,000<br />
Colony Fastnet <strong>Film</strong>s 45,965<br />
Corduroy EMu Productions 2,631<br />
Eamon Zanita 1,992<br />
Fairycatcher 2000AD Productions 3,267<br />
Fall Zanzibar <strong>Film</strong>s 5,500<br />
Granny O’Grimm Brown Bag <strong>Film</strong>s 9,824<br />
His & Hers venom 2,062<br />
If I Should Fall Behind Tilted Pictures 484<br />
Moore St Masala Fish <strong>Film</strong>s 10,172<br />
One Hundred Mornings Blinder <strong>Film</strong>s 30,000<br />
Please Say Something David O’Reilly 4,034<br />
Savage SP <strong>Film</strong>s 55,000<br />
Swansong: The Story of Occi Cinema North West 4,142<br />
The Herd venom 2,265<br />
The Man Inside Broken Picture 2,307<br />
The Pool Warrior <strong>Film</strong>s 8,530<br />
Iomlán 861,649<br />
Geallta I<br />
Punky Monster Animation & Design 200,000<br />
Thor: The Edda Chronicles Magma Productions 85,000<br />
Jo and Jack Dancing Girl Productions 150,000<br />
Tilly & Friends Jam Media 250,000<br />
Moon Man Cartoon Saloon 300,000<br />
I’m a Monster Monster Distribution 80,000<br />
Iomlán 1,065,000<br />
HORSES<br />
Isachtaí Forbartha do Phríomhscannáin<br />
Geallta I<br />
30 Eggs Treaure Entertainment 27,000<br />
6 Hours Samson <strong>Film</strong>s 25,000<br />
An Exact Replica of a Figment of my Imagination<br />
Newgrange Pictures 15,000<br />
Before Midnight Alan Brennan 12,000<br />
Billy Goes to war Lee Cronin 12,000<br />
Black Ice Bandit <strong>Film</strong>s 20,000<br />
Blackrock Element Pictures 22,500<br />
Blinky and the war Machine Floodland Pictures 45,000<br />
Cell Six Fantastic <strong>Film</strong>s 10,000<br />
Closed Circuit Ian Power 12,000<br />
Clovis Teazle Andrew Legge 12,000<br />
Cycle Samson <strong>Film</strong>s 30,000<br />
Doll House CDS Limited 15,000<br />
Down to the Sunless Sea Wide Eye <strong>Film</strong>s 15,000<br />
Earthbound Paper Dreams 10,000<br />
Easy Does It Janey Pictures 5,000<br />
Future Fathers Happy Endings 10,000<br />
Glass Houses Fantastic <strong>Film</strong>s 5,000<br />
Gold (aka Six Days) Subotica 10,500<br />
Grooskill Mark O’Connor 12,000<br />
Guitar Heroes Brian Lynch 12,000<br />
Harm’s way Nightingale <strong>Film</strong>s 15,000<br />
Hate SP <strong>Film</strong>s 38,000<br />
Honoured Jasmina Kallay 12,000<br />
I Am not a Serial Killer Floodland Pictures 13,000<br />
I’m a wheel Paul Freaney/Alan Gilsenan 16,000<br />
Immaculate Ray Lawlor 12,000<br />
Jericho Fastnet <strong>Film</strong>s 15,000<br />
Julia Here Newgrange Picures 27,000<br />
Julius winsome Nightingale <strong>Film</strong>s 15,000<br />
Killing Tom Soho Moon Pictures 10,000<br />
Moscow never Sleeps Johnny O’Reilly 12,000<br />
Mister John Samson <strong>Film</strong>s 10,000<br />
Ms Mansfield and Me Paul Walker 12,000<br />
My Father’s Daughter Carmel Winters 12,000<br />
napoleon and Josephine Octagon <strong>Film</strong>s 50,000<br />
Objects of Interest Mammoth <strong>Film</strong>s 20,000<br />
Peacekeepers Jane Doolan 12,000<br />
Pilgrimage Savage Productions 18,000<br />
Iasachtaí chun Scannáin Bheochana a Fhorbairt<br />
Princess Footnote Productions 20,000<br />
Geallta I<br />
Prophet x Mike McCormack 12,000<br />
Reading in the Dark DeFacto <strong>Film</strong>s 10,000<br />
Red Brian Finola Geraghty 12,000<br />
Reeling Parallel <strong>Film</strong> Productions 12,500<br />
Return of the Banshee Parallel <strong>Film</strong> Productions 11,500<br />
Sanctuary venom 4,000<br />
Scumbot Ciaran Foy 12,000<br />
Simple Simon Treasure Entertainment 22,500<br />
Standby Black Sheep Productions 10,000<br />
Stella Days Newgrange Pictures 25,000<br />
Synchronicity Paul Walker 12,000<br />
Synchronicity Parallel <strong>Film</strong> Productions 30,000<br />
Ten Dates with Mad Mary Element Pictures 40,000<br />
The Book of Lost Things Coastguard <strong>Film</strong>s 50,000<br />
The Brave Tin Soldier Colin Downey 12,000<br />
The Canal Park <strong>Film</strong>s 15,000<br />
The Cherry Tree Fantastic <strong>Film</strong>s 15,000<br />
The End of Romance Trish McAdam 12,000<br />
The Fourth McHenry Christian O’Reilly 12,000<br />
The Gathering Goldfish <strong>Film</strong>s 26,700<br />
The Girl in the Green Kimono Jimmy Murakami/Mary D’arcy 16,000<br />
The Islanders Pierce Ryan 12,000<br />
The Leviathan Floodland Pictures 48,000<br />
The Ranger Fastnet <strong>Film</strong>s 26,000<br />
The Siege of Jadotville The Cannibal Corporation 50,000<br />
The Trial ursula Rani Sarma 12,000<br />
The wet Senor Bandit <strong>Film</strong>s 5,000<br />
The winter Truce Audrey O’Reilly 12,000<br />
Three Days Brock Norman Brock 12,000<br />
Traders Peter Murphy/Rachael Moriarty 16,000<br />
Twelve Twenty Three Parallel <strong>Film</strong> Productions 22,500<br />
unless Subotica Limited 15,000<br />
unsung Hero Joel Conroy 12,000<br />
war Dog Subotica 50,000<br />
your Girlfriend and Me unstoppable <strong>Film</strong>s 15,000<br />
Love Eternal Fastnet <strong>Film</strong>s 5,000<br />
La Mula Subotica 10,000<br />
Iomlán 1,374,700<br />
Geallta I<br />
Bedheads Kavaleer Productions 48,000<br />
Cosmo Monster Animation & Design 16,000<br />
Cú - The Hound of ulla Pillarstone Productions 29,000<br />
Fronkey, Hugh & Chonkey Avalon <strong>Film</strong>s 10,000<br />
I’m a Monster Monster Distribution 48,000<br />
nightgliders Brown Bag <strong>Film</strong>s 30,000<br />
The Selfish Giant NDN Productions 34,000<br />
Iomlán 215,000<br />
Forbairt Tionscail<br />
Geallta I<br />
The Factory CDS 100,000<br />
Iomlán 100,000
58 59<br />
LOLA YA BONOBO<br />
AGuISín 2<br />
TIOMAnTAIS GAn íOC 2010<br />
Iasachtaí Léiriúcháin do Phríomhscannáin<br />
Ar feitheamh I<br />
Citadel Blinder <strong>Film</strong>s 65,700<br />
Come On Eileen Blinder <strong>Film</strong>s 1,700<br />
Corp & Anam Magamedia 18,000<br />
Death of a Superhero Grand Pictures 60,000<br />
Doll House Warehouse Pictures 73,000<br />
Earthbound Paper Dreams 65,000<br />
Losing It Samson <strong>Film</strong>s 23,500<br />
Lotus Eaters Fastnet <strong>Film</strong>s 10,000<br />
Stella Days Newgrange Pictures 96,500<br />
The Other Side of Sleep Fastnet <strong>Film</strong>s 38,500<br />
The Pier Black Equus films 5,000<br />
The Rafters CDS Ltd 72,000<br />
Roimh 2010 107,407<br />
Iomlán 636,307<br />
Ciste do Chomhléiriúcháin Chruthaitheach<br />
Ar feitheamh I<br />
Istanbul Ripple World Pictures 17,800<br />
The Last Furlong Octagon <strong>Film</strong>s 35,000<br />
The Moth Diaries Samson <strong>Film</strong>s 40,000<br />
This Must be the Place Element Pictures 50,000<br />
Roimh 2010 340,000<br />
Iomlán 482,800<br />
Ciste Tacaíochta Réigiúnda<br />
Ar feitheamh I<br />
The Last Furlong Octagon <strong>Film</strong>s 70,000<br />
The Other Side of Sleep Fastnet <strong>Film</strong>s 36,000<br />
Roimh 2010 62,500<br />
Iomlán 168,500<br />
Críochnú<br />
Ar feitheamh I<br />
Jimmy Murakami: non Alien Loopline <strong>Film</strong>s 3,000<br />
Stand up: My Best Friend Maurice Linnane 50<br />
The Liberties Areamann Productions 3,000<br />
Iomlán 6,050<br />
Léiriú Scannán Beochana<br />
Ar feitheamh I<br />
Punky Monster Animation 60,000<br />
Roimh 2010 62,400<br />
Iomlán 122,400<br />
SEPARATIONS AGENCY<br />
Léiriú Scannán Faisnéise<br />
Ar feitheamh I<br />
Art will Save the world Happy Endings Productions 31,500<br />
Barbaric Genius Screenworks 3,000<br />
Darkness into Light Atlantic <strong>Film</strong> Alliance 3,000<br />
Doodle venom 3,000<br />
Dreams of a Life West Park Pictures West 30,000<br />
For One night Only Parallel <strong>Film</strong> Productions 20,000<br />
Good Days Bad Days Maccana Teo 2,000<br />
King of Travellers (Knuckle) Rise <strong>Film</strong>s 10,000<br />
Land Ripple World Pictures 3,000<br />
Last Lion Zeitgeist <strong>Film</strong>s 3,000<br />
