Annual Report Ráitis Airgeadais

2011 Foilsithe ag/Published by Bord Scannán na hÉireann/the Irish Film Board Queensgate, 23 Dock Road, Galway, Ireland Contents/Ábhair Tel +353 91 561 398, Fax +353 91 561 405 [email protected] www.irishfilmboard.ie

An Príomhfheidhmeannach/ Preamble...... 2 Chief Executive Réamhrá...... 3 James Hickey

Business Affairs/Chúrsaí Ghnó Annual Report of Bord Scannán na hÉireann...... 6 Ceannasaí Chúrsaí Gnó/Head of Business Affairs Teresa McGrane Rialtóir Airgeadais/Financial Controller Bord Scannán na hÉireann’s Celine Forde Objectives and Policies...... 7 Feidhmeannach Cúrsaí Tionscail/ 01 Comhordaitheoir Chúrsaí Gnó agus Dlí/ Finance ...... 8 Business and Legal Affairs Co-Ordinator Aileen McCauley Statement of Board Responsibilities...... 9 Comhordaitheoir Cúntas/Accounts Co-ordinator Statement of Internal Financial Control...... 10 Suzanne Keane (Part-time) Report of the Comptroller and Auditor General...... 11 Accounting Policies...... 12 Project Managers/ Bainisteoirí Tionscadail Financial Statements of Bord Scannán na hÉireann/ Rory Gilmartin the Irish Film Board Year Ended 31 December 2011...... 13 Keith Potter Notes to the Financial Statements...... 17 Mary Callery

Léiriúcháin 7 Forbartha/ Appendices Production & Development 1. Capital commitments 2011...... 25 Feidhmeannach Léiriúcháin/ 2. Outstanding Commitments 2011...... 29 Production Executive Emma Scott 3. Details of Loan Conditions...... 32 Comhordaitheoir Léiriúcháin agus Forbartha/ 4. Principles & Criteria...... 33 Production & Development Co-ordinator 5. Location Services...... 36 Sarah Dillon Comhordaitheoir Iarratas agus Scéimeanna/ Applications & Schemes Co-ordinator Bord Scannán na hÉireann Ráitis Airgeadais...... 37 Jill McGregor Cuspóirí agus Beartais Bord Scannán na hÉireann.... 38 Margaíochta/Marketing Feidhmeannach Margaíochta agus Cumarsáide/ Marketing and Communications Executive Airgeadas...... 39 Louise Ryan Ráiteas ar Dhualgais Chomhaltaí an Bhoird...... 40 Ráiteas faoi Chóras Rialaithe Inmheánaigh Airgeadais...... 41 Coimisiún Scannán na hÉireann/ Irish Film Commission Tuairisc An Ard-Reachtaire Cuntas agus Ciste...... 42 Coimisinéir Scannán/Film Commissioner beartais chuntasaíochta...... 43 Naoise Barry Ráitis Airgeadais Bord Scannán na hÉireann Leas-Coimisinéir Scannán/ Don bhliain dar chríoch 31 Nollaig 2011...... 44 Deputy Film Commissioner Mags O’Sullivan Nótaí ag gabhbáil leis na Ráitis Airgeadais...... 48

Riarachán/Administration Aguisíní Cúntóir Pearsanta ag an bPríomhoifigeach Feidhmiúcháin/PA to CEO 1. tiomantais chaipitil 2011...... 56 Niamh O’Reilly 2. Tiomantais gan íoc 2011...... 60 3. Sonraí na gCoinníollacha Iasachta...... 61 4. Prionsabail & Critéir...... 62 5. Seirbhísí Suímh...... 65

Feature Films/Fadscannáin 1993 - 2011 ...... 66 What Richard Did Shadow dancer

02 03 Preamble RÉAMHRÁ

INTRODUCTION / HIGHLIGHTS RÉAMHRÁ / BUAICPHOINTÍ MAOINIÚ In 2011 the IFB received a total of €18.43 million of government 011 was a difficult year in economic terms for Ireland, funding which was a 4.4% reduction from 2010. Even with the liain deacair d’Éirinn ab ea 2011 ó thaobh an gheilleagair Cuid lárnach den tionscal ábhar closamhairc ar fad is ea an however, the audiovisual sector delivered positive results reduction, Irish creative talent continued to receive support de, ach ina ainneoin sin d’éirigh leis an earnáil chlosamhairc tacaíocht a fhaightear ó Rialtas na hÉireann le mhaoiniú a chuirtear 2 including job creation, spend on local goods and services with 13 Irish features, two television series, five creative B torthaí dearfacha a bhaint amach ina measc cruthú post, ar fáil trí Bhord Scannán na hÉireann/the Irish Film Board (IFB). and increased exports. The Irish film industry continued to leave co-productions, five animated projects and 16 documentaries caiteachas ar tháirgí agus ar sheirbhísí áitiúla agus méadú ar earraí its mark on the international stage with noted nominations, critical with theatrical ambitions going into production during the year. easpórtála. Tá a rian á fhágáil i gcónaí ag tionscal na scannán ar an Sa bhliain 2011 fuair an IFB maoiniú iomlán de €18.43 milliún ón acclaim and official selections at A-list festivals. stáitse idirnáisiúnta le hainmniúcháin tábhachtacha, ardmholadh ó rialtas, laghdú de 4.4% ó 2010. Fiú agus an laghdú sin san INTERNATIONAL PRODUCTION léirmheastóirí agus roghnúcháin oifigiúla ag féiltí príomhliostaithe. áireamh, lean talann cruthaitheach in Éirinn ar aghaidh ag fáil The Irish short film The Crush became the 7th Academy Award tacaíochta agus cuireadh tús i rith na bliana le léiriúcháin ar nominated Irish short since 2002 and Irish projects were selected In 2011 Section 481, the tax incentive for film and television was Fuair an gearrscannán Éireannach The Crush ainmniúchán le 13 príomhscannán, dhá shraith teilifíse, cúig comhléiriúchán for some of the world’s most renowned festivals including Berlin, extended until 2015 and in the later part of the year the IFB’s haghaidh Gradam Academy, an seachtú gearrscannán a fuair cruthaitheach, cúig tionscnamh beochana agus 16 scannán Sundance, Toronto, Tribeca and Cannes where Rebecca Daly’s International Fund was implemented, both of which increased an t-ainmniúchán sin ó 2002 i leith agus roghnaíodh tionscnaimh faisnéise agus súil acu ar thaispeáintí amharclainne. debut feature The Other Side Of Sleep was selected for the Ireland’s competitive position as an international film and Éireannacha i gcomhair cuid de na Féiltí is clúití ar domhan ina prestigious Directors Fortnight and This Must Be The Place was television destination. measc Berlin, Sundance, Toronto Tribeca agus Cannes, áit ar LÉIRIÚCHÁIN IDIRNÁISIÚNTA in official competition. roghnaíodh an chéad phríomhscannán de chuid Rebecca Daly, The The year started with the Oscar nominated feature Albert Nobbs Other Side Of Sleep, do Choicíos gradamúil na Stiúrthóirí, agus áit Le linn 2011 cuireadh síneadh le hAlt 481, an spreagadh cánach do The Guard had an extraordinary year. Following its world completing its filming in Ireland with an Irish spend of €4.4m ina raibhThis Must Be The Place go hoifigiúil san iomaíocht. thionscal na scannán agus na teilifíse, go dtí 2015 agus níos deanaí premiere at Sundance it was selected for numerous prestigious and continued with the filming of the first major Bollywood sa bhliain tugadh feidhm do Chiste Idirnáisiúnta BSÉ/IFB. Chuir festivals including Berlin, Edinburgh and Tribeca and was blockbuster Ek Tha Tiger contributing €2.1m to the economy Bliain dochreidthe a bhí ag The Guard. Tar éis a chéadthaispeáint an dá ghníomh sin go mór le seasamh iomaíoch na hÉireann go phenomenally well received when it was released in Irish and Titanic: Blood And Steel, a big budget television period dhomhanda ag Sundance roghnaíodh é le haghaidh go leor féiltí hidirnáisiúnta mar ionad le scannáin agus cláir teilifíse a dhéanamh. cinemas. It became the most successful independent Irish film in drama which had an Irish budget of €12m. The IFB hosted a iomráiteacha ina measc Berlin, Edinburgh agus Tribeca agus Irish box office history. large delegation of UK television drama producers in Ireland in cuireadh fáilte iontach roimhe nuair a eisíodh é do phictiúrlanna in Nuair a thosaigh an bhliain bhí críoch á chur leis an scannánaíocht September, resulting in three BBC productions locating in Ireland Éirinn. Ba é an scannán neamhspleách Éireannach ba mhó ratha in Éirinn ar Albert Nobbs, príomhscannán a fuair ainmniúchán Oscar James Hickey became the new Chief Executive of Bord Scannán in the first quarter of 2012, delivering €13m of inward investment. riamh i stair na díoloifige scannán in Éirinn. agus lenar bhain caiteachas de €4.4m in Éirinn. Lean an bhliain ar na hÉireann/the Irish Film Board (IFB) on June 1st just ahead of aghaidh le scannánaíocht ar an gcéad mórscannán mór-eachtraíochta the launch of the ‘Creative Capital’ Report and the signing of the Attracting such international productions provides an economic Ceapadh James Hickey mar phríómhfheidhmeannach nua Bhord de chuid Bollywood in Éirinn, Ek Tha Tiger a chuir €2.1m isteach valuable co-production treaty between Ireland and Luxembourg boost, promotes Ireland as an industrial location for all aspects of Scannán na hÉireann/the Irish Film Board (IFB) ar an 1 Meitheamh i ngeilleagar na tíre agus le Titanic: Blood And Steel, dráma at the Galway Film Fleadh. His term as CEO will see him creative endeavours while tourism also benefits due to images of díreach sular seoladh an Tuarascáil ‘Creative Capital’ agus díreach mórbhuiséid seanré teilifíse a raibh buiséad in Éirinn de €12m aige. working at delivering the outputs of the Report which aims to Ireland being projected across the globe. sular síníodh an conradh luachmhar comhléiriúcháin idir Éire agus Rinne BSÉ/IFB óstáil in Éirinn ar thoscaireacht mhór de léiritheoirí unlock the potential of the Irish Audiovisual Creative Economy Lucsamburg ag Fleadh Scannán na Gaillimhe. Le linn a thréimhse drámaíochta ón Ríocht Aontaithe le linn Mí Meán Fómhair, ar a raibh by creating 5,000 new jobs and doubling turnover to €1bn over PROMOTION AND INITIATIVES mar Phríomhfheidhmeannach beidh sé ag obair chun torthaí na mar thoradh suiteáil trí léiriú de chuid an BBC in Éirinn sa chéad a five year period. Tuarascála a chur i bhfeidhm. Tá sé mar chuspóir ag torthaí na ceathrú de 2012, rud a thug infheistíocht de €13m isteach sa tír. 2011 saw the agency have a presence at international festivals Tuarascála sin an gealladh a bhaineann le Geilleagar Cruthaitheach FUNDING such as Clermont Ferrand, Tribeca, Berlin, Cannes and Annecy Closamhairc na hÉireann a chur i gcríoch trí 5,000 post nua a Nuair a mhealltar léiriúcháin idirnáisiúnta den chineál sin isteach sa and engaging in a number of partnerships to promote Irish film chruthú agus trí láimhdeachas a dhúbailt go dtí €1bn le linn tréimhse tír tugann sé treisiú eacnamaíochta, cuireann sé Éire chun cinn mar Government support, provided to the sector through funding by and foster Irish creative talent at home and across the globe. cúig bliana. shuíomh idirnaisiúnta do gach cineál iarracht cruthaitheach agus Bord Scannán na hÉireann/the Irish Film Board (IFB) is a key bíonn sé freisin ar leas na turasóireachta de bharr na n-íomhánna component of the entire audiovisual content industry. d’Éirinn a dtaispeántar iad ar fud an domhain. silence charlie casanova

04 05 IMAGINE IRELAND CUR CHUN CINN AGUS TIONSCNAIMH UNTITLED, comórtas scríbhneoireacht scaileáin a thugann deis do

The IFB worked with Culture Ireland and the Irish Film Institute CORPORATE GOVERNANCE scríbhneoirí €16k a bhuachan chun cabhrú lena scannán a fhorbairt. Le linn 2011 bhí an ghníomhaireacht i láthair ag féiltí idirnaisiúnta ar (IFI) on the film programme for Imagine Ireland, the largest ever Deis a bhí ann teagmháil a dhéanamh le scríbhneoirí agus a gcuid nós Clermont Ferrand, Tribeca, Berlin, Cannes, agus Annecy agus promotion of Irish arts events across the US. The Irish Film Board fully complies with the Code of Practice for saothair a aibhsiú. the Governance of State bodies. In line with section 10.2 of the bhí sí rannpháirteach i líon comhpháirtíochtaí chun cúrsaí scannán in IFB and ENTERPRISE IRELAND code, I affirm to the best of my knowledge that: Éirinn a chur chun cinn agus chun talann cruthaitheach Éireannach EURIMAGES PARTNER FOR SXSW, MIPCOM AND MIPTV (i) there were no commercially significant developments sa bhaile agus ar fud an domhain a chothú. Le linn 2011 bhí BSÉ/IFB mar ósta do thoscairí ó bhreis is 35 The IFB partnered with Enterprise Ireland (EI) and the IDA at affecting the body in 2011 other than those mentioned in the ballstát ag déanamh ionadaíochta ar Bhord Bainistíochta Chiste IMAGINE IRELAND SXSW, the music, interactive and film festival with the aim of operational review of the year given above. Eurimages Chomhairle na hEorpa ag cruinniú cheithre lá chun plé a D’oibrigh BSÉ/IFB le Culture Ireland agus le hInstitiúid Scannán na encouraging greater interaction between film, emerging technology (ii) all appropriate procedures for financial reporting, internal dhéanamh ar chinntí maoiniúcháin. hÉireann (IFI) ar an gclár scannán le haghaidh Imagine Ireland, an and interactive media. IFB and EI also partnered for the ‘Ireland on audit, procurement and assets’ disposals are being cur chun cinn ba mhó ariamh ar ócáidí ealaíona in Éirinn ar fud Stáit Screen’ booth at MIPCOM and MIPTV to reinforce Ireland’s strong carried out. RIALACHAS CORPARÁIDEACH Aontaithe Mheiriceá. profile as a destination for TV. (iii) the Irish Film Board complied with all tax regulations in 2011. (iv) a Statement on the System of Internal Financial Control is Comhlíonann Bord Scannán na hÉireann ina iomlán an Cód LA TRADE MISSION AND THE given in Page 10 of the Annual Report. COMHPHÁIRTÍOCHT idir BSÉ/IFB agus ENTERPRISE Cleachtais do Chomhlachtaí Stáit. De réir Ailt 10.2 den chód sin, ‘PRODUCED BY’ CONFERENCE (v) the Codes of Business Conduct for Directors and IRELAND le haghaidh SXSW, MIPCOM agus MIPTV dearbhaím chomh fada agus is eol dom: Bhí BSÉ/IFB i gcomhpháirtíocht le Fiontraíocht Éireann (Enterprise A delegation of Irish producers and the IFB travelled to LA to meet Employees are in place. (i) nach raibh aon fhorbairtí suntasacha ó thaobh na tráchtála Ireland, EI) agus leis an Údarás Forbartha Tionscail (IDA) ag international producers and broadcasters and to promote section (vi) the Government policy on the pay of Chief Executives and de, a mbeadh tionchar acu ar an gcomhlacht, le linn na bliana SXSW, féile ceoil, idirghníomhaíochta agus scannán agus é 481 and Ireland as a film location at the ‘Produced By’ conference all State body employees is being complied with. 2011 seachas iadsan atá luaite in athbhreithniú oibríochta na mar chuspóir aige níos mó idirghníomhaíochta a spreagadh idir hosted by the Producers Guild of America at Walt Disney Studios. (vii) the Government guidelines on the payment of Directors’ bliana atá tugtha thuas. scannán, teicneolaíocht atá ag teacht chun cinn agus na meáin fees are being complied with. (ii) Go bhfuil na nósanna imeachta ar fad i leith tuairisciú SUMMER OF IRISH FILM ON SETANTA (viii) no significant post balance sheet events occurred. idirghníomhacha. Rinne BSÉ/IFB agus EI comhpháirtíocht freisin airgeadais, iniúchadh inmheánach, fáil agus diúscairt i gcomhair bhoth ‘Ireland on Screen’ ag MIPCOM agus MIPTV le A partnership between the IFB and Setanta which aimed to raise (ix) the Guidelines for the Appraisal and Management of socmhainní á ndéanamh. próifíl na hÉireann mar cheann scríbe chun cláir teilifíse a dhéanamh the profile of Irish films and to engage with new audiences saw the capital Expenditure Proposals are being complied with. (iii) Gur chomhlíon BSÉ/IFB gach rialúchán cánach i rith na a neartú. channel broadcast a host of Irish films every weekday at primetime (x) the Code of Practice for the Governance of State bodies bliana 2011. during the summer. has been adopted and is being complied with. (iv) Go dtugtar Ráiteas ar an gCóras Inmheánach Rialaithe MISIÚN TRÁDÁLA chuig LOS ANGELES agus an airgeadais ar leathanach 41 den Tuarascáil Bhliantúil. GIVE ME DIRECTION – UNTITLED James Morris CHOMHDHÁIL ‘PRODUCED BY’ (v) Go bhfuil na Cóid Chleachtais do Stiúrthóirí agus Thaistil toscaireacht léiritheoirí Éireannacha agus BSÉ/IFB go dtí LA Following the success of previous Give Me Direction conferences, Chairman d’Fhostaithe i bhfeidhm. chun bualadh le léiritheoirí agus le craoltóirí idirnáisiúnta agus chun the Jameson Dublin International Film Festival (JDIFF) and the IFB (vi) Go bhfuil beartas an Rialtais maidir le tuarastal Alt 481 agus Éire mar shuíomh scannán a chur chun cinn ag an joined up for the hugely successful UNTITLED, a screenwriting Príomhfheidhmeannach agus fostaithe uilig chomhlachtaí gComhdháil ‘Produced By’ a rinne an Producers Guild of America competition giving writers a chance to win €16k towards Stáit á chomhlíonadh. óstáil uirthi ag Stiúideonna Walt Disney. development of their film. It was opportunity to engage with writers (vii) Go bhfuil treoirlínte an Rialtais maidir le híocaíocht táillí

and highlight their work. Stiúrthóirí á gcomhlíonadh. SAMHRADH SCANNÁN ÉIREANNACH AR SETANTA (viii) nár tharla aon eachtraí suntasacha i ndiaidh an Chláir EURIMAGES De bharr comhpháirtíochta idir BSÉ/IFB agus Setanta a raibh sé Comhordaithe. mar aidhm aici próifíl scánnán Éireannach a ardú agus teagmháíl In 2011, the IFB played host to delegates from over 35 member (ix) Go bhfuil na Treoirlínte maidir le Measúnú agus Bainistiú a dhéanamh le lucht féachana nua, craoladh go leor scannáin countries representing the Board of Management for the Council Mholtaí Caiteachais Caipitil á gcomhlíonadh. Éireannacha ag príomh-am sceidil gach lá seachtaine i rith an of Europe’s Eurimages Fund for a four day meeting to discuss (x) Gur glacadh An Cód Cleachtais i leith Rialachas Chomhlachtaí tsamhraidh. funding decisions. Stáit agus go bhfuil sé á chomhlíonadh.

GIVE ME DIRECTION agus UNTITLED James Morris Tar éis an ratha a bhain le comhdhálacha Give Me Direction roimhe Catha oirleach seo, chuaigh an Jameson Dublin International Film Festival (JDIFF) agus BSÉ/IFB i gcomhpháirt lena chéile don chomórtas fíor-rathúil call girl good vibrations

06 07 Annual Report of Bord Scannán na hÉireann Bord Scannán na hÉireann’s Objectives and Policies

Bord Scannán na hÉireann/the Irish Film Board works within the Board Meetings and Attendance Bord Scannán na hÉireann ii) Production loans for projects with budgets framework of The Film Board Act 1980 and the Irish Film Board is established: • in excess of €100,000 and not more than €1.5M, The Board held 9 meetings in 2011 and each Board Member (Amendment) Acts 1993, 1997, 2000, 2006. BSÉ/IFB can provide up to 65% of the production budget attended the following number of board meetings in the year. • to promote the creative and commercial elements of Irish • in excess of €1.5M and not more than €5M, BSÉ/IFB film-making and film culture to a home and international Board Members can provide up to €1M or 40% of the budget, whichever James Morris 9 meetings audience. The Board supports film projects through the is greater Johnny Gogan 8 meetings provision of development funding and also provides The members of Bord Scannán na hÉireann/the Irish Film Board € € Barry Grace 9 meetings • in excess of 5M, BSÉ/IFB can provide up to 2 million in 2011 were: Johnny Gogan, Barry Grace, Tristan Orpen Lynch, production finance by way of debt/equity investment. Tristan Orpen Lynch 8 meetings or 25% of the budget, whichever is greater James Morris (Chair), Lesley McKimm, Kevin Moriarty and Kirsten Lesley McKimm 9 meetings Sheridan. • to encourage the development and training of technical, Both development and production loans Kevin Moriarty 8 meetings artistic and production personnel as a means of improving are assessed by a number of criteria: Staff Kirsten Sheridan 9 meetings the overall skills proficiency within the industry. i Additionality The staff of Bord Scannán na hÉireann/the Irish Film Board Offices • to assist the production and marketing of Irish films within ii cultural Priorities, Industrial Priorities at 31st December 2011 were: James Hickey, CEO; Teresa ireland and abroad as a means of stimulating an interest in iii Making Cinema Bord Scannán na hÉireann/the Irish Film Board’s head office is McGrane, Head of Business Affairs (Deputy CEO); Naoise ireland, Irish culture and Irish films. iv Originality based in Galway city: Barry, Film Commissioner; Celine Forde, Financial Controller; (See appendix 4, page 33.) Queensgate, 23 Dock Road, Galway, Ireland. Andrew Meehan, Development Executive; Alan Maher, Production The Board offers funding to the Tel +353 91 561398, Fax +353 91 561405 Executive; Emma Scott, Production Executive; Mark Byrne, Head development and production of Email [email protected], www.irishfilmboard.ie of Legal Affairs; Louise Ryan, Marketing and Communications projects as follows: Executive; Jill McGregor, Applications and Schemes Co-ordinator; The Board’s office in Dublin is located at: i) development loans (repayable on the first day of principal Sarah Dillon, Production and Development Co-ordinator; Mags 14-16 Lord Edward Street, Dublin 2. photography) to a limit of €100,000 per project, as research, O’Sullivan, Deputy Film Commissioner; Jonathan Loughran, VP, development and feasibility loans. Any funding above Irish Film Commissioner, US; Patrick O’Neill, Industry Affairs €50,000 to any one project must be matched by funding from Executive; Niamh O’Reilly, Executive Assistant to CEO; Suzanne other sources Keane, Accounts Co-ordinator (Part-time) and Aileen McCauley, Business and Legal Affairs Co-ordinator. Kelly + Victor milo

08 09 Finance

Recoupment European Film Promotion Statement of Board Members’ Responsibilities European Film Promotion (EFP) is the only existing international The Board shares in and recoups profits from revenues generated network of organisations promoting and marketing European Section 20 (1) of the Irish Film Board Act 1980, requires the members of the Board to prepare Financial Statements in such from sales for cinema, television, video etc. The Board advanced a cinema worldwide. The network comprises professional form as may be approved by the Minister for Arts Heritage and the Gaeltacht with the consent of the Minister for Finance. In total of €14,375,889 in feature development and production loans organisations from 32 European countries who are experts in preparing those Financial Statements, the Board is required to: during 2011. In the same period, the Board recouped €1,179,854. promoting and marketing their own national cinema. Under the This figure brings to 10% the recoupment rate on production EFP umbrella, all of these organisations work together on the • Select suitable policies and then apply them consistently. feature loans advanced since the re-incorporation of BSÉ in 1993. promotion of European cinema and talent around the world. The • Make judgements and estimates that are reasonable and prudent. Board contributed €11,050 to EFP in 2011. • Prepare the financial statements on the going concern basis unless it is inappropriate to presume Economic Database that Bord Scannán na hÉireann/the Irish Film Board will continue in business. European Audiovisual Observatory • State whether applicable accounting standards have been followed subject to any material departures The Audiovisual Federation of IBEC, in conjunction with the Board The Observatory is an information network, which collects and disclosed and explained in the financial statements. and representatives of the Department of Arts, Sport and Tourism, distributes legal, economic and practical information on the Screen Producers Ireland, TG4 and RTÉ publishes annually the audiovisual industry in Europe for the benefit of professionals and Bord Scannán na hÉireann/the Irish Film Board is responsible for keeping proper books of account which disclose with Economic Database. This report covers film and television projects companies within the fields of television, film and video. The Board reasonable accuracy at any time the financial position of Bord Scannán na hÉireann/the Irish Film Board. It is responsible for made in Ireland each year. paid Ireland’s subscription fee of €19,970 in 2011. taking such steps as are necessary to safeguard the assets of Bord Scannán na hÉireann/the Irish Film Board and to prevent and detect fraud and other irregularities. Screen Training Ireland MEDIA Desk Ireland During 2011, the Board made available €479,000 to Fás Screen MEDIA Desk Ireland provides information and advice on the Training Ireland for the direct provision of Industry Training. MEDIA Programme, Eurimages, Eureka Audiovisual and also on James Morris Lesley McKimm EU audiovisual policy. In 2011, the Board contributed €57,011 Chair Board Member Contribution to European Agencies to the running of the Desk. The office is located in the Irish Film Centre, 6 Eustace Street, Dublin 2, and is open to enquiries and 20 December 2012 Bord Scannán na hÉireann/the Irish Film Board contributes consultancy meetings from Monday to Friday. financial support to the following European organisations: MEDIA Antenna Eurimages The MEDIA Antenna is located in Galway Film Centre, Cluain Eurimages, founded by the Council of Europe, provides production Mhuire, Monivea Road, Galway and serves as a regional MEDIA finance for European co-productions. Ireland has participated in office. It also has a particular remit to provide information and the scheme since 1992. Brendan McCarthy represented Ireland services to the growing Irish language audiovisual community. on the Eurimages committee in 2011. The Board paid Ireland’s In 2011 the Board contributed €12,200 to the running costs of subscription in 2011, which was €327,146. the Antenna. abadas washed up love

Statement on Internal Financial Controls • carrying out regular reviews of the Board’s strategic Report of the Comptroller and I also seek to obtain evidence about the regularity of financial plans to ensure that these plans address the current Auditor General for presentation to transactions in the course of the audit. On behalf of Bord Scannan na hÉireann/the Irish Film Board, the Houses of the Oireachtas business environment. I acknowledge our responsibility for ensuring that an effective In addition, I read all the financial and non-financial information in the • Setting short and long term targets for each Unit system of internal financial control is maintained and operated. Bord Scannán na hÉireann/the Irish Film Board Annual Report to identifiy material inconsistencies with the audited within the Board and reviewing progress against same. I have audited the financial statements of the Irish Film Board financial statements. If I become aware of any apparent material 10 • Establishing and enforcing standard procedures 11 The system can only provide reasonable and not absolute for the year ended 31 December 2011 under the Irish Film misstatements or inconsistencies I consider the implications for my under which financial assistance may be made assurance that assets are safeguarded, transactions authorised Board Act 1980. The financial statements, which have been report. available to projects and reviewing these procedures and properly recorded, and that material errors or irregularities are prepared under the accounting policies set out therein, comprise where necessary. either prevented or would be detected in a timely period. the Accounting Policies, the Capital Income and Expenditure Opinion on the Financial Statements Account, the Administration Income and Expenditure Account, In my opinion, the financial statements, which have been properly The Board reviewed its business risks in 2011 and is currently Key Control Procedures: the Statement of Total Recognised Gains and Losses, the prepared in accordance wiith the Generally Accepted Accounting addressing any identified weaknesses. The Board has put in place the following key internal financial Balance Sheet, the Cash Flow Statement and the related notes. Practice in Ireland, give a true and fair view of the state of the control procedures to ensure an appropriate control environment The system of financial controls is based on a framework of regular The financial reporting framework that has been applied in their Board’s affairs at 31 December 2011 and of its income and exists: management information, administrative procedures including preparation is applicable law and Generally Accepted Accounting expenditure for the year then ended. segregation of duties, authorisation, and a system of delegation Practice in Ireland. • an organisation plan exists which defines and In my opinion, proper books of account have been kept by the and accountability. In particular it includes: allocates responsibilities to staff and identifies lines of Responsibilities of the Members of the Board Board. The financial statements are in agreement with the books reporting for all aspects of the Board’s operations. • a comprehensive budgeting system with an annual The Irish Film Board is responsible for the preparation of the of account. • Procedures and security measures exist to ensure the budget which is reviewed and agreed by the Board. financial statements, for ensuring that they give a true and fair view safe custody of the Board’s assets and assurance • Regular reviews of periodic and annual financial of the state of the Board’s affairs and of its income and expenditure, Matters on which I report by exception against unauthorised use or disposition. reports which indicate expenditure against forecasts. and for ensuring the regularity of transactions. I report by exception if: • Setting targets to measure financial and • i have not received all the information and explanations • a strong culture of openness and accountability is Responsibilities of the Comptroller and encouraged throughout the organisation. other performances. Auditor General i required for my audit, or My responsibility is to audit the financial statements and report on • My audit noted any material instance where moneys have The Board has also established processes to identify and evaluate The Board has also established an Audit Committee which them in accordance with applicable law. not been applied for the purposes intended or where the business risks: consists of representatives of the Board and the Executive with a transations did not conform to the authorities governing view to furtherance of internal controls. My audit is conducted by reference to the special considerations • identifying the nature, extent and financial them, or which attach to State Bodies in relation to their management and • the information given in the Board’s Annual Report for the implication of risk facing the body including Review of Internal Financial Control: operation. the extent which it regards as acceptable in year for which the financial statements are prepared is not The Board monitors the effectiveness of the system of internal different functions. consistent with the financial statements, or financial controls by regular management review and periodic My audit is carried out in accordance with the International • assessing the likelihood of identified risks occurring • the statement of Internal FInancial Control does not reflect inspection and review studies by external consultants. The Board Standards on Auditing (UK and Ireland) and in compliance with the and assessing the Board’s ability to manage and the Board’s compliance with the Code of Practice for the carried out a review of its internal financial controls for 2011. Auditing Practices Board’s Ethical Standards for Auditors. mitigate the risks that do occur. Governance of State Bodies, or Scope of Audit of the Financial Statements • i find there are other material matters relating to the manner On behalf of the Board An audit involves obtaining evidence about the amounts and in which public business has been conducted disclosures in the financial statements, sufficient to give reasonable ______assurance that the financial statements are free from material I have nothing to report in regard to those matters upon which James Morris misstatement, whether caused by fraud or error. This includes an reporting is by exception. Chair assessment of: • Whether the accounting policies are appropriate to the ______Board’s circumstances, and have been consistently applied Andrew Harkness and adequately disclosed For and on behalf of the Comptroller and Auditor General • the reasonableness of significant accounting estimates 21 December 2012 made in preparation for the financial statements • the overall presentation of the financial statements after you two hearts

Accounting Policies Depreciation is provided at rates calculated to write off the original Financial Statements of Bord Scannán na hÉireann/the Irish Film Board cost less the estimated residual value of each asset on a straight-line Year Ended 31 December 2011 A. Basis of Accounting basis over its expected useful life. The rates of depreciation are as The financial statements consist of two Income and Expenditure follows: Accounts and a Balance Sheet. • Office Furniture and Equipment 20% per annum 12 • the Capital Income and Expenditure Account records the • computer Equipment 33% per annum Capital Income and Expenditure Account 13 disbursement of the Board’s development and production Year ended 31 December 2011 loans and its contribution to Screen Training Ireland, the F. Pension Costs Notes 2011 2010 Income I I national training agency for the film industry in Ireland. The Board operates a defined benefit pension scheme which is Oireachtas Grants 1 16,000,000 16,500,000 • the Administration Income and Expenditure Account records funded annually on a pay as you go basis from monies available to it, Contributions from other parties 131,175 161,175 the administrative transactions in respect of the Board. including monies provided by the Department of Tourism, Culture and Other Income 74,054 72,689 Repayment of Loans transferred from Capital Reserve 3 1,179,854 738,198 The financial statements are prepared under the historical Sport. The Scheme is operated on an administrative basis pending Total 17,385,083 17,472,062 cost convention and in accordance with Generally Accepted approval of the Minister of Finance. Accounting Practice (GAAP) on an accruals basis except as Pension Scheme liabilities are measured on an actuarial basis using Expenditure stated below. Financial Reporting Standards recommended the projected unit method. Screen Training Ireland 479,000 387,348 by the recognised accounting bodies are adopted as they Production Loans 15 12,433,640 13,385,800 Development Loans 15 1,942,250 1,705,500 become applicable. Pension costs reflect pension benefits earned by employees in the Other Capital Payments 4 1,329,200 1,046,681 period and are shown net of staff pension contributions which are Total 16,184,090 16,525,329 B. Income treated as refundable to the Department in accordance with agency Surplus/ (Deficit) 1,200,993 946,733 Income shown in the financial statements under Oireachtas financing arrangements. An amount corresponding to the pension Balance at beginning of year 5,311,332 4,364,599 Grants represents the actual cash received. Other income is also charge is recognised as income to the extent that it is recoverable Balance at end of year 6,512,325 5,311,332 taken to account on a cash receipts basis. and offset by grants received in the year to discharge pension The Accounting Policies and Notes 1-18 form part of these Financial Statements payments. C. Loans Actuarial gains or losses arising from changes in Actuarial Production loans are made by the Board to assist in the assumptions and from experience surpluses and deficits are James Morris Lesley McKimm production of films. Repayments and returns are dependent Chair Board Member recognised in the Statement of Total Recognised Gains and Losses upon the commercial success of the related films. for the year in which they occur and a corresponding adjustment 20 December 2012 Development loans are made to filmmakers for the purpose of is recognised in the amount recoverable from the Department of developing film projects. Repayments become payable in accordance Tourism, Culture and Sport. with the terms of the loan agreements. Pension Liabilities represent the present value of future pension These loans are not normally subject to interest charges, but include payments earned by staff to date. Deferred pension funding measures for recoupment and profit participation. represents the corresponding asset to be recovered in future periods from the Department of Tourism, Culture and Sport. Loans are reviewed by the Board on a periodic basis and appropriate provision is made against loans outstanding, based upon the G. Foreign Exchange Policy historical performance of the Board’s loanbook. The provision is Transactions denominated in foreign currencies are translated to the accounted for through the Capital Reserve. respective functional currencies at exchange rates at the dates of the transactions. Monetary assets and liabilities denominated in foreign D. Capital Reserve currencies at the reporting date are translated to the functional The Capital Reserve represents the funding invested in currency at the exchange rate at that date. Any gain or loss arising films and Fixed Assets after provisions and amortisation. from a change in exchange rates subsequent to the date of the transaction is included as an exchange gain or loss in the Income E. Tangible Fixed Assets Statement. Tangible Fixed Assets are shown at original historical cost. Assets over €250 are capitalised. 23 degrees 5 minutes titanic: blood and steel

Administration Income and Expenditure Account Balance Sheet Year ended 31 December 2011 Year ended 31 December 2011

Notes 2011 2010 Notes 2011 2010 Income I I Fixed Assets I I Oireachtas Grant 1 2,390,638 2,729,953 Tangible Assets 11 55,824 85,328 14 Other Income 8,536 17,144 15 Net Deferred Funding for Pension Costs 10c 371,941 328,989 Transfer (to)/from Capital Reserve 14 29,504 58,031 Investment in Films Total 2,800,619 3,134,117 Production Loans 3 971,438 1,046,797 Development Loans 3 111,976 128,891 Expenditure 1,083,414 1,175,688 Administration 5 1,835,022 1,950,562 Current Assets Organisations, Subscriptions and Research 7 71,731 171,849 Cash at Bank 8,287,962 6,232,600 Marketing Costs 8 552,270 682,525 Prepayments/Debtors/Accrued Income 13 115,585 352,718 Education - 6,932 8,403,547 6,585,318 Pension Costs 10a 337,574 309,414 Creditors Total 2,796,597 3,121.282 Amounts Falling Due Within One Year 12 (1,880,566 ) (1,267,352 )

SURPLUS/DEFICIT 4,022 12,835 NET CURRENT ASSETS 6,522,981 5,317,966 Balance at beginning of year 6,633 (6,202 ) Total Assets Less Current Liabilities Before Pensions 7,662,219 6,578,982 Balance at end of year 10,655 6,633 The Accounting Policies and Notes 1-18 form part of these Financial Statements Deferred Pension Funding Asset 2,684,217 2,188,000 Pension Liabilities (2,684,217 ) (2,188,000 ) Net Assets 7,662,219 6,578,982

James Morris Lesley McKimm Chair Board Member Capital and Reserves Capital Account 6,512,325 5,311,332 20 December 2012 Administration Account 10,655 6,633 Capital Reserve 14 1,139,239 1,261,017 Total 7,662,219 6,578,982 The Accounting Policies and Notes 1-18 form part of these Financial Statements Statement of Total Recognised Gains and Losses Year ended 31 December 2011

Notes 2011 2010 James Morris Lesley McKimm Surplus for the Year I I Chair Board Member Administration Account 4,022 12,835 Capital Account 1,200,993 946,733 20 December 2012 Total 1,205,015 959,568

Experience Gains on Pension Scheme Liabilities 10d 105,083 320,044 Changes in Assumptions Underlying the Present Value of the Pension Scheme Liabilities 19,193 (154,384 ) Actuarial gain/(loss) on pension liabilities 10b 124,276 165,660

Adjustment to Deferred Pension Funding (147,197 ) (165,660 ) Total recognised gain for the year 1,205,015 959,568 The Accounting Policies and Notes 1-18 form part of these Financial Statements

James Morris Lesley McKimm Chair Board Member

20 December 2012 an rinceoir The Reluctant Revolutionary

Cash Flow Statement Notes to the Financial Statements Year ended 31 December 2011

2011 2010 I I Surplus/(Deficit) on Capital Account 1,200,993 946,733 1. Oireachtas Grants 16 Surplus/(Deficit) on Administration Account 4,022 12,835 17 1,205,015 959,568 The Oireachtas grant in respect of the Board’s capital expenditure is funded under the Productive Sector Operational Programme and the Employment and Human Resources Development Operational Programme of the National Development Plan 2007-2013 Adjustment for non-operating items Bank interest (74,054 ) (72,689 ) 2011 2010 Current Purposes I I Transfer to/(from) Administration Income and Expenditure Account (29,504 ) (58,031 ) Irish Film Board 2,431,000 2,772,000 (103,558 ) (130,720 ) Less Net superannuation contributions repayable 40,362 42,047 Adjustment for non-cash items Total 2,390,638 2,729,953 Depreciation 56,602 86,848 (Increase)/Decrease in Debtors 237,133 (222,830 ) Capital purposes Increase/(Decrease) in Creditors 613,214 939,481 Investment in Film 16,000,000 16,500,000 Net cash inflow from Operating activities 2,008,406 1,632,347

Cash Flow Statement Net cash inflow from Operating activities 2,008,406 1,632,347 Bank interest 74,054 72,689 2. Limitation of Monies Provided by the Board Payments to acquire assets (27,098 ) (28,817 ) Inflow 2,055,362 1,676,219 Under Section 10 of the Irish Film Board Act, 1980 as amended, the maximum amount of any investments, loans, grants and guarantees (less recoveries) shall not exceed €300,000,000. At the 31st December 2011, an amount of €204,604,884 had been provided (At 31/12/2010, Reconciliation of Net Cash Flow to Movement in Net Funds €188,727,393 had been provided). Increase in cash in period 2,055,362 1,676,219 Cash at 1 January 2011 6,232,600 4,556,381 Net Funds at 31 December 2011 8,287,962 6,232,600 The Accounting Policies and Notes 1-18 form part of these Financial Statements 3. Investment in Films

James Morris Lesley McKimm Production Development Chair Board Member Loans Loans TOTAL I I I 20 December 2012 Advanced during the year 12,433,639 1,942,250 14,375,889 Recoupment during the year (594,104 ) (585,750 ) (1,179,854 ) Provision for year (11,914,894 ) (1,373,415 ) (13,288,309 ) Movement in the Year (75,359 ) (16,915 ) (92,274 ) Balance at 1 January 2011 1,046,797 128,891 1,175,688 Balance as at 31/12/11 971,438 111,976 1,083,414 Anton Corbijn Inside Out the pervert’s guide to ideology

4. OTHER CAPITAL PAYMENTS 5. Administration

2011 2010 In addition to the payments made to Production and Development loans, the Board made the following other capital payments in the year. I I 2011 2010 Administration Salaries* 904,007 960,549 European Organisations I I Board Member Fees 44,888 44,888 18 Eurimages 327,146 307,420 Temporary Staff 2,613 - 19 European Film Promotion 11,050 9,030 Staff Training 3,706 10,341 European Observatory 19,970 20,575 Rent and Service Charges 276,015 278,146 Media Antenna 12,200 12,200 Insurance 6,470 8,190 Media Desk 57,011 57,000 Light / Heat 13,908 17,336 Industry Guilds Telephone / Fax 59,035 59,589 Irish Playwrights and Screenwriters Guild 80,000 81,000 Postage / Couriers 29,726 24,500 Screen Directors Guild 80,000 83,000 Office Stationery/Printing 22,671 21,551 Screen Producers Ireland 70,000 - Repairs/Maintenance 54,547 37,727

Film Market/Industry Events Staff Travel / Subsistence** 124,995 158,110 Dublin International Film Festival 35,000 30,000 Bank Interest and Charges 1,233 1,506 Galway Film Fair 40,000 40,000 Board Meetings and Expenses 3,603 10,463 Guth Gafa Film Festival 10,000 10,000 Legal Fees - 4,447 Stranger Than Fiction - 10,000 Audit Fees 14,852 14,852 Cinemagic - 5,950 Sundry 11,183 11,615 Cinema Northwest 25,000 - Depreciation 56,602 86,848 Darklight Film Festival 15,000 12,000 Consultancy 204,968 143,906 Dingle Film Festival 7,000 5,000 Recruitment Costs - 55,998 European Film Market Support 26,121 39,835 Total 1,835,022 1,950,562 Others - 1,398

Others *The figure for Administration Salaries for 2010 has been restated to exclude pension payments now disclosed in Note 10. Cinemobile 60,000 60,000 **Included in this figure is €80,623 which was incurred by staff on foreign travel in 2011. This travel was necessary to raise international finance for the IFB slate of IFTA 123,000 120,000 feature films, to promote awareness of Irish film internationally and to promote Ireland as a film location abroad. Included also is €4,489 which was incurred by staff on Other Training 30,000 52,716 entertaining key business contacts in 2011. Scouting/Travel Grants 42,767 35,385 Scriptreaders 60,257 54,172 Irish Film Archive Preservation Fund 130,000 - Inward Trade Missions 67,678 - Total 1,329,200 1,046,681 cluck the last hijack

6. Board Remuneration and Employees 9. Lease of Premises

The average number of employees including the Chief Executive, during the year was as follows: The Board has commitments until 2016 in respect of its office in Galway at Queensgate, 23 Dock Road.The annual cost of this lease is €76,350 plus VAT. The Board also has commitments until 2017 in respect of its offices at 14-16 Lord Edward St, Dublin 2 at an annual cost of 2011 2010 Number Number €116,000 plus VAT.

20 Chief Executive 1 1 21 Employees 14 15 10. Superannuation The CEO joined the Agency on the 1st June 2011. The CEO’s remuneration package for 2011 was made up as follows: Annual basic salary: €95,000. The CEO’s pension entitlements do not extend beyond the standard entitlements in the public 2011 2010 2009 2008 2007 a. Analysis of total pension costs charged to Expenditure I I I I I sector defined benefit superannuation scheme. Expenses of €8,177 were incurred in respect of the CEO and include the following categories:accommodation, airfares, mobile phone charges, subsistence, taxis and train fares. Current service cost 284,048 266,270 271,079 188,129 208,460 Interest on Pension Scheme Liabilities 93,888 85,191 75,415 62,121 57,859 The former CEO Simon Perry was paid fees of €60,000 in 2011 in respect of a six month consultancy contract. A further €6,850 was incurred Employee Contributions (40,362 ) (42,047 ) (47,074 ) (44,591 ) (43,826 ) by him in relation to travel and subsistence. Total €337,574 € 309,414 € 299,420 € 205,659 € 222,493

Pension levy deductions from staff salaries of €54,566 were paid to the Department of Arts Heritage and the Gaeltacht in 2011. 2011 2010 2009 2008 2007 b. Movement in Net Pension Liability during the financial year I I I I I 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 Net Pension Liability at 1 January 2,188,000 2,002,199 1,908,907 1,330,100 1,181,523 to €2,928. €1,739 related to foreign travel while €1,189 related to Irish expenses including hotels, travel costs and subsistence. Current Service Cost 284,048 266,270 271,079 188,129 208,460 Interest Cost 93,888 85,191 75,415 62,121 57,859 Actuarial Loss/(gains) 124,276 (165,660 ) (253,202 ) 328,557 (117,742 ) Pensions paid in the year* (5,995 ) (22,472 ) - - - Total €€2,684,217 2,188,000 € 2,002,199 € 1,908,907 € 1,330,100 7. Organisations, Subscriptions and Research *The figure for Pensions paid in the year has been restated for 2010 to include a pension payment previously disclosed under Administration Salaries in Note 5. 2011 2010 I I c. Deferred Funding for Pensions IBEC 12,414 12,434 The Board recognises these amounts as an asset corresponding to the unfunded deferred liability for pensions on the basis of the set of Subscriptions to Publications 5,384 5,415 assumptions described above and a number of past events. These events include the statutory backing for the establishment of the pension Screen Producers Ireland - 50,000 scheme, and the policy and practice in relation to funding public service pensions including contributions by employees and the annual estimates Irish Film Archive 50,000 104,000 process. The Board has no evidence that this funding policy will not continue to meet such sums in accordance with current practice. Education 3,933 - Total 71,731 171,849 The Net Deferred Funding for Pensions recognised in Income and Expenditure Account was as follows: 2011 2010 2009 2008 2007 The figure for LA Events has been restated and is now included under International Promotion in Note 8 to better reflect the 2011 position I I I I I Funding recoverable in respect of current year pension costs 377,936 351,461 346,494 250,250 266,319 State grant applied to pay pensioners (5,995 ) (22,472 ) - - - Total €€€371,941 €328,989 € 346,494 € 250,250 € 266,319 8. Marketing The deferred funding asset for pensions as at 31 December 2011 amounted to €2,684,217 (€2,188,000 in 2010) 2011 2010 I I 2011 2010 2009 2008 Festival Promotion 135,585 145,568 d. History of defined benefit obligations I I I I Advertising 52,657 59,663 Defined benefit obligations 2,684,217 2,188,000 2,002,199 1,908,907 Events/PR 97,762 83,302 Experience (gains)/losses on scheme liabilities amount (105,083 ) (320,044 ) (90,900 ) 53,735 Publications 26,487 29,932 Percentage of Scheme Liabilities -4% -15% -5% 3% Marketing Materials 18,416 24,532 Web Site /Online Promotion 30,199 15,209 Locations Services 8,678 18,242 e. General Description of the Scheme Overseas Marketing - 76,422 The pension scheme is a defined benefit final salary pension arrangement with benefits and contributions defined by reference to current International Promotion 22,952 46,467 “model” public sector scheme regulations. The scheme provides a pension (eightieths per year of service), a gratuity or lump sum (three LA Office** 159,534 183,188 eightieths per year of service) and spouse’s and children’s pensions. Normal retirement age is a member’s 65th birthday, and pre 2004 Total 552,270 682,525 members have an entitlement to retire without actuarial reduction from age 60. Pensions in payment (and deferment) normally increases in line with general public sector salary inflation. *The figure for International Promotion for 2010 has been restated and now includes expenditure previously disclosed under LA Events in Note 7

**This represents staff costs of €129,980 and overhead costs of €29,554 (In 2010, staff costs were €134,115 and overhead costs were €49,072) The valuation used for FRS 17 (Revised) Disclosures has been based on a full actuarial valuation at each date performed by an independent qualified actuary to take account of the requirements of FRS 17 in order to assess the scheme liabilities at 31 December 2011.