Making a Show of Myself Blinder <strong>Film</strong>s 2,000<br />
Martin Hayes in Five ways Moving Still Productions 27,000<br />
Ar feitheamh I<br />
On Bourbon St Cadenza <strong>Film</strong>s 2,000<br />
One Minute to Midnight Crossing the Line <strong>Film</strong>s 3,000<br />
Roadside Installation Puddle <strong>Film</strong>s 3,000<br />
Sharp Knives Soft Targets Have More Fun 7,000<br />
The Cause of Progress Zanzibar/Little Ease <strong>Film</strong>s 3,000<br />
The nightdancers Still <strong>Film</strong>s 1,500<br />
The Pipe underground <strong>Film</strong>s 8,000<br />
The Truth Teller Solas Productions 3,000<br />
Thilafushi: Lost in Paradise El Zorro <strong>Film</strong>s 2,000<br />
what we Leave in Our wake Harvest <strong>Film</strong>s 10,000<br />
Roimh 2010 358,975<br />
Iomlán 535,975<br />
Dáiliúchán - Iasachtaí Cur Chun Cinn & Fógraíochta/Tacaíocht Mhargaíochta<br />
Ar feitheamh I<br />
All Good Children Element Distribution 4,650<br />
Happy Ever Afters Buena vista 15,000<br />
His & Hers Element Distribution 7,456<br />
Perrier’s Bounty Element Distribution 7,500<br />
The Guard Element Distribution 37,500<br />
Trafficked Stoney Road 1,000<br />
Zonad Element Distribution 7,500<br />
Roimh 2010 46,289<br />
Iomlán Cinnte Cur Chun Cinn & Fógraíochta 126,895<br />
Dáiliúchán Díreach<br />
Ar feitheamh I<br />
Pyjama Girls Still <strong>Film</strong>s 5,000<br />
The Pipe underground <strong>Film</strong>s 5,000<br />
Iomlán Dáiliúchán Díreach 10,000<br />
Tacaíocht Priontála<br />
Ar feitheamh I<br />
Fairycatcher 2000AD Productions 37<br />
One Hundred Mornings Blinder <strong>Film</strong>s 7,500<br />
The Herd venom 566<br />
Roimh 2010 6,385<br />
Iomlán Tacaíocht Priontála 14,488<br />
Scéimeanna<br />
Ar feitheamh I<br />
Short Shorts<br />
Dummy Parallel <strong>Film</strong>s 2,000<br />
Loft underground <strong>Film</strong>s 2,000<br />
Origin 2,000<br />
Riders to the Sea Dig Productions 2,000<br />
Signatures<br />
This is a Test Image Now <strong>Film</strong>s 7,100<br />
Ar feitheamh I<br />
Frameworks<br />
After you Cel Division 23,500<br />
we the Masses Still <strong>Film</strong>s 22,750<br />
Here to Fall Blacknorth Studio 22,250<br />
umbra And Maps and Plans 24,500<br />
Roimh 2010 112,195<br />
Iomlán 220,295
60 61<br />
BYE BYE NOW<br />
Iasachtaí Forbarha do Phríomhscannáin<br />
Ar feitheamh I<br />
14 88 SP <strong>Film</strong>s 3,000<br />
30 Eggs Treasure Entertainment 3,000<br />
6 Hours Samson <strong>Film</strong>s 10,000<br />
An Exact Replica of a Figment of My Imagination<br />
Newgrange Pictures 3,000<br />
Before Midnight Alan Brennan 2,000<br />
Billy Goes to war Lee Cronin 2,000<br />
Black Ice Bandit <strong>Film</strong>s 2,000<br />
Blackrock Element Pictures 7,500<br />
Blinky and the war Machine Floodland Pictures 5,000<br />
Cell Six Fantastic <strong>Film</strong>s 2,000<br />
Closed Circuit Ian Power 2,000<br />
Clovis Teazle Andrew Legge 12,000<br />
Cycle Samson <strong>Film</strong>s 5,000<br />
Down to the Sunless Sea Wide Eye <strong>Film</strong>s 3,000<br />
Glass Houses Fantastic <strong>Film</strong>s 1,000<br />
Gold (aka Six Days) Subotica 2,500<br />
Grooskill Mark O’Connor 2,000<br />
Guitar Heroes Brian Lynch 2,000<br />
Harm’s way Nightingale <strong>Film</strong>s 3,000<br />
I Am not a Serial Killer Floodland Pictures 3,000<br />
I’m a wheel Paul Freaney/Alan Gilsenan 4,000<br />
Immaculate Ray Lawlor 2,000<br />
Jericho Fastnet <strong>Film</strong>s 3,000<br />
Julius winsome Nightingale <strong>Film</strong>s 3,000<br />
Killing Tom Soho Moon Pictures 2,000<br />
Mister John Samson <strong>Film</strong>s 2,000<br />
Ms Mansfield and Me Paul Walker 2,000<br />
My Father’s Daughter Carmel Winters 2,000<br />
napoleon and Josephine Octagon <strong>Film</strong>s 5,000<br />
Peacekeepers Jane Doolan 2,000<br />
Pilgrimage Savage Productions 3,000<br />
Princess Footnote Productions 5,000<br />
Iasachtaí Forbartha do Scannáin Beochana<br />
Ar feitheamh I<br />
Prophet x Mike McCormack 2,000<br />
Reading in the Dark DeFacto <strong>Film</strong>s 2,000<br />
Red Brian Finola Geraghty 2,000<br />
Reeling Parallel <strong>Film</strong> Productions 2,500<br />
Return of the Banshee Parallel <strong>Film</strong>s 1,500<br />
Sanctuary venom 1,000<br />
Scumbot Ciaran Foy 2,000<br />
Simple Simon Treasure Entertainment 4,500<br />
Spin City Johnny O’Reilly 2,000<br />
Standby Black Sheep Productions 2,000<br />
Synchronicity Parallel <strong>Film</strong> Productions 18,000<br />
Ten Dates with Mad Mary Calipo Pictures 10,000<br />
The Book of Lost Things Coastguard <strong>Film</strong>s 5,000<br />
The Brave Tin Soldier Colin Downey 2,000<br />
The Canal Park <strong>Film</strong>s 3,000<br />
The Cherry Tree Fantastic <strong>Film</strong>s 3,000<br />
The Gathering Goldfish <strong>Film</strong>s 3,700<br />
The Girl in the Green Kimono Jimmy Murakami & Mary D’arcy 4,000<br />
The Islanders Pierce Ryan 2,000<br />
The Leviathan Floodland Pictures 8,000<br />
The Ranger Fastnet <strong>Film</strong>s 8,000<br />
The Siege of Jadotville The Cannibal Corporation 5,000<br />
The Trial ursula Rani Sarma 2,000<br />
The wet Senor Bandit <strong>Film</strong>s 1,000<br />
The winter Truce Audrey O’Reilly 2,000<br />
Three Days Brock Norman Brock 2,000<br />
Traders P Murphy & R Moriarty 4,000<br />
Twelve Twenty Three Parallel <strong>Film</strong>s 2,500<br />
unless Subotica 5,000<br />
war Dog Subotica 10,000<br />
your Girlfriend and Me unstoppable <strong>Film</strong>s 3,000<br />
Love Eternal Fastnet <strong>Film</strong>s 1,000<br />
Roimh 2010 261,498<br />
Iomlán 491,198<br />
Ar feitheamh I<br />
Bedheads Kavaleer Productions 8,000<br />
Cosmo Monster Animation 3,000<br />
Cú - The Hound of ulla Pillarstone Productions 9,000<br />
Fronkey, Hugh & Chonkey Avalon <strong>Film</strong>s 2,000<br />
nightgliders Brown Bag <strong>Film</strong>s 5,000<br />
The Selfish Giant NDN Productions 7,000<br />
Roimh 2010 30,000<br />
Iomlán 64,000<br />
SOMNIAC<br />
AGuISín 3<br />
SOnRAí MAIDIR LE COInníOLLACHA IASACHTAí<br />
(a) Iasachtaí Forbartha<br />
Airleactar Iasachtaí Forbartha ar bhonn íocaíocht chéimithe agus íoctar tuairim is 50-60% nuair a chuirtear conarthaí<br />
Iasachta Forbartha idir an Bord agus an Léiritheoir i gcríoch go sásúil, agus íoctar an iarmhéid nuair a chomhlíontar<br />
coinníollacha sonracha a a mbeidh leagtha amach ag an mBord.<br />
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<br />
leith. Is féidir le foirne nó le daoine aonair (léiritheoir/stiúrthóir/scríbhneoir scripte) iarratas a dhéanamh. Tá ceanglas ar<br />
an léiritheoir an t-airgead a airleacadh a aisíoc ar an gcéad lá príomhscannánaíochta.<br />
Ba chóir féachaint orthu seo mar iasachtaí forbartha/indéantachta; Déanann an Bord gach iarracht rianadh a dhéanamh<br />
ar an t-airgead agus soláthraíonn sé faisnéis agus tacaíocht do léiritheoirí neamhspleácha a bhfuil comhpháirtithe<br />
ionchais léiriúcháin á lorg acu. Ní éireoidh le cuid de na tionscadail a gheobhaidh tacaíocht ón mBord leanúint ar aghaidh<br />
go dtí céim an léiriúcháin agus d’fhéadfadh sé tarlú i ndeireadh na dála go gcaithfear iad a dhíscríobh.<br />
Déanann an Bord monatóireacht, áfach, ar na tionscadail a tugtar chun críche go rathúil agus éilítear éilítear go<br />
gníomhach aon airgead atá dlite.<br />
(b) Iasachtaí Léiriúcháin<br />
Tagann rannpháirtíocht an Bhoird i bhfoirm infheistíochta sa léiriúchán agus ina chuid díolacháin do mhargaidh cineama,<br />
teilifíse, físeáin agus margaidh coimhdeacha (cábla, saitilít, scannán baile etc.) in Éirinn agus ar fud an domhain. Níl an<br />
infheistíocht faoi reir úis; cuirtear dian-bhearta i dtaca le haisghabháil agus rannpháirtíocht i mbrabús i bhfeidhm. Tá<br />
gach tairiscint ar infheistíocht ‘i bprionsabal‘ agus faoi réir conartha.
annpháirtíochta a bheidh ag pearsanra, gnéithe agus<br />
Éireannaigh sa réimse sin, agus cúinge an mhargaidh<br />
saoráidí Éireannacha sa dtionscadal, agus (c) go bhfuil<br />
idirnáisiúnta pictiúrlainne atá ann do phríomhscannáin<br />
gealltanas i bhfeidhm ag an gcomhléiritheoir tromlaigh go bheochana. Mar sin féin, tabharfar tús áite do shaothar<br />
ndéanfaidh sé comhalartú trí ghníomhú mar chomhstiúrthóir cruthaitheach ó thalainn Éireannacha a bhfuil an cuma air<br />
mionlaigh ar scannán Éireannach sa todhchaí<br />
go bhfuil sé cruthaitheach agus suntasach a dhóthain lena<br />
62<br />
CORDuROY<br />
Cuirfidh BSÉ/IFB fáilte faoi leith i gcónaí roimh iarratais ar son<br />
scannán a bhfuil sé i gceist iad a dhéanamh go príomha trí mheán<br />
na Gaeilge.<br />
chur in oiriúint d’fhormáid an mhórscáileáin ach an deis<br />
chuige sin a bheith ann.<br />
• Go ndéanfar ficsean teilifíse, cláracha aonair nó sraitheanna,<br />
a bhreithniú dá chaighdeán bunúsach ach go gcuirfear tosca<br />
63<br />
Beidh BSÉ/IFB airdeallach i gcónaí lena chinntiú i gcás scannán eile san áireamh freisin. Cuirfear béim láidir ar thacaíocht a<br />
AGuISín 4<br />
a dhéanann sé infheistíocht iontu go ndéantar cuid mhór dá<br />
gcaiteachas ar phearsanra Éireannach agus sa dtionscal in<br />
thabhairt do stiúrthóirí (agus, ó am go chéile, do scríbhneoirí)<br />
a dtaispeánann a dtaifead gairme go dtí seo go soiléir go<br />
Éirinn, agus tá sé dóchúil go mbeidh an gné sin den iarratas bhfuil an cumas iontu scannáin cineama a dhéanamh, nó go<br />
PRIOnSABAIL AGuS CRITÉIR<br />
an-thábhachtach maidir le cinneadh dearfach a dhéanamh. Ann bhfuil siad, i dtuairim BSÉ/IFB, ag dul i dtreo gairm bheatha<br />
Tá roinnt bunphrionsabal atá mar bhonn ag a chritéir<br />
chosúlacht orthu go bhfuil siad ar ardchaighdeán ach go bhfuil<br />
féin, áfach, ní bheidh sé ina thoisc chinntitheach, i gcás nach a bhaint amach sa scannánaíocht cineama. Ina theannta<br />
cinnteoireachta cláir maoiniúcháin BSÉ/IFB. Tá na prionsabail sé inbhraite go bhfuil siad leithleach agus difriúil ó scannáin atá<br />
bhfuil BSÉ/IFB cinnte dearfach maidir le caighdeán tionscadail, sin, beidh sé riachtanach a chur ina luí ar BSÉ/IFB go bhfuil<br />
sin mar seo a leanas:<br />
ar fáil i bpríomhshruth an mhargaidh. Ní chiallaíonn sé sin nach<br />
nó i gcás nach comhlíonann an tionscadal aon cheann de na a rannpháirtíocht airgeadais ríthábhachtach leis an gclár a<br />
• Breisíocht<br />
bhfuil spéis ag BSÉ/IFB ach i dtacaíócht a thabhairt d’ábhar<br />
tosaíochtaí leagtha amach thuas ar bhealaí eile. Tugtar níos mó thabhairt chun críche agus beifear ag súil le rannpháirtíocht<br />
• Tosaíochtaí Cultúir/Tosaíochtaí Tionscail<br />
‘neamhthráchtála’. A mhalairt ar fad atá fíor, tá raidhse fianaise<br />
sonraí i dtaca leis an gceist sin faoi na Cúínsí Eile thíos.<br />
eagarthóireachta maidir lena lánas. Ní bheidh tacaíocht<br />
• Cineama a Dhéanamh<br />
• Úrnuacht<br />
Mínítear iad sin thíos ar bhealach níos mionsonraithe. Ina<br />
dhiaidh sin leagann muid amach roinnt comaoineacha eile<br />
a d’fhéadfadh tionchara bheith acu ar chinneadh i bhfábhar<br />
tionscadail amháin seachas ceann eile.<br />
Breisíocht<br />
Is réasúnaíocht riachtanach í nuair a chuirtear airgead poiblí<br />
ar fáil do thionscal gur chóir go gcruthódh sé gníomhaíocht<br />
nach dtarlódh seachas sin i.e. nach nginfeadh an margadh é as<br />
a stuaim féin. Dá réir sin ciallaíonn sé gur chóir gur scannáin<br />
iad nach ndéanfaí iad nó scannáin nach mbeadh an sochar<br />
céanna ag baint leo ó thaobh na hÉireann de, ach amháin i<br />
gcás go gcuirfí ar a gcumas é sin a dhéanamh le tacaíocht ón<br />
ngníomhaireacht, na scannáin sin a fhaigheann tacaíocht ó<br />
BSÉ/IFB. Léireoidh scannáin den tsaghas sin, agus na sochair a<br />
eascróidh uathu, gníomhaíocht eacnamaíochta ‘breise’.<br />
Tá sé mar aidhm ag na nósanna imeachta i dtaca le breithniú<br />
a dhéanamh ar iarratais ar mhaoiniú léiriúcháin a chinntiú<br />
níos éifeachtúla i gcás go mbíonn BSE/IFB rannpháirteach<br />
i dtionscadal go léiríonn sé go fíor a mhéid is go bhfuil a<br />
rannpháirtíocht riachtanach: go sonrach, gurb é leibhéal<br />
infheistíochta BSÉ/IFB an leibhéal atá riachtanach chun<br />
maoiniú an scannáin a chur i gcríoch ach nach bhfuil an leibhéal<br />
níós airde ná mar is gá. Gan amhras tá sé an-deacair póilíniú<br />
ann i stair na scannán a léiríonn gur minic gur ábhar iontais,<br />
ceannródaíochta agus imeallacha iad na móréachtaí cineama.<br />
Is cosúil go mbíonn athnuachan rialta de dhíth ar an margadh.<br />
Tabharfaidh BSÉ/IFB tacaíocht fhuinniúil do léiritheoirí a<br />
thaispeánann go bhfuil uaillmhian acu rath a bhaint amach sa<br />
mhargadh – le tionscadail a léiríonn feasacht maidir leis an<br />
margadh ach nach bhfuil ró-umhal dó.<br />
Tosaíochtaí Cultúir/Tosaíochtaí Tionscail<br />
De réir a chuid téarmaí tagartha ón Rialtas, agus ag freagairt<br />
do na riachtanais a mbraitear atá ag tionscal na scannán<br />
in Éirinn faoi láthair, tá BSÉ/IFB den tuairim go léiríonn<br />
tionscadail áirithe, ó thaobh a n-ábhar, a bhfoinse nó a leas don<br />
tionscal, tosaíochtaí soiléire dá mhaoiniúchán maoiniú seachas<br />
tionscadail eile.<br />
Tabharfar tosaíocht láidir d’iarratais ar son tionscadal:<br />
• a ‘tionscnaíodh in Éirinn’ ó thaobh na cruthaitheachta de;<br />
is é sin le rá gur cheap agus gur scríobh talainn Éireannacha<br />
iad agus go stiúróidh talainn Éireannacha iad<br />
• a insíonn scéalta Éireannacha, a tharraingíonn as agus a<br />
léiríonn cultúr, stair agus modh maireachtála na hÉireann<br />
agus an chaoi a fhéachann muintir na hÉireann ar an saol<br />
agus orthu féin<br />
• a bhfuil sé i gceist leo go mbeidh talann scannánaíchta nua<br />
Éireannach sna príomhróil chruthaitheacha i.e. stiúrthóir,<br />
scríbhneoir, léiritheoir, cumadóir, príomhaisteoir<br />
Cineama a Dhéanamh<br />
Cúis bhunúsach go bhfuil BSÉ/IFB ar an tsaol is ea chun saothar<br />
in Éirinn a dhéantar lena thaispeáint ar an scáileán mór a<br />
spreagadh, a chothú agus a chur chun cinn.<br />
Níl cosc curtha aige sin ar BSÉ/IFB ó thacaíocht a thabhairt do<br />
shaothar gurb í an teilifís an príomh-mhargadh i bhfeidhm dó.<br />
Thairis sin, sa mhéid is go gcuireann sé ar chumas chuideachtaí<br />
léiriúcháin maireachtáil agus fiú amháin maireachtáil faoi bhláth,<br />
agus go léiríonn sé sineirge atá folláin agus riachtanach idir na<br />
mheán na teilifíse agus meán na scannán, bheadh sé míréadúil, i<br />
dtír atá chomh beag le hÉireann, go dteorannódh BSÉ/IFB a gcuid<br />
tacaíochta don scannánaíocht cineama amháin.<br />
Mar sin féin, cé go leanfaidh BSÉ/IFB ar aghaidh ag freagairt go<br />
dearfach i dtaca le hiarratais a fhaightear ó am go chéile ar son<br />
tionscadal gurb é an dóchúlacht is mó ina dtaobh go bhfaighidh<br />
siad lucht féachana teilifíse, agus fiú ag cur scannán agus<br />
sraitheanna a dhéantar don dteilifís san áireamh, leagfaidh BSÉ/<br />
IFB béim níos treise amach anseo ar a chuid oibligeáidí maidir le<br />
saothar don cineama agus talainn cineama.<br />
I bhfeidhm, ciallóidh sé sin:<br />
• Go ndéanfar measúnú níos deine ar scannáin faisnéise ó<br />
thaobh na hacmhainne atá acu chun eisiúint pictiúrlainne<br />
a bhaint amach nó chun spéis ó fhéilte idirnáisiúnta scannán<br />
a spreagadh. Tabharfar tús áite do ‘phríomhscannáin<br />
forbartha ó BSÉ/IFB d’ábhar atá dírithe go sonrach ar léirú<br />
teilifíse ar fáil ach go hannamh ar fad.<br />
Úrnuacht<br />
Ar mhaithe le sainiúlacht a bhaint amach sa tslí ina úsáideann<br />
sé a chuid acmhainní, agus go comhsheasmhach maidir leis<br />
na spriocanna breisíocht a bhfuil cur síos déanta orthu cheana<br />
féin, tabharfaidh BSÉ/IFB aird shuntasach ar úrnuacht agus é<br />
i mbun tionscadal a lorg agus a roghnú le tacaíocht a thabhairt<br />
dóibh. Seachas na sochair ealaíonta, tá neart fianaise ann i gcás<br />
margaidh a bhfuil an lámh in uachtar ag táirgí mórbhuiséid, gurb<br />
iad na scannáin is éifeachtúla a theann san iomaíocht na cinn<br />
sin a thairgíonn don lucht féachana rud éigin nach bhfaca siad<br />
cheana, ó thaobh ábhair conspóide, dearcadh spreagúil, greann<br />
úrnua, séanra lúbtha nó doimhneas úr mothúcháin de.<br />
Cuirfidh sé sin BSÉ/IFB i dtreo tús áite a thabhairt do stiúrthóirí<br />
(agus scríbhneoirí) a bhfuil ‘guthanna’ sainiúla acu, a léiríonn a<br />
gcuid saothar dearcadh atá go láidir aonaránach maidir leis an<br />
tsaol, a léiríonn cúrsaí an tsaoil ar bhealach a thugann brí nua<br />
dóibh, a léiríonn gnéithe den nadúr a theipeann ar scannánóirí<br />
níós gnásúla iad a thabhairt faoi deara nó a sheachnaíonn siad ar<br />
fad iad. Tá sé mar chuspóir ag BSÉ/IFB tacaíocht a thabhairt do<br />
scannáin a aimsíonn lucht féachana chomh leathan agus is féidir,<br />
agus tá sé ag súil go léireoidh lucht deanta scannán an uaillmhian<br />
chéanna. Ag an am céanna aithníonn sé nach n-éiríonn ach le<br />
fíórbheagán daoine rath a bhaint amach ag an ndíoloifig. Cibé an<br />
a dhéanamh air sin le dearbh-chruinneas, ag cur san áireamh Tabharfar aird dáiríre ar iarratais:<br />