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The Principal Actuarial Assumptions were as follows: 13. DEBTORS AND PREPAYMENTS 31/12/2011 31/12/2010 31/12/2009 31/12/2008 31/12/2007 Rate of increase in salaries 3.50% 3.50% 3.50% 3.50% 4.00% 2011 2010 Rate of increase in pension payment 3.50% 3.50% 3.50% 3.50% 4.00% I I Discount Rate 3.70% 4.00% 4.30% 4.00% 4.75% Debtors - 155,028 Inflation 2.00% 2.00% 2.00% 2.00% 2.50% Prepayments 65,585 76,515 Accrued Income 50,000 121,175 22 The mortality basis adopted allows for improvements in life expectancy over time, so that life expectancy at retirement will depend on the year in 23 which a member attains retirement age (age 65). Total 115,585 352,718

The mortality rates adopted are as follows: Life Expectancy for Male aged 65 21.9 years 14. CAPITAL RESERVE Life Expectancy for Female aged 65 23.5 years Life Expectancy for Male aged 45 now (from 65) 24.2 years 2011 2010 Life Expectancy for Female aged 45 now (from 65) 25.4 years I I Balance at 01/01/11 1,261,017 1,500,874 Investment in Films (92,274 ) (181,826 ) Movement in Fixed Asset Funding (29,504 ) (58,031 ) 11. Tangible Fixed Assets Balance at 31/12/11 1,139,239 1,261,017

Furniture Computers Total Cost I I I The movement in Fixed Asset funding is comprised as follows: At 1 January 2011 386,658 224,139 610,797 Income allocated for Capital purposes 27,098 28,817 Additions - 27,098 27,098 Amortisation 56,602 86,848 Disposals - - - Total (29,504 ) (58,031 ) At 31 December 2011 386,658 251,237 637,895

Depreciation As at 1 January 2011 325,948 199,521 525,469 15. COMMITMENTS Charge for year 31,867 24,735 56,602 Feature Documentary Animation Distribution Disposals - - - Production* Production Production Loans Schemes Total At 31 December 2011 357,815 224,256 582,071 Production Loans I I I I I I Commitments @ 01/01/11 1,293,657 535,975 122,400 151,384 220,295 2,323,711 Net Book Value Commitments in 2011 10,295,580 1,192,300 530,000 364,050 827,000 13,208,930 Commitments expired 2011 - - - (39,286 ) (34,291 ) (73,577 ) As at 31 December 2011 28,843 26,981 55,824 Total Commitments 11,589,237 1,728,275 652,400 476,148 1,013,004 15,459,064 As at 31 December 2010 60,710 24,618 85,328 Payments in 2011 (9,714,130 ) (1,198,648 ) (557,900 ) (297,217 ) (665,745 ) (12,433,640 ) Movement (31,867 ) 2,363 (29,504 ) Commitments at 31/12/11 1,875,107 529,627 94,500 178,931 347,259 3,025,424 *Included in both the commitment and payment figure for Feature Production is an amount of €176,929 in respect of project related expenses and production legal costs. 12. Creditors Animation Feature Development Development Total 2011 2010 I I I I I Development Loans PAYE/PRSI 34,769 36,369 Commitments @ 01/01/11 64,001 491,195 555,196 Other Accruals 399,530 462,602 Commitments in 2011 367,894 1,834,240 2,202,134 Withholding Tax 15,921 17,651 Commitments expired 2011 (20,000 ) (68,500 ) (88,500 ) Pension Contribution - 7,958 Total Commitments 411,895 2,256,935 2,668,830 Trade Creditors 1,430,346 742,772 Payments in 2011 (338,000 ) (1,604,250 ) (1,942,250 ) Total 1,880,566 1,267,352 Commitments at 31/12/11 73,895 652,685 726,580

16. PROVISIONAL OFFERS OF ASSISTANCE TO FILM PROJECTS

In addition to the contracted commitments outstanding at year-end of €3,752,004 disclosed an additional €6,984,068 in respect of provisional offers of assistance was outstanding. The major portion of such commitments, €5,807,568 is in respect of feature productions where offers are subject to certain terms and conditions which include the procurement of finance. They remain valid for a period of up to six months at which stage they are subject to review. These offers are also conditional on the availability of Board’s funds. The Board also had unquantified offers of assistance to a further five feature productions at the year end.

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17. BOARD MEMBERS - DISCLOSURE OF TRANSACTIONS

In the normal course of business the Irish Film Board may approve assistance to film projects and enter into other contractual arrangements with undertakings in which Board Members are employed or otherwise interested. The Irish Film Board has adopted procedures in relation to the disclosures of interests by Board members and these procedures were adhered to during the year. the shadows In 2011 the following loans were approved in which a Board Member was employed or had an interest: 24 Name Company I 25

Lesley McKimm Newgrange Pictures Vexed (International Production Fund) 150,000 Call Girl (Production) 25,000 Appendix 1 Julia Here (Development) 12,000 Appendices 1 to 5 are for information and do not form part of the accounts from pages 13 to 24. Asal (Gearrscannáín) 10,000

Kevin Moriarty Ardmore Studios Capital Commitments 2011 Vexed (International Production Fund) (150,000 )

James Morris Treasure Entertainment Feature Production Loans CREATIVE CO-PRODUCTION FUND 30 Eggs (Development) 18,000 Committed I Committed I A Month in the Country (Development) 28,000 Albert Nobbs Parallel Film Productions 50,000 Call Girl Newgrange Pictures 150,000 Good Vibrations (Production Funding) 525,000 Beckett on Film Parallel Film Productions 300,000 Call Girl Newgrange Pictures 25,000 The Vehicle (Development) 38,000 Byzantium Parallel Film Productions 1,300,000 Flowers of Desire Subotica 360,000 Shrooms 3D (Development) 20,000 Charlie Cassanova Terry McMahon 15,000 Kelly + Victor Venom Films 150,000 Wayfaring Strangers (Development) 30,000 Eliot and Me Fubar 50,000 Milo Samson Films 400,000 The Steamroller (Development) 25,000 Finding Joy True Films 15,000 Moth Diaries Samson Films 25,000 Treasure Entertainment also received a provisional offer of Good Vibrations Canderblinks 525,000 Niko: A Family Affair Tidal Films 450,000 production funding in respect of the project The Vehicle Grabbers Samson Films 100,000 Total 1,560,000 Grooskill Vico Films 350,000 Windmill Lane Pictures Jump Blinder Films 300,000 Albert Nobbs (Additional Production Funding) 50,000 Life’s a Breeze Fastnet Films 750,000 Saving the Titanic (Production Funding) 150,000 Lotus Eaters Fastnet Films 3,650 ANIMATION PRODUCTION Last Days on Mars (Production Funding) 500,000 Love Eternal Fastnet Films 600,000 Vexed (International Production Fund) (150,000 ) Mister John Samson Films 350,000 Committed I Nicholas North (Production) (300,000 ) Sanctuary Venom Films 600,000 Cosmo Monster Animation 300,000 Saving the Titanic Tile Films 75,000 I’m a Creepy Crawly Monster Animation 80,000 Tristan Orpen Lynch Subotica Entertainment Shadow Dancer Element Pictures 500,000 Flowers of Desire (Production) 60,000 Total 530,000 State of Suspension Clare Langan 15,000 Nicholas North (Production) 300,000 Stitches Fantastic Films 600,000 A Stranger in a Strange Land (Production) 100,000 The Shadows EMU Productions 100,000 Devlin (Development) 17,000 Titanic Grand Pictures 300,000 An Evening of Long Goodbyes (Development) 24,000 What Richard Did Element Films 720,000 REGIONAL SUPPORT FUND Subotica also received a provisional offer of I production funding in respect of the project Devlin Total 7,618,650 Committed The Wordles Kavaleer Productions 150,000 Johnny Gogan Cinema Northwest Good Vibrations Canderblinks 75,000 Cinema Northwest 25,000 Love Eternal Fastnet Films 120,000 Sanctuary Venom Films 120,000 Total 2,107,000 Total 315,000

INTERNATIONAL PRODUCTION FUND

18. BOARD APPROVAL Committed I Ripper Street Element Pictures 475,000 The financial statements were approved by the Board on the 2nd May 2012. Vexed Season 2 Newgrange Pictures 150,000 Total 625,000 dreams of a life the adventures of the young marco polo

DOCUMENTARY PRODUCTION P&A /MARKETING SUPPORT SIGNATURES FRAMEWORKS

I I I Committed I Committed Committed Committed 350 Degrees South CR Entertainment 8,000 As If I Am Not There Element Distribution 21,825 Cluck Tilted Pictures 72,000 On Departure Jad Agencies 47,000 A Captured Face: From Clare to Cuba Poolbeg Productions 5,000 Essential Killing Element Distribution 5,000 Foxes Lovely Productions 73,000 Trid an Stoirm Brennus Productions 49,500 A Childish Place Still Films 10,000 Parked Element Distribution 44,000 Mikaya WMD Fastnet Films 74,000 Coda And Maps and Plans 48,000 A Stranger in a Strange Land Subotica 100,000 Perfect Sense Eclipse Pictures 5,000 The Hatch Red Rage Productions 73,000 Fear of Flying Lovely Productions 48,500 Sensation Blinder Films 44,510 Two Hearts Calipo Picture Company 72,000 26 Ballymun Lullaby Pulp Films 60,000 Total 193,000 27 Black Dragon Gambit Pictures 10,000 Snap Eclipse Distribution 9,780 Total 364,000 Canvas Cadenza Films 10,000 The Guard Element Distribution 25,000 Circus on the Road Ikandi Productions 10,000 The Runway Element Distribution 75,000 Clientelle Still Films 15,000 Total 230,115 GEARRSCANNÁIN Deputy Ming Big Yes Productions 15,000 REALITY BITES Gaze/PDA Crossing the Line Productions 6,500 Committed I Generation Game John Kelleher Media 10,000 DIRECT DISTRIBUTION Committed I Asal Newgrange Pictures 10,000 Get the Picture Ferndale Films 15,000 Good 2 Wheels John Kelleher Media 15,000 Buddy Keith Bogue 10,000 Hammer to Bell Three Legged Dog Films 12,000 Committed I Home Turf True Films 15,000 El Toro El Zorerro Films 10,000 I was a Soldier: The Return West Park Pictures West 60,000 Ballymun Lullaby Pulp Productions 15,000 In My Place Underground Films 15,000 Total 30,000 Jimmy Van Damme El Zorrero Films 15,000 Between the Canals Avalon Films 6,700 Joyriders Fastnet Films 15,000 Knuckle Rise Films 4,300 Congo: An Irish Affair Akajava Films 4,960 Quarantine Harvest Films 15,000 Little Matador Element Films 25,000 Lotus Eaters Fastnet Films 1,150 The End of the Counter Crow Hill Films 15,000 Men at Lunch Sonta Productions 50,000 One Hundred Mornings Blinder Films 15,000 The Rebirth Mythos Films 15,000 Neal McGregor Soilsiu Films 5,000 Rewind Carbon Films 15,000 Within 3 Miles Areaman Productions 15,000 Nightdancers Still Films 85,000 The Pier Black Equus Productions 13,000 Total 120,000 Nuala O’Faolain: A Life Deer Lake Films 50,000 The Pipe Irish Film Institute 5,000 Off the Beaten Track Ikandi Productions 25,000 Total 75,810 Pervert’s Guide to Ideology Blinder Films 100,000 Roller Girls True Films 10,000 SHORT SHORTS Saving the Titanic Tile Films 75,000 Shem the Penman Sings Again Poolen Productions 15,000 PRINT SUPPORT Committed I Showrunners Black Sheep Productions 20,000 An Rinceoir Underground Films 15,000 Stuffing the Tiger Poolbeg Productions 10,000 Committed I Bird Food Brown Bag 15,000 Stuffing the Tiger Poolbeg Productions 90,000 Between the Canals Avalon Films 5,486 Downpour Zucca Films 15,000 The Children of Humla Soilsiu Films 5,000 Colony Fastnet Films 2,867 Jonny Boy Stitch Films 15,000 The Craic Soho Moon Pictures 10,000 Crossing Salween Red Rage 3,942 Learning to Fish Still Films 15,000 The Doctor’s Sword Gambit Pictures 12,000 Noreen El Zorrero 630 Pet Hate Brennus Productions 15,000 The Drunken Irish Lets Not Lose It Productions 5,000 Pentecost EMU Productions 380 Tree Tilted Pictures 15,000 The Egg and the Chicken Monford Ltd 15,000 Rewind Carbon Films 8,100 Washed Up Love Jumper Productions 15,000 The Life of Anton Corbijn Fastnet Films 44,500 Shoe Zanita Productions 735 Total 120,000 The Londoners Nobody Knows crow Hill Films 50,000 Small Change Venom Films 3,355 The Runner Underground Films 10,000 Snap Samson Films 6,450 Unbreakable True Films 10,000 Switch Warrior Films 480 Very Extremely Dangerous Screenworks 75,000 The Crush Purdy Pictures 835 Voices from Belarus Planet Korda Pictures 10,000 The Lactating Automation Restoration Films 2,000 Way Out Farcry Productions 10,000 Total 35,260 Why Men Have Babies Ripple World Pictures 10,000 Total 1,192,300 INTERNATIONAL PUBLICITY

Committed I Charlie Cassanova The Cannibal Corporation 3,669 As If I Am Not There Octagon Films 10,752 Knuckle Seafield Films 5,000 The Lotus Eaters Fastnet Films 3,444 Total 22,865 ek tha tiger

Feature Development Loans

committed I committed I 12:23 Parallel Film Productions 20,000 Mount Vernon Mary Hick Productions 14,000 30 Eggs Treasure Entertainment 18,000 Nineteen Days and Counting ann Marie McCormack 12,000 A Crack in Everything Mary Kate O’Flanagan 12,000 Noble Danman Films 20,000 the miracle A Month in the Country treasure Entertainment 28,000 Not Cricket Peer Pressure 32,000 28 An Bronntanas DeFacto Films 20,000 Objects of Interest Mammoth Films 25,000 29 An Bronntanas DeFacto Films 20,000 Pilgrimage SP Films 20,000 An Evening of Long Goodbyes Subotica 24,000 Reeling Parallel Film Productions 15,000 An Ocean View The Cannibal Corporation 24,000 Roll River John Butler 12,000 Beautiful Noise Coastguard Films 25,000 RPG Niall Heery 16,000 Appendix 2 Belinda Elisabeth Gooch 12,000 Run and Jump Samson Films 10,000 Better Love Conor Horgan 12,000 Secret Scripture Ferndale Films 15,000 Outstanding Commitments 2011 Big Silver Lining Red Rage Productions 16,500 Shade Tom Cosgrove 12,000 Blue Guitar Grand Pictures 15,000 She Bites Lee Cronin 22,000 Break Point Zanita Productions 16,000 She’s My Dad Icebox Films 18,000 Feature Production Loans REGIONAL SUPPORT FUND Brian Rua Parallel Film Productions 30,000 Shrooms 3D Treasure Entertainment 20,000 Byzantium Parallel Film Productions 30,000 Sixty Eight Naomi Sheridan 12,000 Pending I Pending I Byzantium Parallel Film Productions 49,000 Skippy Dies Littlewave Productions 50,000 Beckett on Film Parallel Film Productions 50,000 Good Vibrations Canderblinks 15,000 Carefree Barry Devlin 16,000 Stags Samson Films 20,000 Eliot and Me Fubar 20,000 Love Eternal Fastnet Films 48,000 City of Bohane Parallel Film Productions 50,000 Star of the Sea Parallel Film Productions 49,200 Finding Joy True Films 3,000 Sanctuary Venom Films 48,000 Commonwealth Tom Hall & Christian O’Reilly 16,000 Still Life Mark Tuthill 5,000 Good Vibrations Canderblinks 45,000 Pre 2011 42,000 Crossing Salween Red Rage Productions 30,000 Tandem Blinder Films 20,000 Grooskill Vico Films 70,000 Total 153,000 Dark Zone Fantastic Films 10,000 Tell Them Nothing Donal Gleeson 12,000 Jump Blinder Films 30,000 Dead As Doornails Fastnet Films 20,000 The Absence Sonata Rainmark Films 25,000 Life’s a Breeze Fastnet Films 105,000 Death and Nightingales Soho Moon Pictures 12,500 The Bear on the Train teemu Auersalo 12,000 Love Eternal Fastnet Films 24,000 DOCUMENTARY PRODUCTION Devlin Subotica 17,000 The Bogman King Mike Ahearne and Enda Loughman 16,000 Sanctuary Venom Films 24,000 Easy Does It Janey Pictures 10,000 The Canal Park Films 20,000 Shadow Dancer Element Pictures 50,000 Pending I Echo Chamber Parallel Film Productions 47,040 The Cherry Tree Fantastic Films 20,000 Stitches Fantastic Films 120,000 350 Degrees South CR Entertainment 1,600 Faultline Enough Dynamite 30,000 The Clown Fantastic Films 9,000 The Shadows EMU Productions 13,000 A Captured Face: From Clare to Cuba Poolbeg Productions 1,000 Food Guide to Love Parallel Film Productions 15,000 The End of Romance Soho Moon Pictures 26,000 Titanic Grand Pictures 30,000 A Stranger in a Strange Land Subotica 10,000 Found Ailbhe Keogh & Michael Kelly 16,000 The End of Sleep Parallel Film Productions 30,000 What Richard Did Element Films 144,000 Ballymun Lullaby Pulp Films 12,000 Fury Littlewave Productions 50,000 The Gee Gees Element Pictures 40,000 Pre 2011 253,100 Canvas Cadenza Films 2,000 Good Vibrations Candervibes 14,000 The Good Heart Darragh Byrne & Eoin MacNamee 16,000 Total 981,100 Grooskill Vico Films 10,000 The Grass Arena Screenworks 12,500 Circus on the Road Ikandi Productions 2,000 Harms Way Blinder Films 9,000 The Last Snows of Spring Wide Eye Films 5,500 Clientelle Still Films 3,000 Julia Here Newgrange Pictures 12,000 The Mulberry Project heavens Gate Films 27,500 Deputy Ming Big Yes Productions 3,000 Kidsmoke Sean Smith 12,000 The Ones You Do Octagon Films 50,000 Generation Game John Kelleher Media 2,000 Life’s A breeze Fastnet Films 15,000 The Price of Desire EG Productions 20,000 CREATIVE CO-PRODUCTION FUND I was a Soldier: The Return West Park Pictures West 2,000 Link Michael Lavelle 12,000 The Ranger Fastnet Films 5,000 Jimmy Van Damme El Zorrero Films 3,000 Pending I Love Eternal Fastnet Films 15,000 The Rules of Engagement calipo Pictures 20,000 Men at Lunch Sonta Productions 15,000 Call Girl Newgrange Pictures 45,000 Margaret Rebecca Daly and Glenn Montgomery 16,000 The Steamroller Treasure Entertainment 25,000 Neal McGregor Soilsiu Films 1,000 Call Girl Newgrange Pictures 25,000 Memorabilia Parallel Film Productions 9,000 The Summer Sharon Horgan 16,000 Nightdancers Still Films 8,500 Flowers of Desire Subotica 36,000 Miles to Go Patrick Kenny 12,000 The Valentine Gang Ripple World Pictures 20,000 Nuala O’Faolain: A Life Deer Lake Films 30,000 Kelly + Victor Venom Films 30,000 Mister John Samson Films 10,000 The Vehicle Treasure Entertainment 38,000 Pervert’s Guide to Ideology Blinder Films 50,000 Milo Samson Films 40,000 Monsters and Magic Joason Butler and Brendan Butler 16,000 Wayfaring Strangers treasure Entertainment 30,000 Roller Girls True Films 2,000 Moth Diaries Samson Films 5,000 Moscow Never Sleep Blinder Films 15,000 Where We’ll Never Grow Old Ripple World Pictures 15,000 Saving the Titanic Tile Films 15,000 Niko: A Family Affair Tidal Films 225,000 Moscow Never Sleeps Blinder Films 16,500 Stuffing the Tiger Poolbeg Productions 30,000 Total 1,834,240 Pre 2011 335,000 The Children of Humla Soilsiu Films 1,000 Total 741,000 The Craic Soho Moon Pictures 1,000 The Doctor’s Sword Gambit Pictures 2,400 Animation Development Loans The Drunken Irish Lets Not Lose It Productions 1,000 The Egg and the Chicken Monford Ltd 3,000 I I Committed Committed The Life of Anton Corbijn Fastnet Films 4,450 Cosmo Monster Animation 34,000 Song of the Sea Cartoon Saloon 17,894 ANIMATION PRODUCTION The Londoners Nobody Knows crow Hill Films 25,000 Curly Hare Jam Media 50,000 The Boy in the Bubble Igloo Films 28,000 The Runner Underground Films 2,000 PendingI Inis Spraoi Magpie6 Media 45,000 The Overcoat A Man & Ink 29,000 Unbreakable True Films 2,000 The Wordles Kavaleer Productions 37,500 Little Caribou Barley Films 10,000 The Wooden Sword Brown Bag Films 45,000 Very Extremely Dangerous Screenworks 7,500 Pre 2011 57,000 Oops Noah is Gone Magma Productions 10,000 Whiplash Brown Bag Films 30,000 Way Out Farcry Productions 2,000 Pillage & Sons Brown Bag Films 44,000 Zig and Zag Flickerpix 25,000 Total 94,500 Why Men Have Babies Ripple World Pictures 2,000 Total 367,894 Pre 2011 283,177 Total 529,627 eliot and me stitches