faisnéise’; i gcás scannán atá dírithe ar shliotán teilifíse éiríonn le scannán nó má theipeann air, creideann BSÉ/IFB gur<br />
nádúr na n-idirbheartaíochtaí a bhíonn da dhíth i dtaca le • a mholann tionscadal atá go soiléir Éireannach (ó thaobh<br />
atá uair an chloig nó níos giorra ar fhad agus nach bhfuil aon féidir caiteachas airgid poiblí a chosaint go láidir matá rud éigin<br />
hairgeadas scannán, ach seasann an prionsabal agus cloífear suímh, carachtar, etc. de) ach a bheidh á stiúradh ag<br />
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<br />
go docht leis.<br />
talann nach as Éireann é, i gcás go bhfuil BSÉ/IFB den<br />
go dtabharfar tacaíocht dóibh ach amháin i gcás go meastar cineama domhanda.<br />
Beidh tionchar freisin ag an sprioc maoiniú a dhéanamh ar<br />
scannáin a bhfuil ‘breisíocht’ ag baint leo ar thosaíochtaí<br />
BSÉ/IFB agus tionscadail á lorg aige chun tacaíocht a thabhairt<br />
dóibh. Tá sé i gceist le breisíocht go ndéanfaidh sé difríocht,<br />
agu beidh claonadh i BSÉ/IFB luí i dtreo tionscadal a bhfuil an<br />
tuairim go gcinntíonn teist an stiúrthóra go dtí seo go mbeidh<br />
ardchaighdeán ann<br />
• a mbíonn léiritheoir Éireannach i gceist mar chomhléiritheoir<br />
mionlaigh i gcás (a) go bhfuil BSÉ/IFB iomlán sásta maidir<br />
le caighdeán an tionscadail, (b) go bhfuil an méid<br />
infheistíochta ar chomhchéim leis an leibhéal<br />
go bhfuil caighdeán do-shéanta acu. I dteannta béim BSÉ/IFB<br />
ar chúrsaí cineama, ceapadh an cur chuige seo chun<br />
freagairt don mhéadú follasach ar an mian atá i measc lucht<br />
féachana pictiúrlainne scannáin faisnéise a fheiceáil.<br />
• Go léireofar níos mó solúbthachta i gcás scannán beochana,<br />
mar aitheantas ar an méadú maidir le tábhacht an tsaothair<br />
Cúinsí Eile<br />
Ba chóir go dtabharfadh na treoirphrionsabail atá leagtha<br />
amach thuas léargas d’iarratasóirí ar an gcaoi a dhéanfaidh<br />
feidhmeannaigh agus comhairleoirí BSÉ/IFB measúnú ar<br />
thionscadal ó thaobh ábhair de agus ó thaobh na foirne
cruthaithigh a bhaineann leis. Agus measúnú á dhéanamh ar<br />
iarratais ar mhaoiniú léiriucháin, d’fhéadfaí tosca eile a chur<br />
san áireamh, a bhaineann le héifeachtaí eacnamaíochta an<br />
tionscadail, na socruithe airgeadais, agus an t-ionchas go n-<br />
aimseofar lucht féachana.<br />
ó thaobh BSÉ/IFB de maidir le gnéithe cruthaitheacha den<br />
I gcás nach mbíonn BSÉ/IFB den tuairim go gcloíonn tionscadal<br />
64 tionscadal seachas sin. Ar a laghad ar fad, spreagfaidh meascán<br />
65<br />
le haon cheann de na treoirphrionsabail, ní bheidh a ndóthain<br />
de fhreagraí dearfacha agus diúltacha díospóireacht maidir le<br />
sna tosca eile sin le tairiscint maoiniúcháin a bhaint amach.<br />
THE BALLAD <strong>OF</strong> KID KANTuRK<br />
méid agus modh ghealltanas BSÉ/IFB.<br />
Ach i gcás tionscadail ina meastar go bhfuil an t-ábhar agus an<br />
fhoireann chruthaitheach áititheach, is féidir leis na cúinsí sin<br />
tionchar a bheith acu ar idirbheartaíochtaí idir BSÉ/IFB agus<br />
lucht déanta an scannáin maidir le leibhéal infheistíochta BSÉ/<br />
IFB agus ar an gcaoi a dhéanfar an scannán a mhaoiniú, a léiriú<br />
agus a dháileadh.<br />
• Teist gairme an léiritheora go dtí seo<br />
• An ndearna an léiritheoir bainistiú agus seachadadh<br />
proifisiúnta agus éifeachtúil ar scannáin roimhe seo?<br />
• An bhfuil dea-thaithí ag BSÉ/IFB roimhe seo maidir le<br />
plé a dhéanamh leis an léiritheoir?<br />
• I gcás comhléiriúcháin, an bhfuil teist gairme proifisiúnta<br />
go dtí seo ag léiritheoiri nach léiritheoirí Éireannacha iad<br />
a bhfuil baint acu leis an dtionscadal?<br />
• Fostaíocht Éireannach<br />
• An mbeidh na príomh-phostanna cruthaitheacha agus<br />
teicniúla lena líonadh ag pearsanra Éireannach?<br />
• I gcás comhléiriúcháin, an bhfuil an coimheas cuí i dtaca<br />
leo sin?<br />
• An dtairgeoidh an léiriúchán fostaíocht do phearsanra<br />
Éireannach i ngach grád is féidir?<br />
• Caiteachas i ngeilleagar na hÉireann<br />
• An ndéanfar an scannánaíocht in Éirinn?<br />
• An mbainfidh an léiriúchán feidhm fhairsing as saoráidí<br />
léiriúcháin agus iar-léiriúcháin in Éirinn?<br />
• An meallfaidh an tionscadal infheistiócht isteach<br />
i ngeilleagar na hÉireann?<br />
• Díolachán agus Dáileachán<br />
• An bhfuil baint ag gníomhaire díolacháin idirnáisiúnta<br />
leis an scannán?<br />
• An bhfuil dáileoir Éireannach ag an scannán?<br />
• An bhfuil airgeadas léiriúcháin á sholáthar ag aon<br />
dáileoir nó craoltóir?<br />
• Struchtúr Airgeadais<br />
• An bhfuil na hairgeadaithe atá á moladh don scannán<br />
iontaofa?<br />
• An gcuirfidh na socruithe airgeadais atá a moladh ar<br />
chumas BSÉ/IFB idirbheartaíocht a dhéanamh i dtaca<br />
le seasamh réasúnach aisghabhála.<br />
• An mbeidh follasacht reasúnach cuntasaíochta i gceist<br />
maidir le hioncam díolacháin, e.g. trí ghníomhaire<br />
bailiúcháin a úsáid?<br />
Ba chóir a chur in iúl go soiléir nach bhfuil sé riachtanach<br />
freagraí dearfacha a thabhairt ar na ceisteanna sin ar fad le go<br />
dtairgeofaí maoiniú léiriúcháin do thionscadal. Ach d’fhéadfadh<br />
sé tarlú go mabainfeadh coibheas ard de fhreagraí diúltacha<br />
an bonn a bhaint de dhearcadh a bheadh go láidir dearfach<br />
Critéir Athraitheacha<br />
Tá critéir sainiúla dá gcuid féin ag cuid de chláir maoiniúcháin<br />
BSÉ/IFB agus ní gá go rialódh na prionsabail atá leagtha amach<br />
thuas iad:<br />
• Forbairt Ilthionscadal (MPD)<br />
Cé go gcuirtear na treoirphrionsabail i bhfeidhm maidir le<br />
measúnú a dhéanamh ar shlátaí na dtionscadal atá á moladh,<br />
tá a chlár breise critéar féin ag an gclár MPD agus ba chóir<br />
iad sin a iniúchadh sula gcuirtear isteach iarratas.<br />
• Léiriúchán Idirnáisiúnta<br />
Cé go bhfuil an clár seo i dtéarmaí ginearálta faoi réir<br />
ghnáthchritéar cultúrtha BSÉ/IFB, luíónn sé níos mó i dtreo<br />
an tionscail ná na cruthaitheachta. An fhad is go bhfuil<br />
dea-theist gairme go dtí seo ag an bpríomhléiritheoir, agus go<br />
bhfuil cuma sochreidthe ar an bpacáiste cruthaitheach,<br />
bunófar measúnú BSÉ/IFB ar bhreithniú ar thionchar<br />
‘iolraitheach’ eacnamaíochta a chuid maoiniúcháin, agus<br />
ar na deiseanna fostaíochta do phearsanra Éireannach i<br />
bpríomh-phostanna.<br />
• Tacaíocht Réigiúnda<br />
Tá téarmaí tagartha an chláir seo go heisiatach eacnamaíoch.<br />
Lena bheith incháilithe, ní mór go mbeadh maoiniú léiriúcháin<br />
BSÉ/IFB cheana féin ag tionscadal, agus ní chuirfear a<br />
thuilleadh breithniú cruthaitheach i bhfeidhm. Déanfar<br />
measúnú ar an méid den bhuiséad léiriúcháin atá le<br />
caitheamh in Éirinn lasmuigh den limistéir uirbeach agus an<br />
limistéir máguaird; ní mór go mbeadh ar a laghad a dhá<br />
oiread i gceist leis an méid sin agus an méid maoiniúcháin<br />
a éilítear.<br />
• Doiciméadú ar na hEalaíona<br />
Tá treoirlínte a bhaineann go sainiúl leis an gclár seo, a<br />
tarraingíodh suas i gcomhar leis an gComhairle Ealaíon<br />
a dhéanann maoirseacht ar an nós imeachta roghnúcháin.<br />
• Dáileadh<br />
Feidhmíonn an clár Soláthar Priontaí ar bhonn uathoibríoch,<br />
trína mbíonn scannáin incháilithe le haghaidh tacaíochta i<br />
gcás go roghnaítear iad d’fhéile amháin ar liosta na bhféilte<br />
ceadaithe, faoi réir chomhaontú le BSÉ/IFB maidir le leibhéal<br />
an mhaoiniúcháin. Cuirtear maoiniú le haghaidh Priontaí agus<br />
Fógraíócht ar fáil do dháileoirí Éireannacha ar scannáin<br />
a bhfuil tacaíocht faighte acu ó BSÉ/IFB a thaispeánann go<br />
bhfeabhsóidh tacaíocht ó BSÉ/IFB cur chun cinn scannáin<br />
i margadh na hÉireann.<br />
AGuISín 5<br />
SEIRBHíSí SuíMH<br />
Tá sé mar chuspóir ag seirbhísí suímh scannánaíocht de gach cineál a éascú agus a spreagadh. Is féidir linn cabhrú leat<br />
cibé an bhfuil príomhscannáin, scannáin teilifíse, scannáin faisnéise nó scannáin tráchtála, corparáideacha, físeáin cheoil<br />
nó grianghrafadóireacht á ndéanamh agat; rud ar bith a theann ar scáileán. Tá ár bhfoireann margaíochta ar fáil chun do<br />
chuid ceisteanna afhreagairt. Tá ár seirbhís saor in aisce.<br />
níl anseo ach cuid de na seirbhísí atá á dtairiscint againn:<br />
• Láimhseálann an tAonad Seirbhísí Suíomh gach fiosrúchán a bhaineann le scannánaíócht in Éirinn. Bunachar sonraí<br />
inchuardaithe grianghraf is ea F.I.L.M. (Bainisteoir Suíomh do Thionscal na Scannán in Éirinn) a chuireann barr<br />
feabhais ar ár gcumas suímh a aimsiú. Tá úsáid na seirbhíse saor in aisce do lorgairí suíomh in Éirinn agus do lucht<br />
déanta scannán a dhéanann teagmháil linn ó thíortha thar lear.<br />
• Mar chuid dár seirbhís soláthraíonn muid freisin leabhair tagartha amhairc agus faisnéis tagartha eile maidir le cúrsaí<br />
a bhaineann le scannánaíocht in Éirinn.<br />
• Feidhmíonn muid chomh maith mar mhol do líonra oifigí réigiúnda scannán atá ag fás i gcónaí. Ciallaíonn an<br />
comhoibriú atá eadrainn féin agus an Northern <strong>Irish</strong> <strong>Film</strong> and Television Commission go bhfuil teaglaim ann a<br />
chlúdaíonn an t-oileán ar fad.<br />
• Déanann muid comhoibriú le comhlachtaí eile leis an dtimpeallacht oibre a dhéanamh chomh cairdiúil agus is<br />
féidir do lucht na scannán.