P&A /MARKETING SUPPORT Reality Bites 2011 Feature Development Loans

I I Pending Pending Pending I Pending I As If I Am Not There Element Distribution 2,183 Good 2 Wheels John Kelleher Media 13,500 12:23 Parallel Film Productions 5,000 Roll River John Butler 2,000 Essential Killing Element Distribution 2,500 In My Place Underground Films 13,500 30 Eggs Treasure Entertainment 3,000 RPG Niall Heery 4,000 Parked Element Distribution 22,026 The End of the Counter Crow Hill Films 13,500 An Bronntanas DeFacto Films 5,000 Run and Jump Samson Films 2,000 Sensation Blinder Films 22,255 The Rebirth Mythos Films 13,500 An Evening of Long Goodbyes Subotica 4,000 Secret Scripture Ferndale Films 1,000 Snap Eclipse Distribution 978 Within 3 Miles Areaman Productions 1,500 30 An Ocean View The Cannibal Corporation 4,000 Shade Tom Cosgrove 2,000 31 The Runway Element Distribution 37,500 Total 55,500 Beautiful Noise Coastguard Films 5,000 She Bites Lee Cronin 12,000 Perfect Sense Eclipse Pictures 2,500 Better Love Conor Horgan 2,000 Shrooms 3D Treasure Entertainment 5,000 Pre 2011 60,433 Big Silver Lining Red Rage Productions 3,500 Sixty Eight Naomi Sheridan 2,000 Total 150,374 Blue Guitar Grand Pictures 3,000 Skippy Dies Littlewave Productions 5,000 Short Shorts Break Point Zanita Productions 3,000 Stags Samson Films 5,000 Brian Rua Parallel Film Productions 18,000 Star of the Sea Parallel Film Productions 13,650 Pending I City of Bohane Parallel Film Productions 20,000 Still Life Mark Tuthill 1,000 DIRECT DISTRIBUTION Bird Food Brown Bag 14,000 Commonwealth Tom Hall & Christian O’Reilly 4,000 Tandem Blinder Films 5,000 Learning to Fish Still Films 14,000 Crossing Salween Red Rage Productions 18,000 Tell Them Nothing Donal Gleeson 2,000 I Pending Pet Hate Brennus Productions 14,000 Dark Zone Fantastic Films 2,000 The Absence Sonata Rainmark Films 10,000 Ballymun Lullaby Pulp Productions 3,000 Tree Tilted Pictures 14,000 Dead As Doornails Fastnet Films 5,000 The Bear on the Train teemu Auersalo 2,000 Congo: An Irish Affair Akajava Films 992 Washed Up Love Jumper Productions 1,000 Death and Nightingales Soho Moon Pictures 2,500 The Bogman King Mike Ahearne and Enda Loughman 4,000 One Hundred Mornings Blinder Films 350 Pre 2011 11,985 Devlin Subotica 3,000 The Canal Park Films 5,000 The Pier Black Equus Productions 6,500 Total 68,985 Echo Chamber Parallel Film Productions 7,040 The Cherry Tree Fantastic Films 5,000 Pre 2011 5,000 Faultline Enough Dynamite 5,000 The End of Romance Soho Moon Pictures 15,000 Total 15,842 Food Guide to Love Parallel Film Productions 3,000 The End of Sleep Parallel Film Productions 5,000 Fury Littlewave Productions 5,000 The Gee Gees Element Pictures 5,000 Frameworks Harms Way Blinder Films 2,000 The Good Heart Darragh Byrne & Eoin MacNamee 4,000 Julia Here Newgrange Pictures 2,000 The Last Snows of Spring Wide Eye Films 1,500 I Kidsmoke Sean Smith 2,000 The Mulberry Project heavens Gate Films 5,500 PRINT SUPPORT Pending On Departure 23,500 Link Michael Lavelle 2,000 The Ones You Do Octagon Films 15,000 Pending I Trid an Stoirm Brennus Productions 24,750 Margaret Rebecca Daly and Glenn Montgomery 4,000 The Price of Desire EG Productions 5,000 Snap Samson Films 3,225 Coda And Maps and Plans 24,000 Memorabilia Parallel Film Productions 2,000 The Ranger Fastnet Films 1,000 Pre 2011 6,989 Fear of Flying Lovely Productions 24,250 Mister John Samson Films 2,000 The Rules of Engagement calipo Pictures 5,000 Pre 2011 20,272 Monsters and Magic Joason Butler and Brendan Butler 4,000 The Steamroller Treasure Entertainment 5,000 Total 10,214 Moscow Never Sleeps Blinder Films 3,500 The Summer Sharon Horgan 4,000 Total 116,772 Mount Vernon Mary Hick Productions 4,000 The Valentine Gang Ripple World Pictures 5,000 Noble Danman Films 5,000 The Vehicle Treasure Entertainment 3,000 Not Cricket Peer Pressure 20,000 Where We’ll Never Grow Old Ripple World Pictures 3,000 INTERNATIONAL PUBLICITY Pilgrimage SP Films 5,000 Pre 2011 292,500 Gearrscannán 1 Reeling Parallel Film Productions 3,000 Total 652,690 Pending I Pending I Knuckle Seafield Films 2,500 Asal Newgrange Pictures 1,000 Total 2,500 Buddy Keith Bogue 2,000 El Toro El Zorerro Films 9,000 Total 12,000 Animation Development Loans

Signatures 2011 Pending I Pending I Zig and Zag Flickerpix 5,000 Inis Spraoi Magpie6 Media 5,000 Pending I Oscailt Little Caribou Barley Films 2,000 The Boy in the Bubble Igloo Films 6,000 Foxes Lovely Productions 7,300 Oops Noah is Gone Magma Productions 2,000 Whiplash Brown Bag Films 5,000 Mikaya WMD Fastnet Films 74,000 Pending I Cosmo Monster Animation 5,000 Pillage & Sons Brown Bag Films 4,000 Pre 2011 7,100 Pre 2011 5,000 The Overcoat A Man & Ink 4,000 The Wooden Sword Brown Bag Films 5,000 Total 88,400 Total 5,000 Song of the Sea Cartoon Saloon 2,894 Curly Hare Jam Media 5,000 Pre 2011 23,000 Total 73,894

Virtual Cinema

Pending I Pre 2011 602 Total 602 foxes snake dance

Appendix 3 Appendix 4

Details of Loan Conditions Principles & Criteria

32 (a) Development Funds BSÉ/IFB’s funding programmes are guided by some fundamental give energetic backing to producers who display an ambition to 33 Development Loans are advanced on a phased payment basis with approximately 50-60% paid on satisfactory execution of principles which form the basis of its decision-making criteria. The achieve market success – with projects that display an awareness Development Loan contracts between the Board and the Producer, the balance being paid upon compliance with specific principles are: of the market, but not a prostration to it. conditions outlined by the Board. • Additionality • Cultural Priorities, Industrial Priorities Cultural Priorities, Industrial Priorities Loans for development are up to a maximum of €100,000, €50,000 at any one time. Teams or individuals (producer/ director/ • Making Cinema Consistent with its government remit, and responding to script-writer) may apply. The Producer is obliged to repay the Advance to the Board on the first day of principal photography. • Originality the present perceived needs of the Irish film industry, BSÉ/ IFB considers that certain projects, in terms of their content, These are explained in more detail below. Thereafter we set out These should be seen as development/ feasibility loans; the Board makes every effort to track these monies and provides provenance or benefit to the industry, represent clear priorities for some further considerations that may influence a decision in information and support for independent producers seeking other potential production partners. Some of the projects its funding as against others. favour of one project over another. receiving development loans from the Board will not proceed into production and may eventually have to be written off. Strong preference will be given to submissions on behalf of

Additionality projects which: However, all projects which are successfully brought to fruition, are closely monitored by the Board and collection of monies An essential rationale for making public money available to an • are of ‘Irish initiation’ in a creative sense; that is, due is actively pursued. industry is that it should create activity that would not otherwise conceived, written and to be directed by Irish talents occur, i.e. that the market, left to itself, would not engender. It • tell Irish stories, drawing on and depicting Ireland’s (b) Production Loans follows that films backed by BSÉ/IFB should be films that will not culture, history, way of life, view of the world and of itself The Board’s involvement takes the form of investment in the production and in its sales for cinema, television, video and be made, or will not be made with the same level of benefit to • Entail new Irish filmmaking talent in key creative roles, ancillary markets (cable, satellite, home box-office etc.) both in Ireland and worldwide. The investment is not subject to Ireland, unless enabled to do so with the support of the agency. i.e. director, writer, producer, composer, principal actor interest; rigorous measures for recoupment and profit participation are applied. All offers of investment are ‘in principle’ and Such films, and the benefits that flow from them, will represent subject to contract. ‘additional’ economic activity. Serious attention will also be paid to submissions which: • Propose a strongly Irish project (in terms of setting, The procedures for considering submissions for production characters, etc) that is to be directed by a non-Irish talent, funding are intended to ensure more effectively that the where BSÉ/IFB regards the director’s track-record as an extent of BSÉ/IFB’s involvement in a project really reflects assurance of quality the extent to which its involvement is needed: specifically, that the • involve an Irish producer as minority co-producer of a film, level of BSÉ/IFB’s investment is what is required to complete a where (a) BSÉ/IFB is convinced of the quality of the project, film’s financing and no more. Clearly this is hard (b) the amount of BSÉ/IFB’s investment corresponds to the to police with absolute accuracy, given the nature of film financing level of involvement of Irish personnel, elements and negotiations, but the principle holds good and will facilities in the project, and (c) a commitment is in place by be closely observed. the majority co-producer to reciprocate by acting as The aim to fund films that are ‘additional’ will also affect BSÉ/ minority co-producer of a future Irish film

IFB’s preferences in seeking out projects to support. Additionality Submissions on behalf of films to be made predominantly in implies making a difference, and BSÉ/IFB will tend to be drawn the Irish language will continue to be particularly welcomed by towards supporting projects that appear to be of high quality BSÉ/IFB. but tangibly distinct and different from films available in the mainstream marketplace. This does not mean that BSÉ/IFB is BSÉ/IFB will always be vigilant in ensuring that films in which it interested only in supporting ‘un-commercial’ material. On the invests entail a high volume of expenditure on Irish personnel and contrary, there is a wealth of cinema history evidence to show that in the Irish industry, and this aspect of a submission is likely to the big hits are frequently ground-breaking, left-field surprises. play a material part in a positive decision. The market appears to need regular refreshment. BSÉ/IFB will It will not in itself be a decisive factor, however, where BSÉ/IFB saving the titanic get the picture

is unconvinced by the quality of a project, or where the project • television fiction, whether singles or series, will be economic effects of the project, the financial arrangements, and It should be emphasised that for a project to be offered in other respects does not comply with any of the priorities considered for its inherent quality but other factors will the prospects of reaching audiences. production funding it is not necessary for all these questions set out above. This is dealt with in more detail under Further also come into play. Strong emphasis will be placed on to be answered affirmatively. But negative answers to a Considerations below. backing directors (and, on occasions, writers) whose Where BSÉ/IFB does not consider that a project adheres to high proportion of them could undermine a strongly positive careers to date clearly demonstrate an ability to make any of the guiding principles, these other factors will not in disposition on the part of BSÉ/IFB towards the creative aspects Making Cinema 34 cinema films, or who in the view of BSÉ/IFB are headed for themselves be sufficient to secure an offer of funding. But, in the of a project. At the very least, a mix of affirmative and negative 35 A fundamental reason for BSÉ/IFB’s existence is to encourage, a career in cinema filmmaking. Further, BSÉ/IFB will need case of a project where content and creative team are seen as answers will provoke discussion as to the extent and manner of sustain and promote work in Ireland that is made to be shown on to be convinced that its financial involvement is crucial to persuasive, the following considerations may affect negotiations BSÉ/IFB’s commitment. the big screen. the realisation of the programme and will expect to between BSÉ/IFB and the filmmakers as to the level of BSÉ/ This has not prevented BSÉ/IFB from supporting work for which contribute editorially to its content. Development support IFB’s investment and the way in which the film will be financed, Variant Criteria by BSÉ/IFB for material specifically aimed at television produced and distributed: Some BSÉ/IFB funding programmes have specific criteria of the main exhibition outlet in practice is television. Moreover, to production will be forthcoming very rarely indeed. their own and are not necessarily governed by the principles set the extent that this enables production companies to survive and • Track record of the producer even thrive, and reflects a healthy and necessary synergy between out above: Originality • has the producer managed and delivered films in a the cinema and television media, in a country the size of Ireland In the interests of achieving distinction in the way in which professional and efficient manner before? • International Production it would be unrealistic for BSÉ/IFB to confine its support to it utilises its resources, and consistent with the additionality • has BSÉ/IFB had good previous experience of dealing this programme, although subject in broad terms to filmmaking for the cinema. objectives already outlined, BSÉ/IFB will set considerable with the producer? BSÉ/IFB’s normal cultural criteria, is more industrially But, while continuing to respond positively to occasional store by originality in seeking out and selecting projects for • in a co-production, do any non-Irish producers involved driven than creatively driven. Provided that the principal submissions on behalf of projects that are most likely to find support. Artistic benefits apart, there is ample evidence that in a have good professional track records? producer has a good track record, and the creative package an audience on television, even including made-for-TV films market dominated by high-budget products, the films that compete • Irish employment appears plausible, assessment by BSÉ/IFB will be based and series, BSÉ/IFB will place somewhat greater emphasis most effectively are those that offer audiences something not seen • are key creative and technical positions to be filled primarily on consideration of the economic ‘multiplier’ on its obligations towards cinema work and cinema talents before – in terms of controversial content, provocative viewpoint, by Irish personnel? effect of its funding, and of the opportunities for Irish in the future. fresh humour, twisted genre, or new depths of emotion. • in a co-production, is the proportion of these personnel to be employed in key positions. appropriate? • Regional Support In practice this will mean: This will lead BSÉ/IFB to favour directors (and writers) with • Will the production offer employment to Irish personnel this programme has an exclusively economic remit. To • documentaries will be more rigorously assessed in distinctive ‘voices’, whose work depicts a strongly individual view across all possible grades? be eligible, a project must already be in receipt of BSÉ/ terms of their potential to achieve theatrical release or of the world, portrays life in such a way as to give it new meaning, • Spend in the Irish economy iFB production funding, and no further creative judgment stimulate interest from international film festivals. holds a mirror up to aspects of nature that more conventional • Will the film be shot in Ireland? is applied. An assessment is made of the amount of Preference will be given to ‘feature documentaries’; films filmmakers avoid or fail to notice. BSÉ/IFB is concerned to back • Will the production make extensive use of Irish the production budget to be spent in Ireland outside the aimed at a one-hour TV slot or shorter, with little or no films that reach as wide an audience as possible, and expects production and post-production facilities? metropolitan and adjacent area; this must be at least twice international appeal, are likely to be supported only if filmmakers to demonstrate a similar ambition. At the same time it • Will the project attract inward investment into the the amount of funding requested. they are felt to be of an irresistible quality. Besides BSÉ/ recognises that box-office success eludes many. Whether a film irish economy? • Distribution iFB’s emphasis on cinema, this approach is also designed succeeds or fails, BSÉ/IFB believes that expenditure of public • Sales and Distribution the Print Provision programme functions on an automatic to respond to the manifest increase in theatrical money can be vigorously defended if the film has something • is an international sales agent attached to the film? basis, whereby films become eligible for support if selected audiences’ desire to see documentaries. original to say, something original to add to the mass of world • does the film have an Irish distributor? for one of a list of approved festivals, subject to agreement • animation will be treated with more flexibility, in cinema. • are any distributors or broadcasters providing with BSÉ/IFB as to the level of funding. Prints & Advertising recognition both of the growing importance of Irish work production finance? funding is provided to Irish distributors of BSÉ/IFB-backed in this field, and of the narrowness of the theatrical market Further Considerations • Financial structure films who demonstrate that support from BSÉ/IFB will that exists for animated features. Preference will The guiding principles described above should serve to give • are the proposed co-financiers of the film reliable? enhance the promotion of a film in the Irish market. nonetheless be given to original work from Irish talents applicants insight into the way in which BSÉ/IFB’s executives and • Will the proposed financing arrangements allow BSÉ/ that appears to be sufficiently inventive and striking advisors will assess a project from the point of view of its content iFB to negotiate a reasonable recoupment position? to measure up to the big-screen format if an opportunity and the creative team involved. In assessing production funding • Will there be reasonable transparency of accounting becomes available. applications, other factors may come into play, concerning the with regard to sales revenues, e.g. by use of a collection agent? hatch Appendix 5

men at lunch/Lón Sa Spéir Location Services 36 Location Services serves to facilitate and encourage filming of all kinds. We can help whether you are making feature films, 37 television, documentaries, commercials, corporates, music videos or still photography; anything that ends up on screen. Our marketing team is here to answer your questions. Our service is free. Bord Scannán na hÉireann Ráitis Airgeadais Here are just some of the services we offer: • the Location Services Unit handles all enquiries relating to filming in Ireland. F.I.L.M (Film Industry Location Manager) is a searchable digital photo database that streamlines our location finding capabilities. The use of the service is free Oibríonn Bord Scannán na hÉireann faoi chreathlach Acht Um Cruinnithe Boird agus Tinreamh to Irish location scouts, as well as film makers contacting us from abroad. Bord Scannán 1980 agus Achtanna Um Bord Scannáin (Leasú) Thionól an Bord 9 gcruinniú le linn 2011 agus d’fhreastail 1993, 1997, 2000, 2006. gach comhalta boird ar an líon seo a leanas de chruinnithe • as part of our service we also provide visual reference books and other reference information on matters relating boird i rithna bliana. to filming in Ireland. Comhaltaí James Morris 9 gcruinniú B’iad comhaltaí Bord Scannán na hÉireann i 2011 ná: Johnny • We also act as the hub for a growing network of regional film offices. Our co-operation with the Northern Irish Film Johnny Gogan 8 gcruinniú Gogan, Uasal; Barry Grace, Uasal; Tristan Orpen Lynch, Uasal; and Television Commission means a combination of coverage of the island as a whole. Barry Grace 9 gcruinniú James Morris, Uasal (Cathaoirleach); Lesley McKimm, Uasal; Tristan Orpen Lynch 8 gcruinniú Kevin Moriarty, Uasal and Kirsten Sheridan, Uasal. • We co-operate with other national bodies to make the working environment as film friendly as possible. Lesley McKimm 9 gcruinniú Foireann Kevin Moriarty 8 gcruinniú Kirsten Sheridan 9 gcruinniú B’íad foireann Bord Scannán na hÉireann ar 31ú Mí na Nollag 2011 ná: James Hickey, Príomhoifigeach Feidhmiúcháin; Teresa Oifig McGrane, Ceannasaí Chúrsaí Gnó/Leas POF; Naoise Barry, Tá ceannáras Bord Scannán na hÉireann le fáil i gcathair Coimisiúnaitheoir Scannán; Celine Forde, Rialtóir Airgeadais; na Gaillimhe: Andrew Meehan, Feidhmeannach Forbartha; Alan Maher, Queensgate, 23 Bóthar na nDuganna, Gaillimh, Éire. Feidhmeannach Léiriúchán; Emma Scott, Feidhmeannach Léiriúchán; Mark Byrne, Ceann Chúrsaí Dlí; Louise Ryan, Teil +353 91 561398, Faics +353 91 561405 Feidhmeannach Margaíochta agus Cumarsáide; Jill R-phost [email protected], www.irishfilmboard.ie McGregor, Comhordaitheoir Iarratas agus Scéimeanna; Sarah Dillon, Comhordaitheoir Léiriúcháin agus Forbartha; Mags Tá oifig Bord Scannán na hÉireann i mBaile Átha Cliath O’Sullivan,Leas-Coimisinéir Scannán; Jonathan Loughran, le fáil ag: 14-16 Lord Edward Street, Dublin 2 VP, Coimisiún na Scannán Éireannach S.A.M; Patrick O’Neill, Feidhmeannach Chursaí Tionscail; Niamh O’Reilly, Cúntóir Feidhmeannach ag an bPríomhoifigeach Feidhmiúcháin; Suzanne Keane, Comhordaitheoir Cuntas (Páirtaimseartha); agus Aileen McCauley, Comhordatheoir Chursaí Gnó agus Dlí. byzantium sanctuary 38 Cuspóirí agus Beartais Bord Scannán na hÉireann Airgeadas 39

Bunaíodh Bord Scannán na ii iaschtaí léiriúcháin do thionscadail a bhfuil buiséid acu atá Aisghabháil European Film Promotion

hÉireann d’fhonn: • de bhreis ar €100,000 agus gan a bheith níos mó na Is é European Film Promotion (EFP) an t-aon líonra idirnáisiúnta Roinneann an Bord an brabús a thagann as ioncam a ghintear €1.5M, is féidir le BSÉ/IFB suas go dtí 65% den bhuiséad eagraíochtaí atá ann a bhfuil cur chun cinn agus margaíocht á • na gnéithe cruthaitheacha agus na gnéithe tráchtála a le díolachán pictiúrlainne, teilifíse agus físeán agus faigheann sé léiriúcháin a chur ar fáil dhéanamh aige ar cineama Eorpach ar fud an domhain. Is éard ghabhann le scannánaíocht agus le cultúr scannán na aisíocaíocht ón mbrábús sin. Chuir an Bord iomlán de €14,375,889 • de bhreis ar €1.5M agus gan a bheith níos mó ná €5M, is atá sa líonra ná eagraíochtaí proifisiúnta ó 32 thíortha Eorpacha hÉireann a chur chun cinn ar mhaithe le lucht féachana na ar fáil in iasachtaí i dtaca le príomhscannáin a fhorbairt agus a léiriú féidir le BSÉ/IFB suas go dtí €1M nó 40% den bhuiséad, gur saineolaithe iad i dtaobh a gcuid cineama náisiúnta féin a tíre agus ar mhaithe le lucht féachana idirnáisiúnta. Tacaíonn i gcaitheamh na bliana 2011. I gcaitheamh an ama chéanna, fuair cibé acu is mó, a chur ar fáil chur chun cinn agus margaíocht a dhéanamh air. Faoi scáth an an Bord le tionscadail scannánaíochta trí mhaoiniú forbartha an Bord aisíocaíochtaí de €1,179,854. Tugann an figiúr sin go dtí • de bhreis ar €5M, is féidir le BSÉ/IFB suas go dtí €2 EFP, feidhmíonn na heagraíochtaí sin ar fad as lámha a chéile chu a sholáthar agus cuirtear airgeadas léiriúcháin ar fáil chomh 10% an ráta aisíoctha ar iasachtaí léiriúchán príomhscannán a milliún nó 25% den bhuiséad, cibé acu atá níos mó, a chur cineama Eorpach agus talann Eorpach a chur chun cinn ar fud maith trí infheistíocht fhiachais/chothromais. tugadh amach ó rinneadh ath-inchorprú ar BSÉ i 1993. ar fáil an domhain. Rinne an Bord ranníocaíocht de €11,050 le EFP sa bhliain 2011. • Forbairt agus oiliúint phearsanra theicniúil, ealaíne agus Bunachar Sonraí Eacnamaíochta Déantar iasachtaí forbartha agus léiriúcháin a spreagadh mar shlí le feabhas a chur ar European Audiovisual Observatory iasachtaí léiriúcháin a mheasúnú de Foilsíonn an Audiovisual Federation de chuid IBEC, i gcomhar inniúlacht fhoriomlán scileanna laistigh den tionscal. réir roinnt critéar: leis an mBord agus le hionadaithe ón Roinn Ealaíon, Spóirt agus Is líonra faisnéise í an Fhaireachlann, a bhailíonn agus a dháileann Turasóireachta, Screen Producers Ireland, TG4 agus RTÉ an faisnéis dlí, eacnamaíochta agus praiticiúil maidir leis an dtionscal • cúnamh a thabhairt chun scannáin Éireannacha a i Breisíocht Bunachar Sonraí Eacnamaíochta ar bhonn bliantúil. Clúdaíonn closamhairc san Eoraip ar mhaithe le lucht gairme agus cuideachtaí dhéanamh agus le margaíocht a dhéanamh orthu laistigh ii Tosaíochtaí Cultúir, Toasíochtaí Tionscail an tuarascáil sin tionscadail scannán agus teilifíse a dhéantar in i réimse na teilifíse, na scannán agus na bhfíseán. D’íoc an Bord de thír na hÉireann agus thar lear mar bhealach le spéis a iii Déanamh Cineama Éirinn gach bliain. síntiús na hÉireann don bhliain 2011, táille de €19,970. mhúscailt i dtír na hÉireann, i gcultúr na hÉireann agus i iv cruthaitheacht scannáin Éireannacha. (Féach Aguisín 4, Leathanach 62) MEDIA Desk Ireland Screen Training Ireland Cuireann MEDIA Desk Ireland eolas agus comhairle ar fáil maidir Tairgíonn an Bord maoiniúchán chun I gcaitheamh na bliana 2011, chuir an Bord €479,000 ar fáil do leis an gclár MEDIA, Eurimages, Eureka Audiovisual agus maidir le tionscadail a fhorbairt agus a léiriú Fás Screen Training Ireland d’fhonn Oiliúint Tionscail a sholáthar beartas closamhairc an AE. Sa bhlian 2011, chuir an Bord €57,011 mar seo a leanas: go díreach. ar fáil leis an Desk a reáchtáil. Tá an oifig lonnaithe san Irish Film Centre, 6 Sráid an Iústásaigh, Baile Átha Cliath 2, agus bíonn i iasachtaí forbartha (inaisíoctha ar an gcéad lá sé ar oscailt le haghaidh fiosruithe agus le haghaidh cruinnithe phríomhscannánaíochta) suas go dtí teorainn de €100,000 in Ranníocaíocht le Gníomhaireachtaí Eorpacha comhairliúcháin ó Luan go hAoine. aghaidh an tionscadail, mar iasachtaí taighde, forbartha agus féidearthachta. Ní mór ionannú a dhéanamh ó fhoinsí eile Tugann Bord Scannán na hÉireann/the Irish Film Board tacaíocht MEDIA Antenna € i gcás aon mhaoiníucháin atá sa bhreis ar 50,000 d’aon airgeadais do na heagraíochtaí Eorpacha seo a leanas: Tá MEDIA Antenna lonnaithe sa Galway Film Centre, Cluain tionscadal amháin. Mhuire, Bóthar Mhuine Mheá, Gaillimh agus feidhmíonn sé mar Eurimages oifig réigiúnach MEDIA. Tá cúram áirithe air freisin eolas agus Cuireann Eurimages, eagraíocht a bhunaigh Comhairle na hEorpa, seirbhísí a chur ar fáil do phobal closamhairc na Gaeilge, atá ag airgeadas léiriúcháin ar fáil i dtaca le comhléiriúcháin Eorpacha. Tá méadú de réir a chéile. I 2011, chuir an Bord €12,200 ar fáil mar Éire rannpháirteach sa scéim ó 1992 i leith. D’fheidhmigh Brendan chúnamh do chostais reatha an Antenna. McCarthy mar ionadaí d’Éirinn ar choiste Eurimages i 2011. D’íoc

an Bord suibscríbhinn na hÉireann i 2011, íocaíocht de €327,146. home turf Riders to the sea