FEATuRE FILMS/FADSCAnnÁIn<br />
1993-2010<br />
32A 2007 / Director/Script: Marian Quinn, A <strong>Film</strong> with Me In It 2008 / Director: Ian Blind Flight 2004 / Director: John Furse,<br />
Circle of Friends 1993 / Director: Pat<br />
The Disappearance of Finbar 1994/95 / Flick 1999 / Director: Fintan Connolly,<br />
66 Producers: Tommy Weir, Roshanak<br />
Behesht Nedjad, Production Company:<br />
Fitzgibbon, Producers: Alan Molony, Susan<br />
Mullen, Script: Mark Doherty, Production<br />
Producers: Sally Hibbin, David Collins, Eddie<br />
Dick, Script: Brian Keenan, John Furse,<br />
O’Connor, Producers: Frank Price, Arlene<br />
Sellers, Alex Winitsky, Script: Andrew<br />
Director: Sue Clayton, Producers: David<br />
Collins/Bertil Ohlsson, Martin Bruce<br />
Producer: Fiona Bergin, Script: Fintan<br />
Connolly, Production Company: Fubar.<br />
67<br />
Janey Pictures.<br />
Company: Parallel <strong>Film</strong> Productions.<br />
Production Company: Samson <strong>Film</strong>s.<br />
Davies, Production Company: Good Girls. Clayton, Script: Dermot Bolger, Production<br />
Company: Samson <strong>Film</strong>s.<br />
Frankie Starlight 1994/95 / Director:<br />
48 Angels 2006 / Director: Marion Comer, A Love Divided 1998 / Director: Syd<br />
Bloody Sunday 2001 / Director/Script: Paul<br />
Circus Fantasticus 2010 / Director/Script:<br />
Michael Lindsay-Hogg, Producer: Noel<br />
writers: Marion Comer, Craig Holland, Macartney, Producers: Tim Palmer,<br />
Greengrass, Producers: Mark Redhead,<br />
Janez Burger, Producers: Morgan Bushe, Disco Pigs 2000 / Director: Kirsten Sheridan, Pearson, Script: Chet Raymo, Ronan<br />
Producers: John McDonnell, Robert<br />
Alan Moloney, Gerry Gregg, Script:<br />
Jim Sheridan, Arthur Lappin, Production<br />
Jozko Rutar Petri Rossi, Production<br />
Producer: Ed Guiney, Script: Enda Walsh, O’Leary, Production Company:<br />
Medema, Marion Comer, Production<br />
Stuart Hepburn, Production Company: Company: Hell’s Kitchen.<br />
Companies: Fastnet <strong>Film</strong>s, Staragara<br />
Production Company: Temple <strong>Film</strong>s.<br />
Ferndale <strong>Film</strong>s.<br />
Company: Reflected Light Pictures.<br />
Parallel <strong>Film</strong>s.<br />
Productions.<br />
A<br />
About Adam 1999 / Director: Gerard<br />
Stembridge, Producers: Anna Devlin,<br />
Marina Hughes, Script: Gerard<br />
Stembridge, Production Company:<br />
venus <strong>Film</strong> & Television.<br />
The Actors 2003 / Director/Script:<br />
Conor McPherson, Story by: Neil Jordan,<br />
Producers: Neil Jordan, Redmond Morris,<br />
Stephen Woolley, Production Company:<br />
Company of Wolves.<br />
Accelerator 1999 / Director: vinny Murphy,<br />
Producer: Michael Garland, Script:<br />
Mark Stewart, vinny Murphy, Production<br />
Company: Two For the Show.<br />
Adam & Paul 2004 / Director: Lenny<br />
Abrahamson, Producer: Jonny Speers,<br />
Executive Producers: Andrew Lowe, Ed<br />
Guiney, Script: Mark O’Halloran, Production<br />
Company: Porridge Pictures.<br />
A Further Gesture 1996 / Director: Robert<br />
Dornhelm, Producers: David Collins, Chris<br />
Curling, Script: Ronan Bennett, Production<br />
Company: Samson <strong>Film</strong>s.<br />
Agnes Browne 1999 / Director: Anjelica<br />
Huston, Producers: Jim Sheridan, Arthur<br />
Lappin, Greg Smith, Anjelica Huston,<br />
Script: Brendan O’Carroll, John Goldsmith,<br />
Production Company: Hell’s Kitchen.<br />
Alarm 2008 / Director/Script: Gerard<br />
Stembridge, Producers: Anna Devlin,<br />
Marina Hughes, Production Company:<br />
venus Productions.<br />
All Soul’s Day 1997 / writer/Director: Alan<br />
Gilsenan, Producer: David McLoughlin,<br />
Production Company: Yellow Asylum <strong>Film</strong>s.<br />
Ailsa 1993 / Director: Paddy Breathnach,<br />
Producer: Ed Guiney, Script: Joe O’Connor,<br />
Production Company: Temple <strong>Film</strong>s.<br />
All Good Children 2010 / Director: Alicia<br />
Duffy, Producers: Ed Guiney, Andrew Lowe,<br />
Jonathan Cavendish, Tom Dercourt, Patrick<br />
Quinet, Production Company: Element<br />
Pictures.<br />
All Things Bright and Beautiful 1993<br />
/ Director: Barry Devlin, Producer:<br />
Katy McGuinness, Script: Barry Devlin,<br />
Production Company: The Good <strong>Film</strong> Co.<br />
A Kiss For Jed wood 2010 / Director:<br />
Maurice Linnane, Producer: Tim Palmer,<br />
Script: Barry Devlin, Maurice Linnane,<br />
Production Company: Ignition <strong>Film</strong><br />
Productions.<br />
A Man of no Importance 1993 / Director:<br />
Suri Krishnama, Producer: Jonathan<br />
Cavendish, Script: Barry Devlin, Production<br />
Company: Little Bird.<br />
A Shine of Rainbows 2009 / Director: vic<br />
Sarin, Producers: Tina Phelme, Kim Roberts,<br />
James Flynn, Script: Danis Foon, Catherine<br />
Spear, vic Sarin, Production Companies:<br />
Octagon <strong>Film</strong>s, Sepia <strong>Film</strong>s.<br />
B<br />
Beckett on <strong>Film</strong> 2000 / Act without words<br />
I, Director: Karel Reisz, Act without words<br />
II, Director: Enda Hughes, A Piece of<br />
Monologue, Director: Robin Lefevre, Breath,<br />
Director: Damien Hirst, Catastrophe,<br />
Director: David Mamet, Come and Go,<br />
Director: John Crowley, Endgame, Director:<br />
Conor McPherson, Footfalls, Director:<br />
Walter Aasmus, Happy Days, Director:<br />
Patricia Rozema, Krapp’s Last Tape,<br />
Director: Atom Egoyan, not I, Director: Neil<br />
Jordan, Ohio Impromptu, Director: Charles<br />
Surridge, Play, Director: Anthony Minghella,<br />
Rockaby, Director: Richard Eyre, Rough for<br />
Theatre I, Director: Kieron J. Walsh, Rough<br />
for Theatre II, Director: Katie Mitchell, That<br />
Time, Director: Hales Garrad, waiting for<br />
Godot, Director: Michael Lindsay-Hogg,<br />
what where, Director: Damien O’Donnell,<br />
Producers: Alan Moloney, Michael Colgan<br />
Production Company: Blue Angel <strong>Film</strong>s.<br />
Becoming Jane 2007 / Director: Julian<br />
Jarrold, Producers: Robert Bernstein,<br />
Douglas Rae, Graham Broadbent, James<br />
Flynn, Morgan O’Sullivan, Script: Kevin<br />
Hood, Sarah Williams, Production<br />
Companies: Ecosse <strong>Film</strong>s, Blueprint<br />
<strong>Film</strong>s, Octagon <strong>Film</strong>s.<br />
Between The Canals 2010 / Director/Script:<br />
Mark O’Connor, Producer: Deirdre Barry,<br />
Production Company: Avalon <strong>Film</strong>s.<br />
Black Day at Black Rock 2000 / Director/<br />
Script: Gerard Stembridge, Producers:<br />
Anna Devlin, Marina Hughes, Production<br />
Company: venus <strong>Film</strong>s.<br />
Bloom 2004 / Director/Script: Sean Walsh,<br />
Producers: Sean Walsh, Gerry Murphy,<br />
Mark Byrne, Production Company:<br />
Odyssey Pictures.<br />
Bogwoman 1997 / writer/Director: Tom<br />
Collins, Producers: Martha O’Neill, Tom<br />
Collins, Production Company: De Facto<br />
<strong>Film</strong> & video.<br />
Borstal Boy 2000 / Director: Peter Sheridan,<br />
Producers: Pat Moylan, Arthur Lappin, Jim<br />
Sheridan, Script: Peter Sheridan, Nye Heron,<br />
Production Company: Hell’s Kitchen.<br />
Boxed 2003 / Director/Script: Marion Comer,<br />
Producers: Laurence Penn, Lene Bausager,<br />
Douglas Graham, Production Companies:<br />
Fireproof <strong>Film</strong>s, ugly Duckling <strong>Film</strong>s.<br />
The Boxer 1998 / Producer/Director:<br />
Jim Sheridan, Producer: Arthur Lappin,<br />
Script: Terry George, Production Company:<br />
Hell’s Kitchen.<br />
Boy Eats Girl 2005 / Director: Stephen<br />
Bradley, Producers: Ed Guiney, Andrew<br />
Lowe, Script: Derek Landy, Production<br />
Company: Element <strong>Film</strong>s.<br />
The Boy from Mercury 1996 / Director/<br />
writer: Martin Duffy, Producer: Marina<br />
Hughes, Production Company:<br />
Mercurian <strong>Film</strong>s.<br />
Breakfast on Pluto 2006 / Director: Neil<br />
Jordan, writer: Neil Jordan (based on the<br />
book by Patrick McCabe), Producers: Alan<br />
Moloney, Neil Jordan, Stephen Woolley,<br />
Production Companies: Parallel <strong>Film</strong>s,<br />
Number 9 <strong>Film</strong>s.<br />
Broken Harvest 1993 / Director: Maurice<br />
O’Callaghan, Producer: Jerry O’Callaghan,<br />
Script: Kate O’Callaghan, Maurice<br />
O’Callaghan, Production Company:<br />
Destiny <strong>Film</strong>s.<br />
C<br />
Chaos 2001 / Director/Script:<br />
Geraldine Creed, Producer: Brendan<br />
McCarthy, Production Company: Blue<br />
Light Productions.<br />
Cherrybomb 2009 / Directors: Lisa Barros<br />
D’Sa, Glenn Leyburn, Producers: Michael<br />
Casey, Mark Huffam, Brian Kirk, Script:<br />
Daragh Carville, Production Companies:<br />
Octagon <strong>Film</strong>s, Green Park <strong>Film</strong>s,<br />
Generator Entertainment.<br />
Conamara 2000 / Director: Eoin Moore,<br />
Producer: Ingrid Holzapfel, Script: Greg<br />
Brennan, Production Company: Boje<br />
Buck Produktion.<br />
Country 2000 / Director/Script: Kevin Liddy,<br />
Producer: Jack Armstrong, Production<br />
Company: Indi <strong>Film</strong>s.<br />
Cowboys & Angels 2004 / Director/Script:<br />
David Gleeson, Producer: Nathalie<br />
Lichtenthaeler, Production Company:<br />
Wide Eye <strong>Film</strong>s.<br />
The Crooked Mile 2001 / Director/Script:<br />
Stephen Kane, Producers: Triona Campbell,<br />
Avril Ryan, Production Company: Campbell<br />
Ryan Productions.<br />
Cracks 2009 / Director: Jordan Scott,<br />
Producers: Julie Payne, Kwesi Dickson,<br />
Rosalie Swedlin, Andrew Lowe, Christine<br />
vachon, Script: Caroline Ip, Ben Court,<br />
Jordan Scott, Production Companies:<br />
Element Pictures, Future <strong>Film</strong>s, Antenna<br />
3 <strong>Film</strong>s, Scott Free.<br />
Crushproof 1997 / Director: Paul Tickell,<br />
Producers: Nicholas O’Neill, Kees<br />
Kassander, Script: James Mathers,<br />
Production Company: Liquid <strong>Film</strong>s.<br />
D<br />
The Daisy Chain 2008 / Director:<br />
Aisling Walsh, Producers: Tristan Orpen<br />
Lynch, Dominic Wright, Script: Lauren<br />
Mackenzie, Production Company:<br />
Subotica Entertainment.<br />
Dancing at Lughnasa 1998 / Director: Pat<br />
O’Connor, Producer: Noel Pearson, Script:<br />
Frank McGuinness, Production Company:<br />
Ferndale <strong>Film</strong>s.<br />
Dead Bodies 2003 / Director: Robert Quinn,<br />
Producers: David McLoughlin, Clare Scully,<br />
Script: Derek Landy, Production Company:<br />
Distinguished Features.<br />
Dead Long Enough 2006 / Director: Tom<br />
Collins, Script: James Hawes, Tom Collins,<br />
Producer: Paul Donovan, Production<br />
Company: Grand Pictures.<br />
Dead Meat 2004 / Director/Script:<br />
Conor McMahon, Producers: Ed King,<br />
Michael Griffin, Production Company:<br />
3 Way Productions.<br />
Drinking Crude 1997 / writer/Director:<br />
Owen McPolin, Producers: Kim<br />
Tapsell, Gerry Johnston, Production<br />
Company: Sweetskin.<br />
Dorothy Mills 2008 / Director: Agnes Merlet,<br />
Producers: Marc Missonier, Eric Jehelman,<br />
James Flynn, Script: Agnes Merlet, Juliette<br />
Sales, Production Companies: Fidélité<br />
<strong>Film</strong>s, Octagon <strong>Film</strong>s.<br />
E<br />
Eamon 2009 / Director/Script: Margaret<br />
Corkery, Producer: Seamus Byrne,<br />
Production Company: Zanita <strong>Film</strong>s<br />
The Eclipse 2009 / Director: Conor<br />
McPherson, Producer: Rob Walpole, Script:<br />
Conor McPherson, Billy Roche, Production<br />
Company: Treasure Entertainment.<br />
Eden 2008 / Director: Declan Recks,<br />
Producer: David Collins, Script:<br />
Eugene O’Brien, Production Company:<br />
Samson <strong>Film</strong>s.<br />
The Englishman 2008 / Director: Ian<br />
Sellers, Producers: Teresa Mulqueen, David<br />
Collins, Script: Ian Sellers, Brendan Grant,<br />
Production Company: Samson <strong>Film</strong>s.<br />
The Escapist 2007 / Director: Rupert<br />
Wyatt, Producers: Adrian Sturges, Alan<br />
Molony, Script: Rupery Wyatt, Daniel<br />
Hardy, Production Company: Parallel<br />
<strong>Film</strong> Productions.<br />
F<br />
The Fading Light 2010 / Director/Script:<br />
Ivan Kavanagh, Producer: Anne Marie<br />
Naughton, Production Company: Park<br />
<strong>Film</strong>s.<br />
The Fifth Province 1997 / Director:<br />
Frank Stapleton, Producer: Catherine<br />
Tiernan, Nina Fitzpatrick, Frank Stapleton,<br />
Production Company: Ocean <strong>Film</strong>s.<br />
Five Day Shelter 2010 / Director/Script:<br />
Ger Leonard, Producers: Liam O’Neill, villi<br />
Ragnarsson, Production Company Paradox<br />
Pictures.<br />
Five Minutes of Heaven 2009 / Director:<br />
Oliver Hirschbiegel, Producers: Eoin<br />
O’Callaghan, Ed Guiney, Andrew Lowe,<br />
Script: Guy Hibbert, Production<br />
Companies: Element Pictures, Big Fish<br />
<strong>Film</strong>s, Ruby <strong>Film</strong>s.<br />
Freeze Frame 2004 / Director/Script: John<br />
Simpson, Producers: Michael Casey, Martha<br />
O’Neill, Production Companies: Parallel<br />
World Productions, Wildfire <strong>Film</strong>s.<br />
The Front Line 2006 / Director/writer: David<br />
Gleeson, Producers: Nathalie Lichtenhaeler,<br />
James Flynn, Production Company: Wide<br />
Eye <strong>Film</strong>s.<br />
G<br />
Garage 2007 / Director: Lenny Abrahamson,<br />
Producers: Ed Guiney, Andrew Lowe, Script:<br />
Mark O’Halloran, Production Company:<br />
Element Pictures.<br />
The General 1998 / writer/Producer/<br />
Director: John Boorman, Production<br />
Company: Merlin <strong>Film</strong>s.<br />
Gold in the Streets 1996 / Director:<br />
Elizabeth Gill, Producer: Noel Pearson,<br />
Script: Janet Noble, Noel Pearson,<br />
Production Company: Ferndale <strong>Film</strong>s.<br />
Goldfish Memory 2003 / Director/Script:<br />
Liz Gill, Producer: Breda Walsh, Production<br />
Company: Goldfish <strong>Film</strong>s.<br />
The Guard 2010 / Director/Script: John<br />
Michael McDonagh, Producers Ed Guiney,<br />
Andrew Lowe, Chris Clark, Flora<br />
Fernandez Marengo, Production Companies:<br />
Element Pictures, Reprisal <strong>Film</strong>s.<br />
Guiltrip 1994/95 / Director: Gerry<br />
Stembridge, Producer: Ed Guiney, Script:<br />
Gerry Stembridge, Production Company:<br />
Temple <strong>Film</strong>s.<br />
H<br />
H3 2001 / Director: Les Blair, Producers:<br />
James Flynn, Juanita Wilson, Script:<br />
Laurence McKeown, Brian Campbell,<br />
Production Company: Metropolitan <strong>Film</strong>s.<br />
The Halo Effect 2004 / Director/Script:<br />
Lance Daly, Producers: Macdara Kelleher,<br />
Hughie Kelly, Executive Producers: John<br />
Kelleher, Les Kelly, Production Company:<br />
Fastnet <strong>Film</strong>s.<br />
The Hanged Man (El Juego del Adhorcado)<br />
2009 / Director Manuel Gómez Pereira,<br />
Producers: Ana Amigo, Tristan Orpen Lynch,<br />
Dominic Wright, Production Companies:<br />
Subotica Entertainment Amigo Produtions,<br />
Cinematograficas, Lennon Proucciones.