Ráiteas maidir le Freagrachtaí Chomhaltaí Boird Ráiteas maidir le Rialú • Spriocanna gearrthéarmacha agus fadtéarmacha a leagadh Inmheánach Airgeadais síos do gach Aonad laistigh den Bhord agus athbhreithniú a Éilítear in Alt 20 (1) d’Acht um Bord Scannán na hÉireann 1980 go n-ullmhóidh comhaltaí an Bhoird Ráitis Airgeadais i dhéanamh ar a ndul chun cinn i dtaca leis na spriocanna sin. bhfoirm a d’fhéadfadh an tAire Ealaíon, Oidhreachta agus Gaeltachta a cheadú, le toiliú ón Aire Airgeadais. Nuair a bheidh na Admhaímse leis seo, thar ceann Bhord Scannán na hÉireann/ • nósanna imeachta caighdeánacha faoinar féidir cúnamh Ráitis Airgeadais sin á n-ullmhú aige, tá ceanglas ar an mBord: the Irish Film Board, go bhfuil freagracht orainn a chinntiú go airgeadais a chur ar fáil do thionscadail a bhunú agus a gcoinnítear agus go bhfeidhmítear córas éifeachtach i dtaca le rialú fhorfheidhmiú agus na nósanna imeachta sin a athbhreithniú 40 • Beartais oiriúnacha a roghnú agus ansin iad a chur i bhfeidhm go comhsheasmhach. inmheánach airgeadais. 41 de réir mar is gá. • Breithiúnais agus meastacháin a dhéanamh atá réasúnta agus stuama. • na Ráitis Airgeadais a ullmhú ar bhonn gnóthais leantaigh ach amháin i gcás nach bhfuil sé cuí glacadh leis go Ní féidir leis an gcóras ach deimhniú réasúnta agus ní dearbh- Rinne an Bord athbhreithniú ar a chuid rioscaí gnó i 2011 agus tá leanfaidh an Bord ag feidhmiú. dheimhniú iomlán a thabhairt go gcosnaítear sócmhainní, go aghaidh á thabhairt aige faoi láthair ar aon laigeachtaí a aithníodh. • a chur in iúl gur cloíodh le caighdeáin chuntasaíochta infheidhme faoi réir aon difríochtaí ábhartha a nochtadh agus a mbíonn idirbhearta údaraithe agus taifeadta mar is cuí, agus míníodh sna ráitis airgeadais. go gcuirfear cosc le hearráidí nó mírialtachtaí ábhartha nó go Tá an córas rialaithe airgeadais bunaithe ar chreat oibre d’fhaisnéis n-aimseofar iad go tráthúil. rialta bainistíochta, ar nósanna imeachta riaracháin lena n-áirítear Tá an Bord freagrach as leabhair chearta cuntasaíochta a choinneáil a nochtaíonn le cruinneas réasúnta staid airgeadais an deighilt dualgas, údarú agus córas tarmligin agus freagrachta. Bhoird ag am ar bith. Tá sé freagrach as cibé bearta is gá a chur i bhfeidhm chun sócmhainní Bhord Scannán na hÉireann a Na Príomhnósanna Imeachta i dtaca le Rialú: Áirítear air sin, go háirithe: chosaint agus le calaois agus mírialtachtaí eile a chosc agus a aimsiú. Tá na príomhnósanna imeachta seo a leanas maidir le rialú • córas cuimsitheach maidir le buiséadú lena bhfuil buiséad Thar ceann an Bhoird: inmheánach airgeadais curtha i bhfeidhm ag an mBord chun bliantúil i gceist a dhéanann an Bord iad a athbhreithniú timpeallacht chuí a chinntiú i dtaca le rialú: agus a chomhaontú. • tá plean eagraíochta i bhfeidhm a shainmhíníonn agus a • athbhreithnithe rialta ar thuarascálacha tréimhsiúla agus leithdháileann freagrachtaí ar an bhfoireann agus a bliantúla a léiríonn caiteachas i gcomparáid le réamhaisnéis. James Morris Lesley McKimm aithníonn línte maidir le tuairisciú i dtaobh gach gné • Spriocanna a shocrú chun feidhmíocht airgeadais agus Cathaoirleach Comhalta Boird d’oibríochtaí an Bhoird. feidhmíocht eile a thomhas. • tá nósanna imeachta agus bearta slándála i bhfeidhm 20 Nollag 2012 lena chinntiú go gcosnaítear sócmhainní an Bhoird Tá Coiste Iniúchta bunaithe chomh maith ag an mBord atá agus le dearbh-dheimhniú in aghaidh úsáid nó diúscairt comhdhéanta d’ionadaithe ón mBord agus ón bhFheidhmeannas neamhúdaraithe a chinntiú. agus é mar sprioc ag an gCoiste sin rialúcháin inmheánacha a • Moltar cultúr láidir follasachta agus freagrachta ar fud neartú. na heagraíochta.

Athbhreithniú i dtaca le Rialú Tá próisis bunaithe ag an mBord chomh maith chun rioscaí gnó a Inmheánach Airgeadais: aithint agus meastóireacht a dhéanamh orthu trí: Déanann an Bord monatóireacht ar éifeachtúlachtacht an chórais • nádúr, méid agus impleachtí airgeadais an riosca atá roimh rialaithe inmheánaigh airgeadais trí athbhreithniú bainistíochta agus an gcomhlacht a aithint, lena n-áirítear an méid a cheaptar iniúchadh thréimhsiúil a dhéanamh agus trí staidéir a dhéanamh a bheith inghlactha maidir le feidhmeanna éagsúla. ar athbhreithnithe le comhairleoirí seachtracha. Tá athbhreithniú • Measúnú a dhéanamh ar an ndóchúlacht go dtarlóidh rioscaí déanta ag an mBord ar a chuid rialuithe inmheánacha airgeadais aitheanta agus measúnú a dhéanamh ar chumas an Bhoird don bhliain 2011. na rioscaí a tharlaíonn a bhainistiú agus a mhaolú. • athbhreithnithe rialta a dhéanamh ar phleananna Thar ceann an Bhoird straitéiseacha an Bhoird lena chinntiú go dtugann na pleananna sin aghaidh ar an dtimpeallacht reatha gnó. ______James Morris Cathaoirleach

jump remember me my ghost

ARD-REACHTAIRE CUNTAS AGUS CISTe Déanaim iarracht freisin fianaise a fháil le linn an iniúchta maidir le BEARTAIS CHUNTASAÍOCHTA Cuirtear dímheas san áireamh ar rátaí a ríomhtar chun an chéad Tuarascáil le cur faoi bhráid Tithe rialtacht na n-idirbhearta airgeadais. chostas a dhíscríobh lúide luach iarmharach measta gach A. Bunús na Cuntasaíochta an Oireachtais sócmhainne faoin modh dronlíneach thar a saol úsáideach measta. Is Ina theannta sin, léann mé an fhaisnéis airgeadais agus Áirítear leis na ráitis airgeadais dhá Chuntas Ioncaim agus mar seo a leanas atá na rátaí dímheasa: Bord Scannán na hÉireann neamh-airgeadais sa dTuarascáil Bhliantúil le neamhréireachtaí Caiteachais agus Clár Comhardaithe. • troscán agus Trealamh Oifige 20% sa bhliain Tá ráitis airgeadais Bhord Scannán na hÉireann/the Irish Film ábharacha maidir leis na ráitis iniúchta airgeadais a aithint. • tugann an Cuntas Caipitil Ioncaim agus Caiteachais • trealamh Ríomhaireachta 33% sa bhliain Board don bhliain dar críoch 31 Nollaig 2011 iniúchta agam de réir Sa chás go dtagaim ar aon eolas i dtaobh aon mhíráiteas ábharach taifead ar íocaíocht amach iasachtaí forbartha agus 42 43 Acht um Bord Scannan na hEireann 1980. Tá na ráitis airgeadais, dealraitheach déanaim na himpleachtaí do mo thuarascáil a mheas. léiriúcháin an Bhoird agus an ranníocaíocht le haghaidh F. Costais Pinsean a ullmhaíodh faoi na beartais chuntasaíochta arna leagan amach Screen Training Ireland, an ghníomhaireacht náisiúnta Tá scéim pinsean le sochair sainithe i bhfeidhm ag an mBord a sna ráitis, comhdhéanta den Ráiteas faoi Beartais Chuntasaíochta, oiliúna don tionscal scannáin in Éirinn. Tuairim faoi na Ráitis Airgeadais mhaoinítear go bliantúil ar bhonn íoc mar a thuillear as airgead an Cuntas Ioncaim agus Caiteachais, an Clár Comhardaithe agus • tugann an Cuntas Ioncaim agus Caiteachais Riaracháin Is é mo thuairim, go dtugann na ráitis airgeadais, a ullmhaíodh atá ar fáil dó, lena n-áirítear airgead a sholáthraíonn an Roinn na nótaí gaolmhara. Is é an creat thuairisciú airgeadais a cuireadh taifead ar na hidirbhearta riaracháin i ndáil leis an mBord. go cuí i gcomhréir le Cleachtais Cuntasaíochta a nGlactar Leis Turasóireachta, Cultúir agus Spóirt. Tá an Scéim á feidhmiú ar bhonn i bhfeidhm chun iad a ullmhú ná an dlí a bhaineann agus na go Coitianta in Éirinn, léargas fíor agus cothrom maidir leis an Ullmhaitear na ráitis airgeadais de réir choinbhinsiún an chostais riaracháin ar feitheamh faomhadh ón Aire Airgeadais. Cleachtais Chuntasaíochta a nGlactar Leo go Coitianta in Éirinn. riocht ghnóthaí Bord Scannán na hÉireann/the Irish Film Board ag stairiúil agus de réir an Chleachtais Cuntasaíochta a bhfuil Glacadh 31 Nollaig 2011 agus ar a ioncam agus ar a chaiteachas don Ríomhtar dliteanais na Scéime Pinsean ar bhonn achtúireachta Freagrachtaí Chomhaltaí an Bhoird Leis (GAAP) ar bhonn fabhraithe ach amháin mar a luaitear thíos. bhliain dar críoch sin. agus modh chreidiúint réamh-mheasta an aonaid á úsáid. Tá an Bord freagrach as na ráitis airgeadais a ullmhú, as a chinntiú Glactar le Caighdeáin i dtaca le Tuairisciú Airgeadais a mholann Léiríonn costais pinsin na sochair a thuilleann fostaithe le linn na go dtugann siad léargas fíor agus cothrom maidir leis an riocht Is é mo thuairim, gur choimeád Bord Scannán na hÉireann/the comhlachtaí cuntasaíochta de réir mar a thagann siad i bhfeidhm. tréimhse agus taispeántar iad glan ar ranníocaíochtaí pinsean foirne ghnóthaí Bord Scannán na hÉireann/the Irish Film Board agus ar Irish Film Board leabhair chuntais chuí. Tá na ráitis airgeadais ag B. Ioncam a n-áirítear mar íocaíochtaí inaisíoctha leis an Roinn de réir socruithe a ioncam agus a chaiteachas, agus as rialtacht a n-idirbhearta a teacht leis na leabhair chuntais. Léiríonn an t-ioncam a thaispeántar sna ráitis airgeadais faoi airgeadais gníomhaíochta. Aithnítear suim atá i chinntiú. Nithe a Tuairiscím le hEisceacht Dheontais Oireachtais an t-airgead iarbhír a fuarthas. Cuirtear ioncam gcomhréir leis an muirear pinsin mar ioncam sa mhéid is go Tuairiscím le heisceacht i gcás: eile san áireamh ar bhonn fáltas airgid. bhfuil sé in-aisghabhála agus fritháirithe i gcoinne deontas a Freagrachtaí an Ard-Reachtaire • nach bhfuair mé an fhaisnéis agus na mínithe go léir a bhí de bhfuarthas iad i rith na bliana le híocaíochtaí pinsin a dhéanamh. Cuntas agus Ciste dhíth orm le haghaidh m’iniúchta, nó C. Iasachtaí Is é mo fhreagrachtsa na ráitis airgeadais a iniúchadh agus tuairisciú Léirítear gnóthachain nó caillteanais achtúireacha a éiríonn as • Gur nótáladh san iniúchadh aon chás ábhartha nuair nár Cuireann an Bord iasachtaí léiriúcháin ar fáil chun cabhrú le scannáin a dhéanamh orthu i gcomhréir leis an dlí a bhaineann. athruithe ar thoimhdí Achtúireachta agus as gnóthachain agus úsáideadh suimeanna airgid chun na feidhmeanna a bhí a léiriú. Braitheann aisíocaíochtaí agus aischuir ar rath tráchtála na caillteanais ó thaithí sa Ráiteas Ghnóthachan agus Caillteanas Déantar m’iniúchadh faoi réir na gcúrsaí speisialta a bhaineann le beartaithe dóibh nó nach ndearnadh na hidirbhearta de réir scannán lena mbaineann siad. Aitheanta don bhliain ina dtarlaíonn siad agus aithnítear coigeartú dá comhlachtaí Stáit ó thaobh a mbainistiú agus a bhfeidhmiú de. na n-údarás a rialaíonn iad, nó Tugtar iasachtaí forbartha do dhéantóirí scannán d’fhonn tionscadail réir maidir leis an méid inaisghabháilte i dtréimhsí atá le • nach bhfuil an fhaisnéis a tugadh i dTuarascáil Bhliantúil an scannán a fhorbairt. Bíonn aisíocaíochtaí iníoctha de réir théarmaí na Déantar m’iniúchadh i gcomhréir le Caighdeáin Chuntasaíochta teacht ón Roinn Turasóireachta, Cultúir agus Spóirt. Bhoird don bhliain ar ullmhaíodh na ráitis airgeadais dóibh gcomhaontuithe iasachta. Idirnáisiúnta (Ríocht Aontaithe agus Éire) agus de réir Caighdeán i gcomhréir leis na ráitis airgeadais, nó Léiríonn dliteanais pinsin an luach atá faoi láthair ar íocaíochtaí Eiticiúla d’Iniúchóirí de chuid an Bhoird um Chleachtais • nach léiríonn an Ráiteas um Rialú Inmheánach Airgeadais Go hiondúil ní bhíonn na hiasachtaí sin faoi réir mhuirir úis, ach bíonn pinsean amach anseo atá tuillte ag an bhfoireann go dtí seo. Léiríonn Iniúchóireachta. go gcomhlíonann an Bord an Cód Cleachtais maidir le bearta aisghabháilte agus rannpháirtíocht brabúis san áireamh leo. maoiniú pinsin iarchurtha an sócmhainn chomhréireach a bheidh inaisghabháilte sa todchaí ón Roinn Turasóireachta, Rialachas ar Chomhlachtaí Stáit, nó Déanann an Bord athbhreithniú ar iasachtaí ar bhonn tréimhsiúil Scóip an Iniúchta ar Ráitis Airgeadais Cultúir agus Spóirt. • Go bhfaighim amach go bhfuil cúrsaí ábhartha eile ann a agus déantar soláthar cuí i gcoinne iasachtaí gan aisíoc, bunaithe ar Is éard atá i gceist le hiniúchadh ná faisnéis a fháil maidir leis na bhaineann leis an gcaoi inar cuireadh gnó poiblí i gcrích. fheidhmíocht stairiúil leabhar iasachta an Bhoird. Déantar an soláthar suimeanna agus na nochtuithe sna ráitis airgeadais, ar leor iad chun G. Beartas maidir le hAirgeadra Eachtrach a chuntasú tríd an gCúlchiste Caipitil. urrús réasúnta a thabhairt go bhfuil na ráitis airgeadais saor ó mhí- Níl aon ní le tuairisciú agam maidir leis na cúrsaí sin faoina Aistrítear idirbhearta atá ainmnithe in airgeadra eachtrach go dtí na ndéantar tuairisc le heisceacht. hairgeadraí feidhmiúla faoi seach de réir na rátaí malairte ar dhátaí ráiteas ábhartha cibé calaois nó earráid is cúis leis sin. Clúdaíonn D. Cúlchiste Caipitil sé seo measúnú faoi na n-idirbhearta. Aistrítear sócmhainní agus dliteanais airgeadaíochta Léiríonn an Cúlchiste Caipitil an maoiniú a infheistítear i Scannáin • cibé an bhfuil na beartais chuntasaíochta cuí do chúinsí an atá ainmnithe in airgeadra eachtrach ar dháta a dtuairiscithe go dtí agus i Sócmhainní Seasta tar éis soláthar agus amúchadh. Bhoird agus gur cuireadh i bhfeidhm iad go seasmhach agus ______an airgeadra feidhmiúil ar an ráta malairte ar an dáta sin. Cuirtear san gur nochtaíodh iad go leormhaith Andrew Harkness E. Sócmhainní Seasta Inláimhsithe áireamh mar ghnóthachan nó mar chaillteanas malairte sa Ráiteas • cé chomh réasúnta is a bhí na meastacháin chuntasaíochta Ar son agus thar ceann an Ard-Reachtaire Cuntas agus Ciste Léirítear Sócmhainní Dochta Inláimhsithe ar a gcéad chostas stairiúil. Ioncaim aon ghnóthachan nó caillteanas a éiríonn de bharr athruithe shuntasacha a rinneadh agus na ráitis airgeadais á n-ullmhú 21 Nollag 2012 Déantar caipitliú ar shócmhainní atá de bhreis ar €250. ar na rátaí malairte tar éis dáta an idirbhearta. • thíolachadh foriomlán na ráiteas airgeadais. king of the travellers origin

Ráitis Airgeadais Bord Scannán na hÉireann Cuntas Ioncaim agus Caiteachais Riaracháin Don bhliain dar chríoch 31 Nollaig 2011 Don bhliain dar chríoch 31 Nollaig 2011

Nótaí 2011 2010 Ioncam I I Deontas an Oireachtais 1 2,390,638 2,729,953 44 Ioncam Eile 8,536 17,144 45 Cuntas Ioncaim agus Caiteachais Chaipitil Glanchiste Iarchurtha do Chostais Pinsean 10c 371,941 328,989 Don bhliain dar chríoch 31 Nollaig 2011 Aistriú (chuig)/ ón gCúlchiste Caipitiúil 14 29,504 58,031 Iomlán 2,800,619 3,134,117 Nótaí 2011 2010 Ioncam I I Caiteachas Deontais an Oireachtais 1 16,000,000 16,500,000 Riarachán 5 1,835,022 1,950,562 Ranníocaíochtaí ó pháirtithe eile 131,175 161,175 Eagraíochtaí, Síntiúis agus Taighde 7 71,731 171,849 Ioncam Eile 74,054 72,689 Costais Margaíochta 8 552,270 682,525 Aisíocíocht ar Iasachtaí a aistríodh ón gCúlchiste Caipitil 3 1,179,854 738,198 Oideachas - 6,932 Iomlán 17,385,083 17,472,062 Costais Phinsean 10a 337,574 309,414 Iomlán 2,796,597 3,121.282 Caiteachas Screen Training Ireland 479,000 387,348 BARRACHAS/EASNAMH 4,022 12,835 Iasachtaí Léiriúcháin 15 12,433,640 13,385,800 Iarmhéid ag tús na bliana 6,633 (6,202 ) Iasachtaí Forbartha 15 1,942,250 1,705,500 Iarmhéid ag deireadh na bliana 10,655 6,633 Íocaíochtaí Caipitiúla 4 1,329,200 1,046,681 Is cuid de na Ráitis Airgeadais iad na Beartais Chuntasaíochta agus na nótaí 1-18 Iomlán 16,184,090 16,525,329

Barrachas/(Easnamh) 1,200,993 946,733 Iarmhéid ag tús na bliana 5,311,332 4,364,599 Iarmhéid ag deireadh na bliana 6,512,325 5,311,332 James Morris Lesley McKimm Cathaoirleach Comhalta Boird Is cuid de na Ráitis Airgeadais iad na Beartais Chuntasaíochta agus na nótaí 1-18 20 Nollag 2012

James Morris Lesley McKimm Cathaoirleach Comhalta Boird Ráiteas i dtaca le Gnóthachain agus Caillteanais Iomlána Aitheanta 20 Nollag 2012 Don bhliain dar chríoch 31 Nollaig 2011 Nótaí 2011 2010 Barrachas don bhliain I I Cuntas Riaracháin 4,022 12,835 Cuntas Caipitiúil 1,200,993 946,733 Iomlán 1,205,015 959,568

Gnóthachain ó thaithí ar dhliteanais na scéime pinsin 10d 105,083 320,044 Athruithe ar na bunbhoinn tuisceana maidir le luach dliteanas na scéime pinsin faoi láthair 19,193 (154,384 ) Gnóthachan/(caillteanas) achtúireachta ar dhliteanais pinsin 10b 124,276 165,660

Coigeartú ar mhaoiniú pinsin iarchurtha (147,197 ) (165,660 ) Gnóthachan aitheanta iomlán don bhliain 1,205,015 959,568 Is cuid de na Ráitis Airgeadais iad na Beartais Chuntasaíochta agus na nótaí 1-18

James Morris Lesley McKimm Cathaoirleach Comhalta Boird

20 Nollag 2012 life’s a breeze Niko: A family affair

Clár Comhardaithe Ráiteas maidir le Sreabhadh Airgid Don bhliain dar chríoch 31 Nollaig 2011 Mar a bhí ar an 31 Nollaig 2011