Happy Ever Afters 2009 / Director/Script: Intermission 2003 / Director: John Crowley, Love and Rage 1998 / Producer/Director:<br />
n<br />
Outcast 2010 / Director/Script: Colm<br />
Seaside Stories 2010 / Director/Producer/<br />
68 Stephen Burke, Producer: Lesley McKimm, Producers: Neil Jordan, Alan Moloney, Cathal Black, Producer: Rudolf Wichmann,<br />
night Train 1998 / Director: John Lynch, McCarthy, Producers: John McDonnell, Script: Fergus Tighe, Production Company: 69<br />
Production Company: Newgrange Pictures. Stephen Woolley, writer: Mark O’Rowe, Script: Brian Lynch, Production Company:<br />
Producer: Tristan Orpen Lynch, Script: Brendan McCarthy, Production Companies: Gallivanting Media.<br />
Production Companies: Parallel <strong>Film</strong>s, Cathal Black.<br />
Aodhan Madden, Production Company: Fantastic <strong>Film</strong>s, Makar <strong>Film</strong>s.<br />
Headrush 2003 / Director/Script: Shimmy Company of Wolves.<br />
Subotica Entertainment.<br />
The Secret of Kells 2008 / Directors: Tomm<br />
Marcus, Producer: Edwina Forkin,<br />
Love and Savagery 2009 / Director: John<br />
P<br />
Moore, Nora Twomey, Producers: Paul<br />
Production Company: Zanzibar <strong>Film</strong>s.<br />
Isolation 2006 / Director/writer: Billy Smith, Producers: Barbara Doran, Lynne<br />
niko and the way to the Stars 2008 /<br />
Park 1999 / Directors: John Carney, Tom Young, Didier Brunner, vivian van Fleteran,<br />
O’Brien, Producers: Ruth Kenley-Letts, Wilson, Kevin Tierney, Tristan Orpen Lynch,<br />
Directors: Michael Hegner, Kari Juusonen, Hall, Producers: John Carney, Tom Hall, Script: Fabirce Ziolkowski, Tomm Moore,<br />
Helen 2009 / Directors/Script: Christine Bertrand Faivre, Ed Guiney, Production Script: Des Walsh, Production Companies:<br />
Script: Hannu Tuomainen, Marteinn<br />
Script: John Carney, Production Company: Production Company: Cartoon Saloon.<br />
Molloy, Joe Lawlor, Producer: Joe Lawlor, Companies: Element <strong>Film</strong>s, The Bureau. Subotica Entertainment, Morag Loves<br />
Thorisson, Mark Hodkinson, Production High Hat Productions.<br />
Production Company: Desperate Optimists.<br />
Company, Park Ex Pictures.<br />
Companies: Magma <strong>Film</strong>s, Animaker,<br />
Sensation 2010 / Director/Script: Tom Hall,<br />
J<br />
ulysses <strong>Film</strong>s, Afilm.<br />
Pavee Lackeen 2005 / Director: Perry Producers: Katie Holly, Kieron J Walsh,<br />
His & Hers 2009 / Director/Script: Ken Johnny was 2006 / Director: Mark<br />
M<br />
Ogden, Producers: Perry Ogden, Martina Production Company: Blinder <strong>Film</strong>s.<br />
Wardrop, Producer: Andrew Freedman, Hammond, writer: Brendan Foley,<br />
The Magdalene Sisters 2003 / Director/<br />
nora 1999 / Director: Pat Murphy,<br />
Niland, John Rocha, Script: Perry Ogden,<br />
Production Company: venom.<br />
Producers: Patrick Fitzsymons, Tom<br />
Script: Peter Mullan, Producers: Ed Guiney,<br />
Producers: James Flynn, Tracey<br />
Mark venner, Production Company: An Separation Anxiety 1997 / Director: Mark<br />
Maguire, Paul Largan, Lars Hermann, Ira Frances Higson, Production Company:<br />
Seaward, Script: Pat Murphy, Gerard<br />
Lár <strong>Film</strong>s.<br />
Staunton, Producer: Liam O’Neill, Script:<br />
The Honeymooners 2004 / Director/Script: Besserman, Brendan Foley, Production Element <strong>Film</strong>s.<br />
Stembridge, Production Company:<br />
Shelagh Harcourt, Production Company:<br />
Karl Golden, Producers: Martina Niland, Company: Borderline Productions.<br />
volta/Metropolitan <strong>Film</strong>s.<br />
Peaches 2000 / Director/Script: Nick Paradox Pictures/Dogtown <strong>Film</strong>s.<br />
Martin Brinkler, Production Company:<br />
Man About Dog 2004 / Director: Paddy<br />
Grosso, Producer: Ronan Glennane,<br />
Samson <strong>Film</strong>s.<br />
K<br />
Breathnach, Producers: Robert Walpole,<br />
not Afraid, not Afraid 2001 / Director: Production Company: Stone Ridge <strong>Film</strong>. Shrooms 2007 / Director: Paddy Breathnach,<br />
Kill Daddy, Goodnight (Das vaterspiel) Simon Channing Williams, Script: Pearse<br />
Annette Carducci, Producers: Morgan<br />
Producers: Robert Walpole, Paddy<br />
How About you 2007 / Director: Anthony 2008 / Director/Script: Michael Glawogger, Elliott, Production Companies: Treasure<br />
O’Sullivan, James Flynn, Howard Gibbins, Perrier’s Bounty 2009 / Director: Ian McDonald, Script: Pearse Elliot, Production<br />
Byrne, Producer: Noel Pearson, Script: Producers: Christine Ruppert, Lesley<br />
Entertainment, Potboiler Productions.<br />
Script: Annette Carducci, Barry Devlin, Fitzgibbon, Producers: Alan Molony,<br />
Company: Treasure Entertainment.<br />
Jean Pasley, based on a short story by Maeve McKimm, Production Companies: Tatfilm,<br />
Production Company: World 2000.<br />
Stephen Woolley, Elizabeth Karlsen, Script:<br />
Binchy, Production Company: Ferndale <strong>Film</strong>s Newgrange <strong>Film</strong>s.<br />
Mapmaker 2001 / Director/Script: Johnny<br />
Mark O’Rowe, Production Company: Parallel Silent Grace 2001 / Director/Producer/<br />
Gogan, Producer: Paul Donovan, Production<br />
nothing Personal 1994/95 / Director: <strong>Film</strong> Productions.<br />
Script: Maeve Murphy, Production<br />
How Harry Became a Tree 2001 / Director: Kings 2007 / Director/Script: Tom Collins, Company: Grand Pictures.<br />
Thaddeus O’Sullivan, Producers: Tracey<br />
Company: Follower Productions.<br />
Goran Paskaljevic, Producer: Liam O’Neill, Producer: Jackie Larkin, Production<br />
Seaward, Jonathan Cavendish, Script: Danny Pete’s Meteor 1998 / writer/Director:<br />
Script: Goran Paskaljevic, Stephen Walsh, Company: Newgrange Pictures<br />
Mickybo & Me 2005 / Director/Script:<br />
Mornin, Production Company: Little Bird. Joe O’Byrne, Producers: Liam O’Neill, Small Engine Repair 2007 / Director/Script:<br />
Production Company: Paradox <strong>Film</strong>s.<br />
Terry Loane, Producers: Mark Huffam,<br />
John Lyons, Production Company:<br />
Niall Heery, Producers: Tristan Orpen Lynch,<br />
Mike McGeagh, Production Companies:<br />
Paradox Pictures.<br />
Dominic Wright, Production Company:<br />
Octagon <strong>Film</strong>s.<br />
Subotica Entertainment.<br />
How to Cheat in the Leaving Certificate<br />
1997 / Director: Graham Jones, Producers:<br />
Graham Jones, Ciara Flanagan, Script:<br />
Graham Jones, Tadhg O’Higgins, Aislinn<br />
O’Loughlin, Production Company:<br />
Graham Jones.<br />
High Boot Benny 1993 / Director: Joe<br />
Comerford, Producer: David Kelly, Script:<br />
Joe Comerford, Production Company:<br />
Sandy <strong>Film</strong>s.<br />
I<br />
I Could Read the Sky 1999 / Director: Nichola<br />
Bruce, Producers: Janine Marmot, Nicholas<br />
O’Neill, Script: Nichola Bruce, based on<br />
the book by Timothy O’Grady & Steve Pyke,<br />
Production Company: Liquid <strong>Film</strong>s.<br />
I went Down 1997 / Director: Paddy<br />
Breathnach, Producer: Rob Walpole, Script:<br />
Conor McPherson, Production Company:<br />
Treasure <strong>Film</strong>s.<br />
The Investigator (A nyomazó) 2009 /<br />
Director/Script: Attila Galambos, Producers:<br />
Ferenc Pustai, Macdara Kelleher, Martin<br />
Persson, Production Companies: Fastnet<br />
<strong>Film</strong>s, KMH <strong>Film</strong>, Anagram Production.<br />
Inside I’m Dancing 2004 / Director: Damien<br />
O’Donnell, Producers: James Flynn, Juanita<br />
Wilson, Catherine Tiernan, Script: Jeffrey<br />
Caine, based on a story by Christian O’Reilly,<br />
Production Company: Octagon <strong>Film</strong>s.<br />
Kisses 2008 / Director/ Script: Lance Daly,<br />
Producer: Macdara Kelleher, Production<br />
Company: Fastnet <strong>Film</strong>s.<br />
Korea 1993 / Director: Cathal Black,<br />
Producer: Darryl Collins, Script: Joe<br />
O’Byrne, Production Company: Black Star<br />
<strong>Film</strong>s/Cathal Black <strong>Film</strong>s.<br />
L<br />
The Last Bus Home 1997 / writer/Director:<br />
Johnny Gogan, Producer: Paul Donovan,<br />
Production Company: Grand Pictures.<br />
The Last of the High Kings 1994/95 /<br />
Director: David Keating, Producer: Tim<br />
Palmer, Script: David Keating, Gabriel Byrne,<br />
Production Company: Parallel <strong>Film</strong>s.<br />
The Last September 1999 / Director:<br />
Deborah Warner, Producer: Yvonne Thunder,<br />
Script: John Banville, Production Company:<br />
Thunder Pictures.<br />
Le Dernier Mot 1999 / Director: Sebastien<br />
Grall, Producers: John Kelleher, Fabienne<br />
Servan-Schreiber, Script: Anne valton,<br />
Marina Ní Dhubhain, Production Company:<br />
Fastnet <strong>Film</strong>s.<br />
Little Foxes (Lísˆtiĉky) 2009 / Director/Script:<br />
Mira Fornayovà, Producers: Davis Collins,<br />
Brian Willis, viktor Schwarcz, Juraj Buzalka,<br />
Production Companies: Samson <strong>Film</strong>s,<br />
Cineart Tv Prague, Miras SRO.<br />
The Looking Glass 2010 / Director/Script:<br />
Colin Downey, Producer: Eimear O’Kane,<br />
Production Company: EMu Productions<br />
Middletown 2006 / Director: Brian Kirk,<br />
writer: Daragh Carville, Producers:<br />
Michael Casey, Mark Byrne, Martha O’Neill,<br />
Production Company: Green Park <strong>Film</strong>s.<br />
The Mighty Celt 2005 / Director/Script:<br />
Pearse Elliott, Producers: Robert Walpole,<br />
Paddy McDonald, Paddy Breathnach, Michael<br />
Casey, Production Companies: Treasure<br />
Entertainment, Green Park <strong>Film</strong>s.<br />
Moondance 1993 / Director: Dagmar Hirtz,<br />
Producers: James Mitchell, Jonathan<br />
Cavendish, Script: Burt Weinshanker,<br />
Production Company: Little Bird.<br />
The Most Fertile Man in Ireland 2000 /<br />
Director: Dudi Appleton, Producer: David<br />
Collins, Script: Jim Keeble, Production<br />
Company: Samson <strong>Film</strong>s.<br />
My Brothers 2010 / Director: Paul Fraser,<br />
Producers: Rebecca O’Flanagan, Rob<br />
Walpole, Script: William Collins,<br />
Production Company: Rubicon <strong>Film</strong>s.<br />
My Friend Joe 1994/95 / Director: Chris<br />
Bould, Producers: Michael O’Connell,<br />
Gerhard Schmidt, Script: David Howard,<br />
Declan Hughes, Production Company:<br />
ProMedia.<br />
Mystics 2003 / Director: David Blair,<br />
Producers: Mark O’Sullivan, Michael Ryan,<br />
Nigel Warren Green, Script: Wesley Burrows,<br />
Production Company: MR <strong>Film</strong>s.<br />
nothing Personal 2009 / Director/Script:<br />
urszula Antoniak, Producers: Reiner<br />
Selen, Edwin van Meurs, Morgan Bushe,<br />
Production Companies: Fastnet <strong>Film</strong>s,<br />
Rinkel <strong>Film</strong>, Family Affair <strong>Film</strong>s.<br />
november Afternoon 1996 / Directors:<br />
John Carney, Tom Hall, Producer: Pat<br />
O’Donoghue, Script: John Carney, Tom Hall,<br />
Production Company: High Hat Productions.<br />
O<br />
Omagh 2004 / Director: Pete Travis,<br />
Producers: Ed Guiney, Paul Greengrass,<br />
Script: Guy Hibbert, Paul Greengrass,<br />
Production Company: Hells Kitchen<br />
International.<br />
On the nose 2000 / Director: David Caffrey,<br />
Producers: Tristan Orpen Lynch, Scott<br />
Kennedy, Script: Tony Philpott, Production<br />
Company: Subotica Entertainment.<br />
Once 2007 / Director/Script: John Carney,<br />
Producers: Martina Niland, David Collins,<br />
Production Company: Samson <strong>Film</strong>s.<br />
Ondine 2009 / Director/Script: Neil<br />
Jordan, Producers: Neil Jordan, James<br />
Flynn, Ben Browning, Production<br />
Company: Octagon <strong>Film</strong>s.<br />
Ordinary Decent Criminal 1999 / Director:<br />
Thaddeus O’Sullivan, Producer: Jonathan<br />
Cavendish, Script: Gerry Stembridge,<br />
Production Company: Little Bird.<br />
Our wonderful Home 2008 / Director/Script:<br />
Ivan Kavanagh, Producers: Dominic Wright,<br />
Jacqueline Kerrin, Production Company:<br />
Ripple World Pictures.<br />
Princess (Prinsessa) 2009 / Director/Script:<br />
Teresa Fabik, Producers: Sandra Harms,<br />
Morgan Bushe, Production Companies:<br />
Fastnet <strong>Film</strong>s, Breidablick <strong>Film</strong> Production.<br />
Puckoon 2001 / Director/Script:<br />
Terence Ryan, Producers: Ken Tuohy,<br />
Terence Ryan, Production Company:<br />
Distinguished Features.<br />
R<br />
The Race 2009 / Director: André Nebe,<br />
Producers: Michael Garland, Martin<br />
Hagermann, Script: Rowan O’Neill,<br />
Production Companies: Grand Pictures,<br />
Zero West <strong>Film</strong> Produktion.<br />
Rewind 2010 / Director: PJ Dillon,<br />
Producers: Alex Jones, John<br />
Wallace, Script: PJ Dillon, Ronan Carr,<br />
Production Company: Carbon <strong>Film</strong>s.<br />
The Runaway 2010 / Director/Script: Ian<br />
Power, Producers: Macdara Kelleher,<br />
Brendan McDonald, Bernard Michaux,<br />
Production Companies: Fastnet <strong>Film</strong>s,<br />
Lucil <strong>Film</strong>s.<br />
S<br />
Saltwater 1999 / Director: Conor<br />
McPherson, Producer: Robert Walpole,<br />
Script: Conor McPherson, Production<br />
Company: Treasure <strong>Film</strong>s.<br />
Savage 2009 / Director/Script: Brendan<br />
Muldowney, Producer: Conor Barry,<br />
Production Company: SP <strong>Film</strong>s.<br />
Snakes and Ladders 1994/95 / Director:<br />
Trish McAdam, Producers: Lilyan Sievernich,<br />
Chris Sievernich, Script: Trish McAdam,<br />
Production Company: Livia <strong>Film</strong>.<br />
Snap 2010 / Director/Script: Carmel<br />
Winters, Producer: Martina Niland,<br />
Production Company: Samson <strong>Film</strong>s.<br />
Some Mother’s Son 1996 / Director/ writer:<br />
Terry George, Producers: Jim Sheridan,<br />
Arthur Lappin, Ed Burke, Production<br />
Company: Hell’s Kitchen.<br />
Some Other Stories 2010 / Directors: Ivona<br />
Juka, Ana Maria Rossi, Marija Dzidzeva,<br />
Ines Tanovic, Hannah Slak, Producers: Ian<br />
W Davis, James Flynn, Anita Juka, Nenad,<br />
Dukic, Alem Babic, Tomi Salkovski, Dunja,<br />
Kemenc, Script: Ivona Juka, Ana Maria<br />
Rossi, Ines Tanovic, Gjorche Stavreski,<br />
Hanna Slak, Production Companies: DIG<br />
Productions, Octagon <strong>Film</strong>s, See <strong>Film</strong>s Pro,<br />
Studio Maj Production, 4 <strong>Film</strong>, Dokument,<br />
Skopje <strong>Film</strong> Studio.<br />
Song for a Raggy Boy 2003 / Director:<br />
Aisling Walsh, Producers: Tristan Orpen<br />
Lynch, Dominic Wright, John McDonnell,<br />
Kevin Byron Murphy, Script: Aisling Walsh,<br />
Kevin Byron Murphy, based on book by<br />
Patrick Galvin, Production Company:<br />
Subotica Entertainment.
70<br />
Spaghetti Slow 1996 / Director: valerio<br />
Jalongo, Producers: Katy McGuinness,<br />
Carlos Pasini Hansen, Script: Barry Devlin,<br />
valerio Jalongo, Lucinda Coxon, Production<br />
Company: The Good <strong>Film</strong> Company.<br />
Speed Dating 2007 / Director/Script: Tony<br />
Herbert, Producers: John Conroy, Tony<br />
Herbert, Production Company: System 48.<br />
Spin the Bottle 2003 / Director: Ian<br />
FitzGibbon, Producer: Michael Garland,<br />
Script: Ian FitzGibbon, Michael McElhatton,<br />
Production Company: Grand Pictures.<br />
Studs 2006 / Director/writer: Paul<br />
Mercier, Producers: Fiach Mac Conghail,<br />
Cuán Mac Conghail, Production Company:<br />
Brother <strong>Film</strong>s.<br />
Sugar 2005 / Directors: Patrick Jolley,<br />
Reynold Reynolds, Producers: Samara<br />
Golden, Patrick Jolley, Reynold Reynolds,<br />
Edwina Forkin, Script: Reynold Reynolds,<br />
Samara Golden, Patrick Jolley, Production<br />
Companies: Zanzibar <strong>Film</strong>s, Make <strong>Film</strong>s.<br />
Summer of the Flying Saucer 2008 /<br />
Director: Martin Duffy, Producers: Ralph<br />
Christians, Clodagh Freeman, Script:<br />
Marleinn Thorisson, Production Company:<br />
Magma <strong>Film</strong>s.<br />
The Sun, the Moon and the Stars 1996 /<br />
Director/writer: Geraldine Creed, Producer:<br />
Brendan McCarthy, Production Company:<br />
Blue Light.<br />
Sunset Heights 1998 / Director: Colm villa,<br />
Producers: Denis Bradley, James Flynn,<br />
Script: Colm villa, Production Company:<br />
Northland <strong>Film</strong>s.<br />
Swansong - The Story of Occi Byrne 2009<br />
/ Director/Script: Conor McDermottroe,<br />
Producers: Hermann Florin, Edwina Forkin,<br />
Tom Maguire, Production Companies:<br />
Zanzibar <strong>Film</strong>s, Florin <strong>Film</strong>.<br />
Sweety Barrett 1998 / writer/Director:<br />
Stephen Bradley, Producer: Ed Guiney,<br />
Production Company: Temple <strong>Film</strong>s.<br />
T<br />
Tara Road 2005 / Director: Gillies<br />
MacKinnon, Producers: Noel Pearson, Miron<br />
Blumental, Sarah Radclyffe, Script: Cynthia<br />
Cidre, Shane Connaughton, Production<br />
Company: Ferndale <strong>Film</strong>s.<br />
This is the Sea 1996 / Director/writer:<br />
Mary McGuckian, Producer: Michael<br />
Garland, Production Company: Pembridge<br />
Productions.<br />
The Tiger’s Tail 2006 / Director/writer: John<br />
Boorman, Producers: John<br />
Boorman, Kieran Corrigan, John<br />
McDonnell, John Buchanan,<br />
Production Company: Merlin <strong>Film</strong>s.<br />
Timbuktu 2003 / Director: Alan Gilsenan,<br />
Producers: Martin Mahon, John McDonnell,<br />
Emma Scott, Script: Paul Freaney,<br />
Production Companies: Yellow Asylum <strong>Film</strong>s,<br />
Fantastic <strong>Film</strong>s, MR <strong>Film</strong>s.<br />
Tonight is Cancelled 2007 / Director/Script:<br />
Brendan Grant, Producer: Macdara Kelleher,<br />
Production Company: Fastnet <strong>Film</strong>s.<br />
Triage 2009 / Director/Script: Danis Tanovic,<br />
Producers: Alan Molony, Cedomir Kolar,<br />
Mark Baschet, Production Companies:<br />
Parallel <strong>Film</strong> Productions, ASAP <strong>Film</strong>s,<br />
Tornasol <strong>Film</strong>s, Freedom Spain.<br />
Trojan Eddie 1996 / Director: Gillies<br />
MacKinnon, Producers: Seamus Byrne,<br />
Emma Burge, Script: Billy Roche, Production<br />
Company: <strong>Irish</strong> Screen.<br />
Trouble with Sex 2005 / Director: Fintan<br />
Connolly, Producer: Fiona Bergin, Script:<br />
Fintan Connolly, Catriona McGowan,<br />
Production Company: Fubar.<br />
u<br />
ugly Duckling and Me! 2007 / Directors:<br />
Michael Hegner, Karsten Kiilerich,<br />
Producers: Ralph Christians, Anders<br />
Maastrup, Moe Honan, Daina Sacco, Script:<br />
Mark Hodkinson, Production Companies:<br />
Magma <strong>Film</strong>s, A <strong>Film</strong> Futurikon, ulysses.<br />
v<br />
vasha 2009 / Director/ Script: Hannu<br />
Salonen, Producers: Piret Tibbo-Hudgins,<br />
Philipp Homberg, Jarkko Hentula, Nathalie<br />
Lichtenthaeler, Production Companies:<br />
Wide Eye <strong>Film</strong>s, Homberg <strong>Film</strong> Produktion,<br />
All <strong>Film</strong>, Juoni <strong>Film</strong>i.<br />
w<br />
The wake wood 2009 / Director: David<br />
Keating, Producers: John McDonnell,<br />
Brendan McCarthy, Script: Brendan<br />
McCarthy, Production Companies:<br />
Fantastic <strong>Film</strong>s, Solid Entertainment.<br />
when Brendan Met Trudy 2000 / Director:<br />
Kieron J. Walsh, Producer: Lynda Myles,<br />
Script: Roddy Doyle, Production Company:<br />
Deadly <strong>Film</strong>s 2.<br />
when The Sky Falls 1999 / Director: John<br />
Mackenzie, Producers: Nigel Warren-Green,<br />
Michael Wearing, Script: Colum McCann,<br />
Michael Sheridan, Ronan Gallagher,<br />
Production Company: <strong>Irish</strong> Screen.<br />
wide Open Spaces 2009 / Director: Tom Hall,<br />
Producers: Paul Donovan, Clare Kerr, Script:<br />
Arthur Matthews, Production Company:<br />
Grand Pictures, Mead Kerr.<br />
The wind That Shakes The Barley 2006 /<br />
Director: Ken Loach, writer: Paul Laverty,<br />
Producers: Rebecca O’Brien, Andrew Lowe,<br />
Production Companies: Sixteen <strong>Film</strong>s,<br />
Element <strong>Film</strong>s, BIM Distrubuzione, EMC<br />
Produktion, Tornasol <strong>Film</strong>s.<br />
words upon the window Pane 1993 /<br />
Director: Mary McGuckian, Producers:<br />
Mary McGuckian, Anna J. Devlin, Script:<br />
Mary McGuckian, Production Company:<br />
Pembridge Productions.<br />
y<br />
you Looking at Me? 2003 / Director/<br />
Producer: Margo Harkin, Script:<br />
Teresa Godfrey, Production Company:<br />
Besom Productions.<br />
Z<br />
Zonad 2008 / Director: John Carney,<br />
Producers: Ed Guiney, Andrew Lowe,<br />
John McDonnell, Script: John Carney,<br />
Kieran Carney, Production Company:
Queensgate<br />
23 Dock Road<br />
Galway<br />
Ireland<br />
Geata na Banríona<br />
23 Bóthar na Duganna<br />
Gaillimh<br />
Éire<br />
T: +353 91 561398<br />
F: +353 91 561405<br />
E: info@irishfilmboard.ie<br />
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