Nótaí 2011 2010 2011 2010 Sócmhainní Seasta I I I I Barrachas/(Easnamh) ar an gCuntas Caipitil 1,200,993 946,733 Socmhainní Inláimhsithe 11 55,824 85,328 46 Barrachas/(Easnamh) ar an gCuntas Riaracháin 4,022 12,835 47 1,205,015 959,568 Infheistíocht i Scannáin Coigeartú do mhíreanna neamhoibríochta Iasachtaí Léiriúcháin 3 971,438 1,046,797 Ús Bainc (74,054 ) (72,689 ) Iasachtaí Forbartha 3 111,976 128,891 Aistriú chuig/(ó) Chuntas Ioncaim agus Caiteachais Riaracháin (29,504 ) (58,031 ) 1,083,414 1,175,688 (103,558 ) (130,720 ) Sócmhainní Reatha Coigeartú do mhíreanna nach míreanna airgid iad Airgead sa Bhanc 8,287,962 6,232,600 Dímheas 56,602 86,848 Réamhíocaíochtaí/Feichiúnaithe/Ioncam Fabhraithe 13 115,585 352,718 (Méadú)/Laghdú i líon na bhfiachóirí 237,133 (222,830 ) 8,403,547 6,585,318 Méadú/(Laghdú) i líon na gCreidiúnaithe 613,214 939,481 Creidiúnaithe Glan-insreabhadh airgid ó ghníomhaíochtaí Oibriucháin 2,008,406 1,632,347 Suimeanna dlite laistigh de bhliain amháin 12 (1,880,566 ) (1,267,352 ) GLANSÓCMHAINNÍ REATHA 6,522,981 5,317,966 Ráiteas sreabhadh airgid Iomlán Sócmhainní Lúide Dliteanais Reatha roimh Pinsin 7,662,219 6,578,982 Glan-insreabhadh airgid ó ghníomhaíochtaí Oibriúcháin 2,008,406 1,632,347 Ús Bainc 74,054 72,689 Íocaíochtaí chun sócmhainní a cheannach (27,098 ) (28,817 ) Sócmhainn Maoinithe Pinsin Iarchurtha 2,684,217 2,188,000 Dliteanais Phinsean (2,684,217 ) (2,188,000 ) Insreabhadh/eis-sreabhadh 2,055,362 1,676,219 Glansócmhainní 7,662,219 6,578,982 Imréiteach Glan-insreabhadh airgid agus gluaiseachtaí i nGlan-Chistí Caipiteal agus Cúlchístí Méadú ar airgead tirim le linn na tréimhse. 2,055,362 1,676,219 Cuntas Caipitil 6,512,325 5,311,332 Airgead Tirim ar an 1 Eanáir 2011 6,232,600 4,556,381 Cuntas Riaracháin 10,655 6,633 Glan-chistí ar an 31 Nollaig 2011 8,287,962 6,232,600 Cúlchiste Caipitil 14 1,139,239 1,261,017 Is cuid de na Ráitis Airgeadais iad na Beartais Chuntasaíochta agus na nótaí 1-18 Iomlán 7,662,219 6,578,982 Is cuid de na Ráitis Airgeadais iad na Beartais Chuntasaíochta agus na nótaí 1-18

James Morris Lesley McKimm Cathaoirleach Comhalta Boird James Morris Lesley McKimm Cathaoirleach Comhalta Boird 20 Nollag 2012

20 Nollag 2012 song of the sea Cosmo

Nótaí leis na Ráitis Airgeadais 4. Íocaíochtaí Caipitil Eile

I dteannta na n-íocaíochtaí a rinneadh le haghaidh iasachtaí Léiriúcháin agus Forbartha, rinne an Bord na híocaíochtaí caipitil eile seo a leanas i rith na bliana. 2011 2010 1. Deontais Oireachtais Eagraíochtaí Eorpacha I I Eurimages 327,146 307,420 48 European Film Promotion 11,050 9,030 49 Maoinítear an deontas Oireachtais i dtaca le caiteachas caipitil an Bhoird faoin gClár Oibríochtúil don Earnáil Tháirgiúil agus faoin gClár European Observatory 19,970 20,575 Oibríochtúil Oiliúna agus Forbartha Acmhainní Daonna den bPlean Forbartha Náisiúnta 2007-2013 Media Antenna 12,200 12,200 Media Desk 57,011 57,000 2011 2010 Cuspóirí Reatha I I Cuallaíochtaí Tionscail Bord Scannán na hÉireann 2,431,000 2,772,000 Irish Playwrights and Screenwriters Guild 80,000 81,000 Lúide Glan-Ranníocaíochtaí Pinsin In-aisíoctha 40,362 42,047 Screen Directors Guild 80,000 83,000 Screen Producers Ireland 70,000 - Iomlán 2,390,638 2,729,953 Margadh na Scánnán/Ócáidí Tionscail Cuspóirí Caipitil Féile Scannán Idirnáisiúnta Bhaile Átha Cliath 35,000 30,000 Infheistíocht Scannán 16,000,000 16,500,000 Fleadh Scannán na Gaillimhe 40,000 40,000 Féile Scannán Guth Gafa 10,000 10,000 Stranger Than Fiction - 10,000 Cinemagic - 5,950 Cinema Northwest 25,000 - Féile Scannán Darklight 15,000 12,000 2. Teorannú ar an Méid Airgid a Sholathraíonn an Bord Féile Scannán an Daingin 7,000 5,000 Tacaíocht do Mhargadh Scannán na hEorpa 26,121 39,835 Eile - 1,398 De réir Alt 10 den Acht um Bord Scannán na hÉireann 1980 ní bheidh uasmhéid aon infheistíochtaí, iasachtaí, deontais agus barántais (lúide gnóthuithe) de bhreis ar €300,000,000. Ar an 31 Nollaig 2011, bhí suim de €204,604,884 curtha ar fáil (Ar an 31/12/2010 bhí €188,727,393 Eile curtha ar fáil). Cinemobile 60,000 60,000 IFTA 123,000 120,000 Oiliúint Eile 30,000 52,716 Deontais i dtaca le Scabhtáil/Taisteal 42,767 35,385 Léitheoirí Scripte 60,257 54,172 Ciste Caomhnaithe Chartlann Scannán na hÉireann 130,000 - 3. Infheistíocht Scannán Misiúin Trádála Isteach 67,678 - Iomlán 1,329,200 1,046,681 Iasachtaí Iasachtaí Léiriúcháin Forbartha Iomlán I I I Tugtha ar airleacan i rith na bliana 12,433,639 1,942,250 14,375,889 Aisghabháil i rith na bliana (594,104 ) (585,750 ) (1,179,854 ) Soláthar don bhliain (11,914,894 ) (1,373,415 ) (13,288,309 ) Gluaiseacht i rith na bliana (75,359 ) (16,915 ) (92,274 ) Iarmhéid ar an 1 Eanáir 2011 1,046,797 128,891 1,175,688 Iarmhéid ar an 31/12/11 971,438 111,976 1,083,414 I’m a creepy crawly nightdancers

5. Riarachán 7. Eagraíochtaí, Síntiúis agus Taighde

2011 2010 2011 2010 I I I I Tuarastail Riaracháin * 904,007 960,549 IBEC 12,414 12,434 Táillí Comhaltaí Boird 44,888 44,888 Síntiúis le Foilsiucháin 5,384 5,415 Foireann Sealadach 2,613 - Screen Producers Ireland - 50,000 Oiliúint Foirne 3,706 10,341 Cartlann Scannán na hÉireann 50,000 104,000 50 Muirir Cíosa agus Seirbhíse 276,015 278,146 Oideachas 3,933 - 51 Árachas 6,470 8,190 Iomlán 71,731 171,849 Solas/Teas 13,908 17,336 Teileafón/Facs 59,035 59,589 Tá an figiúr le haghaidh ócáidí LA athráite agus tá sé curtha san áireamh anois faoi Cur Chun Cinn Idirnáisiúnta faoi Nóta 8 chun léargas níos fearr a thabhairt ar Postas/Teachtairí 29,726 24,500 chúrsaí sa bhliain 2011. Páipéarachas Oifige/Clódóireacht 22,671 21,551 Deisiúcháin/Cothabháil 54,547 37,727 Taisteal /Cothabháil Foirne ** 124,995 158,110 Ús agus Muirir Bainc 1,233 1,506 Cruinnithe agus Costais Boird 3,603 10,463 8. Margaíocht Táillí Dlí - 4,447 Táillí Iniúchóirí 14,852 14,852 2011 2010 Ilghnéitheach 11,183 11,615 I I Dímheas 56,602 86,848 Cur chun cinn Féilte 135,585 145,568 Comhairliúchán 204,968 143,906 Fógraíocht 52,657 59,663 Costais Earcaíochta - 55,998 Ócáidí/Caidreamh Poiblí 97,762 83,302 Iomlán 1,835,022 1,950,562 Foilsiúcháin 26,487 29,932 Ábhair Margaíochta 18,416 24,532 *Tá an figiúr i dtaobh Tuarastail Riaracháin don bhliain 2010 athráite le híocaíochtaí pinsin a nochtar anois i Nóta 10 a fhágáil ar lár. Láithreán Gréasáin/Cur Chun Cinn Ar Líne 30,199 15,209 **San áireamh sa bhfigiúr seo tá €80,623 a raibh de chostas ar thaisteal thar lear i 2011. Bhí an taisteal sin riachtanach le hairgeadas idirnáisiúnta a ghnóthú do Seirbhísí Suímh 8,678 18,242 shláta príomhscannán BSÉ/IFB, le feasacht ar scannáin Éireannacha thar lear agus le chun Éire a chur chun cinn thar lear mar shuíomh scannáin. Ina theannta sin Margaíocht Thar Lear - 76,422 tá €4,489 san áireamh a chaith baill foirne le siamsaíocht a chur ar fáil do phríomh-theagmhálaithe gnó le linn 2011. Cur Chun Cinn Idirnáisiúnta 22,952 46,467 Oifig LA ** 159,534 183,188 Iomlán 552,270 682,525 *Tá an figiúr i dtaca le Cur Chun Cinn Idirnáisiúnta athráite agus san áireamh leis anois tá caiteachas a nochtadh roimhe seo faoi ócáidí LA i Nóta 7. **Léiríonn sé sin costais foirne de €129,980 agus forchostais de €29,554. (Sa bhliain 2010 ba €134,115 na costais foirne agus ba €49,072 na forchostais). 6. Luach Saothair an Bhoird agus Fostaithe

I rith na bliana is mar seo a leanas a bhí meán-líon na bhfostaithe, an Príomhfheidhmeannach san áireamh: 2011 2010 Príomhfheidhmeannach 1 1 Fostaithe 14 15 9. Léas ar Áitribh

Tháinig an Príomhfheidhmeannach isteach sa Ghníomhaireacht ar an 1 Meitheamh 2011. Is mar seo a leanas atá comhdhéanamh thuarastal Tá gealltanais ag an mBord go dtí 2016 i dtaca lena oifig i nGaillimh ag Queensgate, 23 Bóthar na nDuganna. Tá costas bliantúil ar an léas sin an Phríomhfheidhmeannaigh: Buntuarastal bunúsach bliantúil: €95,000. Ní mhairfidh teidlíochtaí an Phríomhfheidhmeannaigh níos faide ná na de €76,350 móide CBL. Tá gealltanais ag an mBord freisin go dtí 2017 i dtaca lena chuid oifigí ag 14 -16 Sráid an Tiarna Éadbhard, Baile Átha teidlíochtaí caighdeánacha i scéim aoisliúntais sochair sainithe na hearnála poiblí. Cliath 2 ar chostas de €116,000 móide CBL in aghaidh na bliana.

Tabhaíodh costais de €8,177 i dtaca leis an bPríomhfheidhmeannach agus ináirithe leo sin tá na catagóirí seo a leanas: Cóiríocht, táillí aeir, muirir theileafón póca, cothabháil, táillí traenach agus tacsaí.

Íocadh táillí de €60,000 leis an iar-Phríomhfheidhmeannach, Simon Perry i dtaca le conradh sé mhí comhairliúcháin i 2011. Thabhaigh seisean €6,850 eile i dtaca le taisteal agus cothabháil.

Íocadh asbhaintí tobhaigh pinsin de €54,566 ó thuarastail na foirne leis an Roinn Ealaíon, Oidhreachta agus Gaeltachta sa bhliain 2011.

Fuair an Cathaoirleach táille de €8,978 agus fuair gach duine de na seisear comhaltaí boird €5,978 an duine. Íocadh iomlán de €2,928 ar chostais le comhaltaí boird. Bhain €1,739 de sin le taisteal thar lear agus bhain €1,189 le costais in Éirinn lena n-áirítear óstain, costais taistil agus cothabháil. love eternal moon man

10. Aoisliúntas Is mar seo a leanas a bhí na príomh-bhoinn tuisceana achtúireachta 31/12/2011 31/12/2010 31/12/2009 31/12/2008 31/12/2007 a. Anailís ar na costais iomlána pinsean 2011 2010 2009 2008 2007 Ráta méadaithe tuarastal 3.50% 3.50% 3.50% 3.50% 4.00% I I I I I muirearaithe ar Chaiteachas Ráta méadaithe pinsean á n-íoc 3.50% 3.50% 3.50% 3.50% 4.00% Costas reatha ar sheirbhísiú 284,048 266,270 271,079 188,129 208,460 Ráta Lascaine 3.70% 4.00% 4.30% 4.00% 4.75% Ús ar Dhliteanais na Scéime Pinsin 93,888 85,191 75,415 62,121 57,859 Boilsciú 2.00% 2.00% 2.00% 2.00% 2.50% Ranníocaíochtaí Foirne (40,362 ) (42,047 ) (47,074 ) (44,591 ) (43,826 ) 52 Iomlán €337,574 € 309,414 € 299,420 € 205,659 € 222,493 Ceadaíonn an bonn básmhaireachta a glacadh do fheabhsuithe maidir le hionchas saoil le linn tréimhse ama, ionas go mbeidh an t-ionchas 53 saoil ag an am scoir ag braith ar an mbliain ina bhainfidh an ball amach an an aois scoir (65 bliana d’aois). Glacadh na rátaí básmhair mar seo a leanas: b. Gluaiseacht i nDliteanais Pinsin 2011 2010 2009 2008 2007 glan i rith na bliana airgeadais I I I I I Ionchas Saoil d’Fhear atá 65 bliana d’aois 21.9 bliain Dliteanas Pinsin Glan ar an 1 Eanáir 2,188,000 2,002,199 1,908,907 1,330,100 1,181,523 Ionchas Saoil do bhean atá 65 bliana d’aois 23.5 bliain Costas Reatha ar Sheirbhísiú 284,048 266,270 271,079 188,129 208,460 Ionchas Saoil d’fhear atá 45 bliana d’aois faoi láthair (ó aois 65) 24.2 bliain Costas Úis 93,888 85,191 75,415 62,121 57,859 Ionchas Saoil do bhean atá 45 bliana d’aois faoi láthair (ó aois 65) 25.4 bliain Caillteanas/(Gnóthachain) Achtúireachta 124,276 (165,660 ) (253,202 ) 328,557 (117,742 ) Pinsin a íocadh i rith na bliana* (5,995 ) (22,472 ) - - - Iomlán €€2,684,217 2,188,000 € 2,002,199 € 1,908,907 € 1,330,100 *Tá an figiúr i dtaca le pinsin a íocadh i rith na bliana 2010 athráite le híocaíocht pinsin a chur san áireamh a nochtadh roimhe seo faoi Thuarastail Riaracháin i Nóta 5. 11. Sócmhainní Seasta Inláimhsithe

Troscán Ríomhairí Iomlán c. Sócmhainn Maoiniúcháin Iarchurtha do Phinsin Costas I I I Aithníonn an Bord na suimeanna seo mar shócmhainn gurb ionann í agus an dliteanas iarchurtha neamh-mhaoinithe i dtaca le pinsin bunaithe ar Ar an 1 Eanáir 2011 386,658 224,139 610,797 an réimse bonn tuisceana a bhfuil cur síos déanta orthu thuas agus ar líon áirithe ócáidí a tharla cheana. I measc na n-ócáidí sin tá an tacaíocht Breiseanna - 27,098 27,098 reachtúil do bhunú na scéime pinsin, agus an polasaí agus an cleachtas maidir le pinsin seirbhíse poiblí a mhaoiniú lena n-áirítear ranníocaíochtaí Diúscairtí - - - na bhfostaithe agus an próiséas bliantúil meastacháin. Níl aon fhianaise ag an mBord nach leanfaidh an polasaí sin ar aghaidh ag comhlíonadh na Ar an 31 Nollaig 2011 386,658 251,237 637,895 suimeanna sin de réir an chleachtais reatha. Dímheas Is mar seo a leanas a bhí an Maoiniú Iarchurtha le haghaidh Pinsean aitheanta sa Chuntas Ioncaim agus Caiteachais: Ar an 1 Eanáir 2011 325,948 199,521 525,469 Muirear don bhliain 31,867 24,735 56,602 2011 2010 2009 2008 2007 Diúscairtí - - - I I I I I Ar an 31 Nollaig 2011 357,815 224,256 582,071 Maoiniú Inghnóthaithe i dtaca le costais pinsean na bliana reatha 377,936 351,461 346,494 250,250 266,319

Deontas Stáit i bhfeidhm chun pinsinéirí a íoc (5,995 ) (22,472 ) - - - Glanluach Leabhar NBV Iomlán €€€371,941 €328,989 € 346,494 € 250,250 € 266,319 Amhail ar 31 Nollaig 2011 28,843 26,981 55,824 Is é €2,684,217an méid a bhí sa sócmhainn mhaoinithe iarchurtha do phinsin an 31 Nollaig 2011 (€2,188,000 sa bhliain 2010). Amhail ar 31 Nollaig 2010 60,710 24,618 85,328 Gluaiseacht (31,867 ) 2,363 (29,504 ) 2011 2010 2009 2008

d. Stair na n-oibligeaidí sochair sainithe I I I I Oibligeáidí sochair sainithe 2,684,217 2,188,000 2,002,199 1,908,907 (Gnóthachain)/caillteanais ó thaithí ar dhliteanais na scéime (105,083 ) (320,044 ) (90,900 ) 53,735 Céatadán de Dhliteanais na Scéime -4% -15% -5% 3% 12. Creidiúnaithe

2011 2010 I I e. Cur Síos Ginearálta ar an Scéim IMAT/ÁSPC 34,769 36,369 Socrú pinsean tuarastail dheiridh sochar sainithe is ea an scéim pinsean le sochair agus ranníocaíochtaí a sainmhínítear iad trí thagairt a Fabhruithe Eile 399,530 462,602 dhéanamh do na rialúcháin reatha i dtaca le scéimeanna ‘eiseamláracha’ don earnáil phoiblí. Soláthraíonn an scéim pinsean (ochtóidí do gach Cáin Shiarchoinneálach 15,921 17,651 bliain seirbhíse), aisce nó cnapshuim (trí ochtóidí do gach bliain seirbhíse) agus pinsin do chéilí agus do leanaí. Go hiondúil is é an 65ú breithlá Ranníocaíocht Pinsean - 7,958 dáta scoir an bhaill agus tá teidlíocht ag baill a bhí sa scéim roimh 2004 scor ó aois 60 gan aon laghdú achtúireachta. Go hiondúil meadaíonn Creidiúnaithe Trádála 1,430,346 742,772 pinsin atá á n-íoc agus pinsin iarchurtha de réir boilsciú tuarastal ginearálta san earnáil phoiblí. Iomlán 1,880,566 1,267,352 Bunaíodh an luacháil a úsáideadh le haghaidh faisnéisithe FRS 17 (leasaithe) ar luacháil iomlán achtúireach a chuir achtúire neamhspleách i gcríoch ag cur riachtanas FRS 17 san áireamh chun measúnú a dhéanamh ar dhliteanais na scéime ar an 31 Nollaig 2011. buddy asal

13. FIACHÓIRÍ AGUS RÉAMHÍOCAÍOCHTAÍ 17. COMHALTAÍ BOIRD - NOCHTADH IDIRBHEARTA

2011 2010 Tá sé ceadmhach do Bhord Scannán na hÉireann le linn a ghnáth-ghnó, cúnamh a cheadú do thionscadail scannán agus socruithe Conartha I I eile a dhéanamh le gnóthais a mbíonn Comhaltaí Boird fostaithe iontu nó a mbíonn leas eile acu iontu. Tá nosanna imeachta glactha ag Bord Fiac hóirí - 155,028 Scannán na hÉireann i ndáil le nochtuithe suime ag comhaltaí Boird agus cloíodh leis na nósanna imeachta sin i rith na bliana. Réamhíocaíochtaí 65,585 76,515 Ioncam Fabhraithe 50,000 121,175 Le linn 2011 tugadh faomhadh do na hiasachtaí seo a leanas do thionscadail a raibh leas ag Comhalta Boird 54 Iomlán 115,585 352,718 iontu nó ina raibh Comhalta Boird fostaithe: 55 Ainm Cuideachta I

14. Cúlchiste Caipitil Lesley McKimm Newgrange Pictures Vexed (Ciste Idirnáisiúnta Léiriúcháin) 150,000 2011 2010 Call Girl (Léiriúchán) 25,000 I I Julia Here (Forbairt) 12,000 Iarmhéid ar an 01/01/11 1,261,017 1,500,874 Asal (Gearrscannáín) 10,000 Infheistíocht Scannán (92,274) (181,826 ) Gluaiseacht sa Mhaoiniú ar Shócmhainní Seasta (29,504 ) (58,031 ) Kevin Moriarty Ardmore Studios Iarmhéid ar an 31/12/11 1,139,239 1,261,017 Vexed (Ciste Idirnáisiúnta Léiriúcháin) (150,000 )

Tá an ghluaiseacht sa Mhaoiniúchán Sócmhainní Seasta comhdhéanta mar seo a leanas: James Morris Treasure Entertainment Ioncam leithroinnte do chuspóirí Caipitil 27,098 28,817 30 Eggs (Forbairt) 18,000 Amúchadh 56,602 86,848 A Month in the Country (Forbairt) 28,000 Iomlán (29,504 ) (58,031 ) Good Vibrations (Maoiniú Leiriúcháin) 525,000 The Vehicle (Forbairt) 38,000 Shrooms 3D (Forbairt) 20,000 Wayfaring Strangers (Forbairt) 30,000 15. Gealltanais The Steamroller (Forbairt) 25,000 Fuair Treasure Entertainment tairiscint sealadach freisin Léiriú Léiriú Léiriú ar mhaoiniú léiriúcháin i dtaca leis an tionscnamh The Vehicle Príomhscannán* Scannán Faisnéise Scannán Beochana Dáileacháin Scéimeanna Iomlán Iasachtaí Leiriúcháin I I I I I I Windmill Lane Pictures Gealltanais @ 01/01/11 1,293,657 535,975 122,400 151,384 220,295 2,323,711 Albert Nobbs (Maoiniú Breise Léiriúcháin) 50,000 Gealltanais le linn 2011 10,295,580 1,192,300 530,000 364,050 827,000 13,208,930 Saving the Titanic (Maoiniú Leiriúcháin) 150,000 Gealltanais in éag 2011 - - - (39,286 ) (34,291 ) (73,577 ) Last Days on Mars (Maoiniú Leiriúcháin) 500,000 Iomlán na nGealltanas 11,589,237 1,728,275 652,400 476,148 1,013,004 15,459,064 Vexed (Ciste Idirnáisiúnta Léiriúcháin) (150,000 ) Nicholas North (Léiriúchán) (300,000 ) Íocaíochtaí i 2011 (9,714,130 ) (1,198,648 ) (557,900 ) (297,217 ) (665,745 ) (12,433,640 ) Gealltanais ar an 31/12/11 1,875,107 529,627 94,500 178,931 347,259 3,025,424 Tristan Orpen Lynch Subotica Entertainment Flowers of Desire (Léiriúchán) 60,000 *Ináirithe sa bhfigiúr i dtaca le gealltanas agus le híocaíocht i dtaobh léiriú príomhscannán tá suim de €176, 962 i dtaobh costas a bhaineann le costais an tionscnaimh agus costais dlí an léiriúcháin. Nicholas North (Léiriúchán) 300,000 A Stranger in a Strange Land (Léiriúchán) 100,000 Beochana Príomhscannán Devlin (Forbairt) 17,000 Forbartha Forbartha Iomlán An Evening of Long Goodbyes (Forbairt) 24,000 Iasachtaí Forbartha I I I Fuair Subotica tairiscint sealadach freisin ar mhaoiniú Gealltanais @ 01/01/11 64,001 491,195 555,196 léiriúcháin i dtaca leis an tionscnamh Devlin Gealltanais le linn 2011 367,894 1,834,240 2,202,134 Gealltanais in éag 2011 (20,000 ) (68,500 ) (88,500 ) Johnny Gogan Cinema Northwest Iomlán na nGealltanas 411,895 2,256,935 2,668,830 Cinema Northwest 25,000 Íocaíochtaí le linn 2011 (338,000 ) (1,604,250 ) (1,942,250 ) Iomlán 2,107,000 Gealltanais ar an 31/12/11 73,895 652,685 726,580

16. TAIRISCINTÍ SEALADACHA AR CHÚNAMH DO THIONSCADAIL SCANNÁN 18. FAOMHADH AN BHOIRD

De bhreis ar na gealltanais conartha atá gan íoc ag deireadh na bliana de €3,752,004 a nochtadh bhí €6,984,068 sa bhreis gan íoc i dtaca Fuair na Ráitis Airgeadais faomhadh an Bhoird ar an 2 Bealtaine 2012. le tairiscintí sealadacha ar chúnamh. Tá an chuid is mó de na gealltanais sin, €5,807,568, i dtaca le léiriúcháin príomhscannán ina bhfuil tairiscintí faoi réir théarmaí agus coinníollacha áirithe lena n-áirítear airgeadas a aimsiú. Fanann siad bailí ar feadh tréimhse de suas go dtí sé mhí agus ag an bpointe sin tá siad faoi réir athbhreithnithe. Tá na tairiscintí sin coinníollach ar chistí an bhoird a bheith ar fáil. Bhí cúig tairiscint neamhcainníochtaithe ar chúnamh ag an mBord do chúig léiriúchán príómhscannán eile ag deireadh na bliana. congo

LÉIRIÚ SCANNÁN FAISNÉISE CUR CHUN CINN AGUS FÓGRAÍOCHT/ TACAÍÓCHT DO MHARGAÍOCHT Geallta I I 350 degrees South CR Entertainment 8,000 Geallta A Captured Face: From Clare to Cuba Poolbeg Productions 5,000 As if I’m not there Element Distribution 21,825 noreen A Childish Place Still Films 10,000 Essential Killing Element Distribution 5,000 A Stranger in a Strange Land Subotica 100,000 Parked Element Distribution 44,000 Perfect Sense Eclipse Pictures 5,000 56 Ballymun Lullaby Pulp Films 60,000 57 Black Dragon Gambit Pictures 10,000 Sensation Blinder Films 44,510 Canvas Cadenza Films 10,000 Snap Eclipse Distribution 9,780 Circus on the Road Ikandi Productions 10,000 The Guard Element Distribution 25,000 Aguisín 1 Clientelle Still Films 15,000 The Runway Element Distribution 75,000 Tá aguisíní 1 go 5 ann mar thagairt eolais agus ní mar chuid de na cuntais ar leathanaigh 37 go 55. Deputy Ming Big Yes Productions 15,000 Iomlán 230,115 Gaze/PDA Crossing the Line Productions 6,500 Generation Game John Kelleher Media 10,000 Gealltanais Chaipitiúla 2011 Get the Picture Ferndale Films 15,000 DÁILÍÚCHÁN DÍREACH Hammer to Bell Three Legged Dog Films 12,000 I was a Soldier: The Return West Park Pictures West 60,000 I Iasachtaí Léiriúcháin do Phríomhscannáin CISTE DO CHOMHLÉIRIÚCHÁIN CHRUTHAITHEACHA Geallta Jimmy Van Damme El Zorrero Films 15,000 Ballymun Lullaby Pulp Productions 15,000 Knuckle Rise Films 4,300 Geallta I Geallta I Between the Canals Avalon Films 6,700 Little Matador Element Films 25,000 Albert Nobbs Parallel Film Productions 50,000 Call Girl Newgrange Pictures 150,000 Congo: An Irish Affair Akajava Films 4,960 Men at Lunch Sonta Productions 50,000 Beckett on Film Parallel Film Productions 300,000 Call Girl Newgrange Pictures 25,000 Lotus Eaters Fastnet Films 1,150 Neal McGregor Soilsiu Films 5,000 Byzantium Parallel Film Productions 1,300,000 Flowers of Desire Subotica 360,000 One Hundred Mornings Blinder Films 15,000 Nightdancers Still Films 85,000 Charlie Cassanova Terry McMahon 15,000 Kelly + Victor Venom Films 150,000 Rewind Carbon Films 15,000 Nuala O’Faolain: A Life Deer Lake Films 50,000 Eliot and Me Fubar 50,000 Milo Samson Films 400,000 The Pier Black Equus Productions 13,000 Off the Beaten Track Ikandi Productions 25,000 Finding Joy True Films 15,000 Moth Diaries Samson Films 25,000 The Pipe Irish Film Institute 5,000 Pervert’s Guide to Ideology Blinder Films 100,000 Good Vibrations Canderblinks 525,000 Niko: A Family Affair Tidal Films 450,000 Iomlán 75,810 Roller Girls True Films 10,000 Grabbers Samson Films 100,000 Iomlán 1,560,000 Saving the Titanic Tile Films 75,000 Grooskill Vico Films 350,000 Shem the Penman Sings Again Poolen Productions 15,000 Jump Blinder Films 300,000 Showrunners Black Sheep Productions 20,000 Life’s a Breeze Fastnet Films 750,000 TACAÍOCHT DO PHRIONTÁIL Stuffing the Tiger Poolbeg Productions 10,000 Lotus Eaters Fastnet Films 3,650 LÉIRIÚ SCANNÁN BEOCHANA Stuffing the Tiger Poolbeg Productions 90,000 Geallta I Love Eternal Fastnet Films 600,000 The Children of Humla Soilsiu Films 5,000 Between the Canals Avalon Films 5,486 Mister John Samson Films 350,000 Geallta I The Craic Soho Moon Pictures 10,000 Colony Fastnet Films 2,867 Sanctuary Venom Films 600,000 The Wordles Kavaleer Productions 150,000 The Doctor’s Sword Gambit Pictures 12,000 Crossing Salween Red Rage 3,942 Saving the Titanic Tile Films 75,000 Cosmo Monster Animation 300,000 The Drunken Irish Lets Not Lose It Productions 5,000 Noreen El Zorrero 630 Shadow Dancer Element Pictures 500,000 I’m a Creepy Crawly Monster Animation 80,000 The Egg and the Chicken Monford Ltd 15,000 Pentecost EMU Productions 380 State of Suspension Clare Langan 15,000 Iomlán 530,000 The Life of Anton Corbijn Fastnet Films 44,500 Rewind Carbon Films 8,100 Stitches Fantastic Films 600,000 The Londoners Nobody Knows crow Hill Films 50,000 Shoe Zanita Productions 735 The Shadows EMU Productions 100,000 The Runner Underground Films 10,000 Small Change Venom Films 3,355 Titanic Grand Pictures 300,000 Unbreakable True Films 10,000 Snap Samson Films 6,450 What Richard Did Element Films 720,000 CISTE RÉIGIÚNACHTACAÍOCHTA Very Extremely Dangerous Screenworks 75,000 Switch Warrior Films 480 Iomlán 7,618,650 Voices from Belarus Planet Korda Pictures 10,000 The Crush Purdy Pictures 835 I Geallta Way Out Farcry Productions 10,000 The Lactating Automation Restoration Films 2,000 Good Vibrations Canderblinks 75,000 Why Men Have Babies Ripple World Pictures 10,000 Iomlán 35,260 Love Eternal Fastnet Films 120,000 Iomlán 1,192,300 Sanctuary Venom Films 120,000 Iomlán 315,000 POIBLÍOCHT IDIRNÁISIÚNTA

Geallta I CISTE IDIRNÁISIÚNTA LÉIRIÚCHÁIN Charlie Cassanova The Cannibal Corporation 3,669 As if I’m not there Octagon Films 10,752 Geallta I Knuckle Seafield Films 5,000 Ripper Street Element Pictures 475,000 The Lotus Eaters Fastnet Films 3,444 Vexed Season 2 Newgrange Pictures 150,000 Iomlán 22,865 Iomlán 625,000 here to fall where i am

SIGNATURES FRAMEWORKS Iasachtaí Forbairt do Phríomhscannáin

I I Geallta Geallta Geallta I Geallta I Cluck Tilted Pictures 72,000 On Departure Jad Agencies 47,000 12:23 Parallel Film Productions 20,000 Mount Vernon Mary Hick Productions 14,000 Foxes Lovely Productions 73,000 Trid an Stoirm Brennus Productions 49,500 30 Eggs Treasure Entertainment 18,000 Nineteen Days and Counting ann Marie McCormack 12,000 Mikaya WMD Fastnet Films 74,000 Coda And Maps and Plans 48,000 A Crack in Everything Mary Kate O’Flanagan 12,000 Noble Danman Films 20,000 The Hatch Red Rage Productions 73,000 Fear of Flying Lovely Productions 48,500 A Month in the Country treasure Entertainment 28,000 Not Cricket Peer Pressure 32,000 Two Hearts Calipo Picture Company 72,000 58 Iomlán 193,000 An Bronntanas DeFacto Films 20,000 Objects of Interest Mammoth Films 25,000 59 Iomlán 364,000 An Bronntanas De Facto Films 20,000 Pilgrimage SP Films 20,000 An Evening of Long Goodbyes Subotica 24,000 Reeling Parallel Film Productions 15,000 An Ocean View The Cannibal Corporation 24,000 Roll River John Butler 12,000 GEARRSCANNÁIN Beautiful Noise Coastguard Films 25,000 RPG Niall Heery 16,000 REALITY BITES Belinda Elisabeth Gooch 12,000 Run and Jump Samson Films 10,000 Geallta I Better Love Conor Horgan 12,000 Secret Scripture Ferndale Films 15,000 Geallta I Asal Newgrange Pictures 10,000 Big Silver Lining Red Rage Productions 16,500 Shade Tom Cosgrove 12,000 Good 2 Wheels John Kelleher Media 15,000 Buddy Keith Bogue 10,000 Blue Guitar Grand Pictures 15,000 She Bites Lee Cronin 22,000 Home Turf True Films 15,000 El Toro El Zorerro Films 10,000 Break Point Zanita Productions 16,000 She’s My Dad Icebox Films 18,000 In My Place Underground Films 15,000 Iomlán 30,000 Brian Rua Parallel Film Productions 30,000 Shrooms 3D Treasure Entertainment 20,000 Joyriders Fastnet Films 15,000 Byzantium Parallel Film Productions 30,000 Sixty Eight Naomi Sheridan 12,000 Quarantine Harvest Films 15,000 Byzantium Parallel Film Productions 49,000 Skippy Dies Littlewave Productions 50,000 The End of the Counter Crow Hill Films 15,000 Carefree Barry Devlin 16,000 Stags Samson Films 20,000 The Rebirth Mythos Films 15,000 City of Bohane Parallel Film Productions 50,000 Star of the Sea Parallel Film Productions 49,200 Within 3 Miles Areaman Productions 15,000 Commonwealth Tom Hall & Christian O’Reilly 16,000 Still Life Mark Tuthill 5,000 Iomlán 120,000 Crossing Salween Red Rage Productions 30,000 Tandem Blinder Films 20,000 Dark Zone Fantastic Films 10,000 Tell Them Nothing Donal Gleeson 12,000 Dead As Doornails Fastnet Films 20,000 The Absence Sonata Rainmark Films 25,000 Death and Nightingales Soho Moon Pictures 12,500 The Bear on the Train teemu Auersalo 12,000 SHORT SHORTS Devlin Subotica 17,000 The Bogman King Mike Ahearne and Enda Loughman 16,000 Easy Does It Janey Pictures 10,000 The Canal Park Films 20,000 Geallta I Echo Chamber Parallel Film Productions 47,040 The Cherry Tree Fantastic Films 20,000 An Rinceoir Underground Films 15,000 Faultline Enough Dynamite 30,000 The Clown Fantastic Films 9,000 Bird Food Brown Bag 15,000 Food Guide to Love Parallel Film Productions 15,000 The End of Romance Soho Moon Pictures 26,000 Downpour Zucca Films 15,000 Found Ailbhe Keogh & Michael Kelly 16,000 The End of Sleep Parallel Film Productions 30,000 Jonny Boy Stitch Films 15,000 Fury Littlewave Productions 50,000 The Gee Gees Element Pictures 40,000 Learning to Fish Still Films 15,000 Good Vibrations Candervibes 14,000 The Good Heart Darragh Byrne & Eoin MacNamee 16,000 Pet Hate Brennus Productions 15,000 Grooskill Vico Films 10,000 The Grass Arena Screenworks 12,500 Tree Tilted Pictures 15,000 Harms Way Blinder Films 9,000 The Last Snows of Spring Wide Eye Films 5,500 Washed Up Love Jumper Productions 15,000 Julia Here Newgrange Pictures 12,000 The Mulberry Project heavens Gate Films 27,500 Iomlán 120,000 Kidsmoke Sean Smith 12,000 The Ones You Do Octagon Films 50,000 Life’s A breeze Fastnet Films 15,000 The Price of Desire EG Productions 20,000 Link Michael Lavelle 12,000 The Ranger Fastnet Films 5,000 Love Eternal Fastnet Films 15,000 The Rules of Engagement calipo Pictures 20,000 Margaret Rebecca Daly and Glenn Montgomery 16,000 The Steamroller Treasure Entertainment 25,000 Memorabilia Parallel Film Productions 9,000 The Summer Sharon Horgan 16,000 Miles to Go Patrick Kenny 12,000 The Valentine Gang Ripple World Pictures 20,000 Mister John Samson Films 10,000 The Vehicle Treasure Entertainment 38,000 Monsters and Magic Joason Butler and Brendan Butler 16,000 Wayfaring Strangers treasure Entertainment 30,000 Moscow Never Sleep Blinder Films 15,000 Where we’ll never grow old Ripple World Pictures 15,000 Moscow Never Sleeps Blinder Films 16,500 Iomlán 1,834,240

FORBAIRT SCANNÁN BEOCHANA

Geallta I Geallta I Cosmo Monster Animation 34,000 Song of the Sea Cartoon Saloon 17,894 Curly Hare Jam Media 50,000 The Boy in the Bubble Igloo Films 28,000 Inis Spraoi Magpie6 Media 45,000 The Overcoat A Man & Ink 29,000 Little Caribou Barley Films 10,000 The Wooden Sword Brown Bag Films 45,000 Oops Noah is Gone Magma Productions 10,000 Whiplash Brown Bag Films 30,000 Pillage & Sons Brown Bag Films 44,000 Zig and Zag Flickerpix 25,000 Iomlán 367,894 the crush

Iasachtaí Cur Chun Cinn agus Fógraíochtaí/ Reality Bites 2011 Iasachtaí Tacaíochta do Mhargaíocht Ar feitheamh I Ar feitheamh I Good 2 Wheels John Kelleher Media 13,500 As if I’m not there Element Distribution 2,183 In My Place Underground Films 13,500 hammer to bell Essential Killing Element Distribution 2,500 The End of the Counter Crow Hill Films 13,500 Parked Element Distribution 22,026 The Rebirth Mythos Films 13,500 Within 3 Miles Areaman Productions 1,500 60 Sensation Blinder Films 22,255 61 Snap Eclipse Distribution 978 Iomlán 55,500 The Runway Element Distribution 37,500 Perfect Sense Eclipse Pictures 2,500 Aguisín 2 Roimh 2011 60,433 Iomlán 150,374 Short Shorts Gealltannais gan Íoc 2011 Ar feitheamh I Bird Food Brown Bag 14,000 IASACHTAÍ LÉIRIÚCHÁIN DO PHRÍOMHSCANNÁIN CISTE RÉIGIÚNACH TACAÍOCHTA Dáiliúchán Díreach Learning to Fish Still Films 14,000 Pet Hate Brennus Productions 14,000 I I Ar feitheamh Ar feitheamh Ar feitheamh I Tree Tilted Pictures 14,000 Beckett on Film Parallel Film Productions 50,000 Good Vibrations Canderblinks 15,000 Ballymun Lullaby Pulp Productions 3,000 Washed Up Love Jumper Productions 1,000 Eliot and Me Fubar 20,000 Love Eternal Fastnet Films 48,000 Congo: An Irish Affair Akajava Films 992 Roimh 2011 11,985 Finding Joy True Films 3,000 Sanctuary Venom Films 48,000 One Hundred Mornings Blinder Films 350 Iomlán 68,985 Good Vibrations Canderblinks 45,000 Roimh 2011 42,000 The Pier Black Equus Productions 6,500 Grooskill Vico Films 70,000 Iomlán 153,000 Roimh 2011 5,000 Jump Blinder Films 30,000 Iomlán 15,842 Life’s a Breeze Fastnet Films 105,000 Frameworks Love Eternal Fastnet Films 24,000 LÉIRIÚ SCANNÁN FAISNÉISE Sanctuary Venom Films 24,000 Ar feitheamh I Shadow Dancer Element Pictures 50,000 Ar feitheamh I On Departure 23,500 Stitches Fantastic Films 120,000 Tacaíocht do Phriontáil 350 degrees South CR Entertainment 1,600 Trid an Stoirm Brennus Productions 24,750 The Shadows EMU Productions 13,000 A Captured Face: From Clare to Cuba Poolbeg Productions 1,000 I Coda And Maps and Plans 24,000 Titanic Grand Pictures 30,000 Ar feitheamh A Stranger in a Strange Land Subotica 10,000 Fear of Flying Lovely Productions 24,250 What Richard Did Element Films 144,000 Snap Samson Films 3,225 Ballymun Lullaby Pulp Films 12,000 Roimh 2011 20,272 Roimh 2011 253,100 Roimh 2011 6,989 Canvas Cadenza Films 2,000 Iomlán 10,214 Iomlán 116,772 Iomlán 981,100 Circus on the Road Ikandi Productions 2,000 Clientelle Still Films 3,000 Deputy Ming Big Yes Productions 3,000 Generation Game John Kelleher Media 2,000 Gearrscannán 1 CISTE DO CHOMHLÉIRIÚCHÁIN CHRUTHAITHEACHA I was a Soldier: The Return West Park Pictures West 2,000 Poiblíocht Idirnáisiúnta Jimmy Van Damme El Zorrero Films 3,000 Ar feitheamh I I Ar feitheamh I Ar feitheamh Men at Lunch Sonta Productions 15,000 Asal Newgrange Pictures 1,000 Knuckle Seafield Films 2,500 Call Girl Newgrange Pictures 45,000 Neal McGregor Soilsiu Films 1,000 Buddy Keith Bogue 2,000 Call Girl Newgrange Pictures 25,000 Nightdancers Still Films 8,500 Iomlán 2,500 El Toro El Zorerro Films 9,000 Flowers of Desire Subotica 36,000 Nuala O’Faolain: A Life Deer Lake Films 30,000 Iomlán 12,000 Kelly + Victor Venom Films 30,000 Pervert’s Guide to Ideology Blinder Films 50,000 Milo Samson Films 40,000 Roller Girls True Films 2,000 Moth Diaries Samson Films 5,000 Saving the Titanic Tile Films 15,000 Niko: A Family Affair Tidal Films 225,000 Stuffing the Tiger Poolbeg Productions 30,000 Signatures 2011 Roimh 2011 335,000 The Children of Humla Soilsiu Films 1,000 Oscailt I The Craic Soho Moon Pictures 1,000 Ar feitheamh Iomlán 741,000 I The Doctor’s Sword Gambit Pictures 2,400 Foxes Lovely Productions 7,300 Ar feitheamh The Drunken Irish Lets Not Lose It Productions 1,000 Mikaya WMD Fastnet Films 74,000 Roimh 2011 5,000 The Egg and the Chicken Monford Ltd 3,000 Roimh 2011 7,100 Iomlán 5,000 The Life of Anton Corbijn Fastnet Films 4,450 Iomlán 88,400 LÉIRIÚ SCANNÁN BEOCHANA The Londoners Nobody Knows crow Hill Films 25,000 The Runner Underground Films 2,000 Ar feitheamh I Unbreakable True Films 2,000 The Wordles Kavaleer Productions 37,500 Virtual Cinema Very Extremely Dangerous Screenworks 7,500 Roimh 2011 57,000 Way Out Farcry Productions 2,000 Ar feitheamh I Iomlán 94,500 Why Men Have Babies Ripple World Pictures 2,000 Roimh 2011 602 Roimh 2011 283,177 Iomlán 602 Iomlán 529,627 small change finding joy

IASACHTAÍ FORBAIRT DO PHRÍOMHSCANNÁIN Ar feitheamh I Ar feitheamh I Aguisín 3 12:23 Parallel Film Productions 5,000 Roll River John Butler 2,000 30 Eggs Treasure Entertainment 3,000 RPG Niall Heery 4,000 An Bronntanas De Facto Films 5,000 Run and Jump Samson Films 2,000 An Evening of Long Goodbyes Subotica 4,000 Secret Scripture Ferndale Films 1,000 Sonraí maidir le Coinníollacha Iasachtaí 62 An Ocean View The Cannibal Corporation 4,000 Shade Tom Cosgrove 2,000 63 Beautiful Noise Coastguard Films 5,000 She Bites Lee Cronin 12,000 Better Love Conor Horgan 2,000 Shrooms 3D Treasure Entertainment 5,000 Big Silver Lining Red Rage Productions 3,500 Sixty Eight Naomi Sheridan 2,000 (a) Iasachtaí Forbartha Blue Guitar Grand Pictures 3,000 Skippy Dies Littlewave Productions 5,000 Break Point Zanita Productions 3,000 Stags Samson Films 5,000 Airleactar Iasachtaí Forbartha ar bhonn íocaíocht chéimithe agus íoctar tuairim is 50-60% nuair a chuirtear conarthaí Iasachta Brian Rua Parallel Film Productions 18,000 Star of the Sea Parallel Film Productions 13,650 Forbartha idir an Bord agus an Léiritheoir i gcríoch go sásúil, agus íoctar an iarmhéid nuair a chomhlíontar coinníollacha City of Bohane Parallel Film Productions 20,000 Still Life Mark Tuthill 1,000 Commonwealth Tom Hall & Christian O’Reilly 4,000 Tandem Blinder Films 5,000 sonracha a a mbeidh leagtha amach ag an mBord. Crossing Salween Red Rage Productions 18,000 Tell Them Nothing Donal Gleeson 2,000 Dark Zone Fantastic Films 2,000 The Absence Sonata Rainmark Films 10,000 € € Dead As Doornails Fastnet Films 5,000 The Bear on the Train teemu Auersalo 2,000 Is fiú suas go dtí uasmhéid de 100,000 iad iasachtaí forbartha, ar féidir suas go dtí 50,000 a íoc ag aon am áirithe faoi leith. Death and Nightingales Soho Moon Pictures 2,500 The Bogman King Mike Ahearne and Enda Loughman 4,000 Is féidir le foirne nó le daoine aonair (léiritheoir/stiúrthóir/scríbhneoir scripte) iarratas a dhéanamh. Tá ceanglas ar an léiritheoir Devlin Subotica 3,000 The Canal Park Films 5,000 an t-airgead a airleacadh a aisíoc ar an gcéad lá príomhscannánaíochta. Echo Chamber Parallel Film Productions 7,040 The Cherry Tree Fantastic Films 5,000 Faultline Enough Dynamite 5,000 The End of Romance Soho Moon Pictures 15,000 Food Guide to Love Parallel Film Productions 3,000 The End of Sleep Parallel Film Productions 5,000 Ba chóir féachaint orthu seo mar iasachtaí forbartha/indéantachta; Déanann an Bord gach iarracht rianadh a dhéanamh ar an Fury Littlewave Productions 5,000 The Gee Gees Element Pictures 5,000 Harms Way Blinder Films 2,000 The Good Heart Darragh Byrne & Eoin MacNamee 4,000 t-airgead agus soláthraíonn sé faisnéis agus tacaíocht do léiritheoirí neamhspleácha a bhfuil comhpháirtithe ionchais léiriúcháin Julia Here Newgrange Pictures 2,000 The Last Snows of Spring Wide Eye Films 1,500 á lorg acu. Ní éireoidh le cuid de na tionscadail a gheobhaidh tacaíocht ón mBord leanúint ar aghaidh go dtí céim an léiriúcháin Kidsmoke Sean Smith 2,000 The Mulberry Project heavens Gate Films 5,500 agus d’fhéadfadh sé tarlú i ndeireadh na dála go gcaithfear iad a dhíscríobh. Link Michael Lavelle 2,000 The Ones You Do Octagon Films 15,000 Margaret Rebecca Daly and Glenn Montgomery 4,000 The Price of Desire EG Productions 5,000 Memorabilia Parallel Film Productions 2,000 The Ranger Fastnet Films 1,000 Déanann an Bord monatóireacht, áfach, ar na tionscadail a tugtar chun críche go rathúil agus éilítear éilítear go gníomhach aon Mister John Samson Films 2,000 The Rules of Engagement calipo Pictures 5,000 Monsters and Magic Joason Butler and Brendan Butler 4,000 The Steamroller Treasure Entertainment 5,000 airgead atá dlite. Moscow Never Sleeps Blinder Films 3,500 The Summer Sharon Horgan 4,000 Mount Vernon Mary Hick Productions 4,000 The Valentine Gang Ripple World Pictures 5,000 (b) Iasachtaí Léiriúcháin Noble Danman Films 5,000 The Vehicle Treasure Entertainment 3,000 Not Cricket Peer Pressure 20,000 Where we’ll never grow old Ripple World Pictures 3,000 Tagann rannpháirtíocht an Bhoird i bhfoirm infheistíochta sa léiriúchán agus ina chuid díolacháin do mhargaidh cineama, Pilgrimage SP Films 5,000 Roimh 2011 292,500 Reeling Parallel Film Productions 3,000 Iomlán 652,690 teilifíse, físeáin agus margaidh coimhdeacha (cábla, saitilít, scannán baile etc.) in Éirinn agus ar fud an domhain. Níl an infheistíocht faoi reir úis; cuirtear dian-bhearta i dtaca le haisghabháil agus rannpháirtíocht i mbrabús i bhfeidhm. Tá gach tairiscint ar infheistíocht ‘i bprionsabal‘ agus faoi réir conartha.

Iasachtaí Forbartha do Scannáin Bheochana

Ar feitheamh I Ar feitheamh I Zig and Zag Flickerpix 5,000 Inis Spraoi Magpie6 Media 5,000 Little Caribou Barley Films 2,000 The Boy in the Bubble Igloo Films 6,000 Oops Noah is Gone Magma Productions 2,000 Whiplash Brown Bag Films 5,000 Cosmo Monster Animation 5,000 Pillage & Sons Brown Bag Films 4,000 The Overcoat A Man & Ink 4,000 The Wooden Sword Brown Bag Films 5,000 Song of the Sea Cartoon Saloon 2,894 Curly Hare Jam Media 5,000 Roimh 2011 23,000 Iomlán 73,894 • a mbíonn léiritheoir Éireannach i gceist mar chomhléiritheoir ar chúrsaí cineama, ceapadh an cur chuige seo chun mionlaigh i gcás (a) go bhfuil BSÉ/IFB iomlán sásta maidir freagairt don mhéadú follasach ar an mian atá i measc lucht le caighdeán an tionscadail, (b) go bhfuil an méid féachana pictiúrlainne scannáin faisnéise a fheiceáil. infheistíochta ar chomhchéim leis an leibhéal • Go léireofar níos mó solúbthachta i gcás scannán beochana, rannpháirtíochta a bheidh ag pearsanra, gnéithe agus mar aitheantas ar an méadú maidir le tábhacht an tsaothair saoráidí Éireannacha sa dtionscadal, agus (c) go bhfuil Éireannaigh sa réimse sin, agus cúinge an mhargaidh gealltanas i bhfeidhm ag an gcomhléiritheoir tromlaigh go idirnáisiúnta pictiúrlainne atá ann do phríomhscannáin ndéanfaidh sé comhalartú trí ghníomhú mar chomhstiúrthóir bheochana. Mar sin féin, tabharfar tús áite do shaothar shadow dancer mionlaigh ar scannán Éireannach sa todhchaí cruthaitheach ó thalainn Éireannacha a bhfuil an cuma air go bhfuil sé cruthaitheach agus suntasach a dhóthain lena Cuirfidh BSÉ/IFB fáilte faoi leith i gcónaí roimh iarratais ar son chur in oiriúint d’fhormáid an mhórscáileáin ach an deis scannán a bhfuil sé i gceist iad a dhéanamh go príomha trí mheán chuige sin a bheith ann. na Gaeilge. Aguisín 4 • Go ndéanfar ficsean teilifíse, cláracha aonair nó sraitheanna, Beidh BSÉ/IFB airdeallach i gcónaí lena chinntiú i gcás scannán a bhreithniú dá chaighdeán bunúsach ach go gcuirfear tosca Prionsabail agus Critéir a dhéanann sé infheistíocht iontu go ndéantar cuid mhór dá eile san áireamh freisin. Cuirfear béim láidir ar thacaíocht a gcaiteachas ar phearsanra Éireannach agus sa dtionscal in thabhairt do stiúrthóirí (agus, ó am go chéile, do scríbhneoirí) 64 Tá roinnt bunphrionsabal atá mar bhonn ag a chritéir dóibh. Tá sé i gceist le breisíocht go ndéanfaidh sé difríocht, 65 Éirinn, agus tá sé dóchúil go mbeidh an gné sin den iarratas an- a dtaispeánann a dtaifead gairme go dtí seo go soiléir go cinnteoireachta cláir maoiniúcháin BSÉ/IFB. Tá na prionsabail sin agu beidh claonadh i BSÉ/IFB luí i dtreo tionscadal a bhfuil an thábhachtach maidir le cinneadh dearfach a dhéanamh. Ann féin, bhfuil an cumas iontu scannáin cineama a dhéanamh, nó go mar seo a leanas: chosúlacht orthu go bhfuil siad ar ardchaighdeán ach go bhfuil áfach, ní bheidh sé ina thoisc chinntitheach, i gcás nach bhfuil BSÉ/ bhfuil siad, i dtuairim BSÉ/IFB, ag dul i dtreo gairm bheatha sé inbhraite go bhfuil siad leithleach agus difriúil ó scannáin • Breisíocht IFB cinnte dearfach maidir le caighdeán tionscadail, nó i gcás nach a bhaint amach sa scannánaíocht cineama. Ina theannta atá ar fáil i bpríomhshruth an mhargaidh. Ní chiallaíonn sé sin • Tosaíochtaí Cultúir/Tosaíochtaí Tionscail comhlíonann an tionscadal aon cheann de na tosaíochtaí leagtha sin, beidh sé riachtanach a chur ina luí ar BSÉ/IFB go bhfuil nach bhfuil spéis ag BSÉ/IFB ach i dtacaíócht a thabhairt • Cineama a Dhéanamh amach thuas ar bhealaí eile. Tugtar níos mó sonraí i dtaca leis an a rannpháirtíocht airgeadais ríthábhachtach leis an gclár a d’ábhar ‘neamhthráchtála’. A mhalairt ar fad atá fíor, tá raidhse • Úrnuacht gceist sin faoi na Cúínsí Eile thíos. thabhairt chun críche agus beifear ag súil le rannpháirtíocht fianaise ann i stair na scannán a léiríonn gur minic gur ábhar eagarthóireachta maidir lena lánas. Ní bheidh tacaíocht Mínítear iad sin thíos ar bhealach níos mionsonraithe. Ina dhiaidh iontais, ceannródaíochta agus imeallacha iad na móréachtaí Cineama a Dhéanamh forbartha ó BSÉ/IFB d’ábhar atá dírithe go sonrach ar léirú sin leagann muid amach roinnt comaoineacha eile a d’fhéadfadh cineama. Is cosúil go mbíonn athnuachan rialta de dhíth ar an Cúis bhunúsach go bhfuil BSÉ/IFB ar an tsaol is ea chun saothar in teilifíse ar fáil ach go hannamh ar fad. tionchar a bheith acu ar chinneadh i bhfábhar tionscadail amháin margadh. Tabharfaidh BSÉ/IFB tacaíocht fhuinniúil do léiritheoirí Éirinn a dhéantar lena thaispeáint ar an scáileán mór a spreagadh, a seachas ceann eile. a thaispeánann go bhfuil uaillmhian acu rath a bhaint amach chothú agus a chur chun cinn. sa mhargadh – le tionscadail a léiríonn feasacht maidir leis an Úrnuacht Breisíocht Níl cosc curtha aige sin ar BSÉ/IFB ó thacaíocht a thabhairt do margadh ach nach bhfuil ró-umhal dó. Ar mhaithe le sainiúlacht a bhaint amach sa tslí ina úsáideann Is réasúnaíocht riachtanach í nuair a chuirtear airgead poiblí ar shaothar gurb í an teilifís an príomh-mhargadh i bhfeidhm dó. Thairis sé a chuid acmhainní, agus go comhsheasmhach maidir leis fáil do thionscal gur chóir go gcruthódh sé gníomhaíocht nach Tosaíochtaí Cultúir/Tosaíochtaí Tionscail sin, sa mhéid is go gcuireann sé ar chumas chuideachtaí léiriúcháin na spriocanna breisíocht a bhfuil cur síos déanta orthu cheana dtarlódh seachas sin i.e. nach nginfeadh an margadh é as a De réir a chuid téarmaí tagartha ón Rialtas, agus ag freagairt do maireachtáil agus fiú amháin maireachtáil faoi bhláth, agus go féin, tabharfaidh BSÉ/IFB aird shuntasach ar úrnuacht agus é stuaim féin. Dá réir sin ciallaíonn sé gur chóir gur scannáin iad na riachtanais a mbraitear atá ag tionscal na scannán in Éirinn léiríonn sé sineirge atá folláin agus riachtanach idir na mheán na i mbun tionscadal a lorg agus a roghnú le tacaíocht a thabhairt nach ndéanfaí iad nó scannáin nach mbeadh an sochar céanna ag faoi láthair, tá BSÉ/IFB den tuairim go léiríonn tionscadail áirithe, teilifíse agus meán na scannán, bheadh sé míréadúil, i dtír atá chomh dóibh. Seachas na sochair ealaíonta, tá neart fianaise ann i gcás baint leo ó thaobh na hÉireann de, ach amháin i gcás go gcuirfí ó thaobh a n-ábhar, a bhfoinse nó a leas don tionscal, tosaíochtaí beag le hÉireann, go dteorannódh BSÉ/IFB a gcuid tacaíochta don margaidh a bhfuil an lámh in uachtar ag táirgí mórbhuiséid, gurb ar a gcumas é sin a dhéanamh le tacaíocht ón ngníomhaireacht, soiléire dá mhaoiniúchán maoiniú seachas tionscadail eile. scannánaíocht cineama amháin. iad na scannáin is éifeachtúla a theann san iomaíocht na cinn sin a na scannáin sin a fhaigheann tacaíocht ó BSÉ/IFB. Léireoidh Tabharfar tosaíocht láidir d’iarratais ar son tionscadal: thairgíonn don lucht féachana rud éigin nach bhfaca siad cheana, ó scannáin den tsaghas sin, agus na sochair a eascróidh uathu, Mar sin féin, cé go leanfaidh BSÉ/IFB ar aghaidh ag freagairt go • a ‘tionscnaíodh in Éirinn’ ó thaobh na cruthaitheachta de; thaobh ábhair conspóide, dearcadh spreagúil, greann úrnua, séanra gníomhaíocht eacnamaíochta ‘breise’. dearfach i dtaca le hiarratais a fhaightear ó am go chéile ar son is é sin le rá gur cheap agus gur scríobh talainn Éireannacha tionscadal gurb é an dóchúlacht is mó ina dtaobh go bhfaighidh siad lúbtha nó doimhneas úr mothúcháin de. Tá sé mar aidhm ag na nósanna imeachta i dtaca le breithniú iad agus go stiúróidh talainn Éireannacha iad lucht féachana teilifíse, agus fiú ag cur scannán agus sraitheanna Cuirfidh sé sin BSÉ/IFB i dtreo tús áite a thabhairt do stiúrthóirí a dhéanamh ar iarratais ar mhaoiniú léiriúcháin a chinntiú • a insíonn scéalta Éireannacha, a tharraingíonn as agus a a dhéantar don dteilifís san áireamh, leagfaidh BSÉ/IFB béim níos (agus scríbhneoirí) a bhfuil ‘guthanna’ sainiúla acu, a léiríonn a níos éifeachtúla i gcás go mbíonn BSE/IFB rannpháirteach léiríonn cultúr, stair agus modh maireachtála na hÉireann treise amach anseo ar a chuid oibligeáidí maidir le saothar don gcuid saothar dearcadh atá go láidir aonaránach maidir leis an tsaol, i dtionscadal go léiríonn sé go fíor a mhéid is go bhfuil a agus an chaoi a fhéachann muintir na hÉireann ar an saol cineama agus talainn cineama. a léiríonn cúrsaí an tsaoil ar bhealach a thugann brí nua dóibh, a rannpháirtíocht riachtanach: go sonrach, gurb é leibhéal agus orthu féin léiríonn gnéithe den nadúr a theipeann ar scannánóirí níós gnásúla infheistíochta BSÉ/IFB an leibhéal atá riachtanach chun maoiniú • a bhfuil sé i gceist leo go mbeidh talann scannánaíchta nua I bhfeidhm, ciallóidh sé sin: an scannáin a chur i gcríoch ach nach bhfuil an leibhéal níós Éireannach sna príomhróil chruthaitheacha i.e. stiúrthóir, • Go ndéanfar measúnú níos deine ar scannáin faisnéise ó iad a thabhairt faoi deara nó a sheachnaíonn siad ar fad iad. Tá airde ná mar is gá. Gan amhras tá sé an-deacair póilíniú a scríbhneoir, léiritheoir, cumadóir, príomhaisteoir thaobh na hacmhainne atá acu chun eisiúint pictiúrlainne sé mar chuspóir ag BSÉ/IFB tacaíocht a thabhairt do scannáin a dhéanamh air sin le dearbh-chruinneas, ag cur san áireamh nádúr a bhaint amach nó chun spéis ó fhéilte idirnáisiúnta scannán aimsíonn lucht féachana chomh leathan agus is féidir, agus tá sé ag Tabharfar aird dáiríre ar iarratais: na n-idirbheartaíochtaí a bhíonn da dhíth i dtaca le hairgeadas a spreagadh. Tabharfar tús áite do ‘phríomhscannáin súil go léireoidh lucht deanta scannán an uaillmhian chéanna. Ag an • a mholann tionscadal atá go soiléir Éireannach (ó thaobh scannán, ach seasann an prionsabal agus cloífear go docht leis. faisnéise’; i gcás scannán atá dírithe ar shliotán teilifíse am céanna aithníonn sé nach n-éiríonn ach le fíórbheagán daoine suímh, carachtar, etc. de) ach a bheidh á stiúradh ag atá uair an chloig nó níos giorra ar fhad agus nach bhfuil aon rath a bhaint amach ag an ndíoloifig. Cibé an éiríonn le scannán Beidh tionchar freisin ag an sprioc maoiniú a dhéanamh ar talann nach as Éireann é, i gcás go bhfuil BSÉ/IFB den tarraingt nó nach bhfuil ach tarraingt an-bheag acu, ní dócha nó má theipeann air, creideann BSÉ/IFB gur féidir caiteachas scannáin a bhfuil ‘breisíocht’ ag baint leo ar thosaíochtaí BSÉ/ tuairim go gcinntíonn teist an stiúrthóra go dtí seo go mbeidh go dtabharfar tacaíocht dóibh ach amháin i gcás go meastar airgid poiblí a chosaint go láidir matá rud éigin úrnua le rá ag an IFB agus tionscadail á lorg aige chun tacaíocht a thabhairt ardchaighdeán ann go bhfuil caighdeán do-shéanta acu. I dteannta béim BSÉ/IFB scannán,rud éigin úrnua le cur le hiomlán an cineama domhanda. Cúinsí Eile • an mbeidh follasacht reasúnach cuntasaíochta i gceist Ba chóir go dtabharfadh na treoirphrionsabail atá leagtha maidir le hioncam díolacháin, e.g. trí ghníomhaire amach thuas léargas d’iarratasóirí ar an gcaoi a dhéanfaidh bailiúcháin a úsáid? feidhmeannaigh agus comhairleoirí BSÉ/IFB measúnú ar thionscadal ó thaobh ábhair de agus ó thaobh na foirne Ba chóir a chur in iúl go soiléir nach bhfuil sé riachtanach freagraí cruthaithigh a bhaineann leis. Agus measúnú á dhéanamh ar dearfacha a thabhairt ar na ceisteanna sin ar fad le go dtairgeofaí iarratais ar mhaoiniú léiriucháin, d’fhéadfaí tosca eile a chur maoiniú léiriúcháin do thionscadal. Ach d’fhéadfadh sé tarlú go san áireamh, a bhaineann le héifeachtaí eacnamaíochta an mabainfeadh coibheas ard de fhreagraí diúltacha an bonn a bhaint the overcoat tionscadail, na socruithe airgeadais, agus an t-ionchas go de dhearcadh a bheadh go láidir dearfach ó thaobh BSÉ/IFB de n-aimseofar lucht féachana. maidir le gnéithe cruthaitheacha den tionscadal seachas sin. Ar a laghad ar fad, spreagfaidh meascán de fhreagraí dearfacha agus I gcás nach mbíonn BSÉ/IFB den tuairim go gcloíonn tionscadal diúltacha díospóireacht maidir le méid agus modh ghealltanas le haon cheann de na treoirphrionsabail, ní bheidh a ndóthain sna BSÉ/IFB. Aguisín 5 tosca eile sin le tairiscint maoiniúcháin a bhaint amach. Ach i gcás tionscadail ina meastar go bhfuil an t-ábhar agus an fhoireann Critéir Athraitheacha Seirbhísí Suímh 66 chruthaitheach áititheach, is féidir leis na cúinsí sin tionchar a Tá critéir sainiúla dá gcuid féin ag cuid de chláir maoiniúcháin 67 bheith acu ar idirbheartaíochtaí idir BSÉ/IFB agus lucht déanta an BSÉ/IFB agus ní gá go rialódh na prionsabail atá leagtha amach scannáin maidir le leibhéal infheistíochta BSÉ/IFB agus ar an gcaoi thuas iad: Tá sé mar chuspóir ag seirbhísí suímh scannánaíocht de gach cineál a éascú agus a spreagadh. Is féidir linn cabhrú leat a dhéanfar an scannán a mhaoiniú, a léiriú agus a dháileadh. • Léiriúchán Idirnáisiúnta cibé an bhfuil príomhscannáin, scannáin teilifíse, scannáin faisnéise nó scannáin tráchtála, corparáideacha, físeáin cheoil nó cé go bhfuil an clár seo i dtéarmaí ginearálta faoi réir grianghrafadóireacht á ndéanamh agat; rud ar bith a theann ar scáileán. Tá ár bhfoireann margaíochta ar fáil chun do chuid • Teist gairme an léiritheora go dtí seo ghnáthchritéar cultúrtha BSÉ/IFB, luíónn sé níos mó i dtreo ceisteanna afhreagairt. Tá ár seirbhís saor in aisce. • an ndearna an léiritheoir bainistiú agus seachadadh an tionscail ná na cruthaitheachta. An fhad is go bhfuil proifisiúnta agus éifeachtúil ar scannáin roimhe seo? dea-theist gairme go dtí seo ag an bpríomhléiritheoir, agus go Níl anseo ach cuid de na seirbhísí atá á dtairiscint againn: • an bhfuil dea-thaithí ag BSÉ/IFB roimhe seo maidir le bhfuil cuma sochreidthe ar an bpacáiste cruthaitheach, plé a dhéanamh leis an léiritheoir? bunófar measúnú BSÉ/IFB ar bhreithniú ar thionchar • Láimhseálann an tAonad Seirbhísí Suíomh gach fiosrúchán a bhaineann le scannánaíócht in Éirinn. Bunachar sonraí • i gcás comhléiriúcháin, an bhfuil teist gairme proifisiúnta ‘iolraitheach’ eacnamaíochta a chuid maoiniúcháin, agus inchuardaithe grianghraf is ea F.I.L.M. (Bainisteoir Suíomh do Thionscal na Scannán in Éirinn) a chuireann barr go dtí seo ag léiritheoiri nach léiritheoirí Éireannacha iad ar na deiseanna fostaíochta do phearsanra Éireannach i feabhais ar ár gcumas suímh a aimsiú. Tá úsáid na seirbhíse saor in aisce do lorgairí suíomh in Éirinn agus do lucht a bhfuil baint acu leis an dtionscadal? bpríomh-phostanna. déanta scannán a dhéanann teagmháil linn ó thíortha thar lear. • Fostaíocht Éireannach • Tacaíocht Réigiúnda • an mbeidh na príomh-phostanna cruthaitheacha agus tá téarmaí tagartha an chláir seo go heisiatach eacnamaíoch. • Mar chuid dár seirbhís soláthraíonn muid freisin leabhair tagartha amhairc agus faisnéis tagartha eile maidir le cúrsaí teicniúla lena líonadh ag pearsanra Éireannach? Lena bheith incháilithe, ní mór go mbeadh maoiniú léiriúcháin a bhaineann le scannánaíocht in Éirinn. • i gcás comhléiriúcháin, an bhfuil an coimheas cuí i dtaca BSÉ/IFB cheana féin ag tionscadal, agus ní chuirfear a leo sin? thuilleadh breithniú cruthaitheach i bhfeidhm. Déanfar • Feidhmíonn muid chomh maith mar mhol do líonra oifigí réigiúnda scannán atá ag fás i gcónaí. Ciallaíonn an • an dtairgeoidh an léiriúchán fostaíocht do phearsanra measúnú ar an méid den bhuiséad léiriúcháin atá le comhoibriú atá eadrainn féin agus an Northern Irish Film and Television Commission go bhfuil teaglaim ann a Éireannach i ngach grád is féidir? caitheamh in Éirinn lasmuigh den limistéir uirbeach agus an chlúdaíonn an t-oileán ar fad. • Caiteachas i ngeilleagar na hÉireann limistéir máguaird; ní mór go mbeadh ar a laghad a dhá • an ndéanfar an scannánaíocht in Éirinn? oiread i gceist leis an méid sin agus an méid maoiniúcháin • déanann muid comhoibriú le comhlachtaí eile leis an dtimpeallacht oibre a dhéanamh chomh cairdiúil agus is • an mbainfidh an léiriúchán feidhm fhairsing as saoráidí a éilítear. féidir do lucht na scannán. léiriúcháin agus iar-léiriúcháin in Éirinn? • Dáileadh • an meallfaidh an tionscadal infheistiócht isteach Feidhmíonn an clár Soláthar Priontaí ar bhonn uathoibríoch, i ngeilleagar na hÉireann? trína mbíonn scannáin incháilithe le haghaidh tacaíochta i • Díolachán agus Dáileachán gcás go roghnaítear iad d’fhéile amháin ar liosta na bhféilte • an bhfuil baint ag gníomhaire díolacháin idirnáisiúnta ceadaithe, faoi réir chomhaontú le BSÉ/IFB maidir le leibhéal leis an scannán? an mhaoiniúcháin. Cuirtear maoiniú le haghaidh Priontaí agus • an bhfuil dáileoir Éireannach ag an scannán? Fógraíócht ar fáil do dháileoirí Éireannacha ar scannáin • an bhfuil airgeadas léiriúcháin á sholáthar ag aon a bhfuil tacaíocht faighte acu ó BSÉ/IFB a thaispeánann go dáileoir nó craoltóir? bhfeabhsóidh tacaíocht ó BSÉ/IFB cur chun cinn scannáin • Struchtúr Airgeadais i margadh na hÉireann. • an bhfuil na hairgeadaithe atá á moladh don scannán

iontaofa? • an gcuirfidh na socruithe airgeadais atá a moladh ar chumas BSÉ/IFB idirbheartaíocht a dhéanamh i dtaca le seasamh réasúnach aisghabhála. Feature Films/FadscannáiN 1993-2012

32A 2007 / Director/Script Marian Quinn All Soul’s Day 1997 / Writer/Director Between The Canals 2010 / Director/Script Cracks 2009 / Director Jordan Scott Producers Tommy Weir, Roshanak Alan Gilsenan Producer David McLoughlin Mark O’Connor Producer Deirdre Barry C Producers Julie Payne, Kwesi Dickson, E Behesht Nedjad Production Company Production Company Yellow Asylum Films Production Company Avalon Films Rosalie Swedlin, Andrew Lowe, Christine Janey Pictures Call Girl 2012 / Director Mikael Marciman Vachon Script Caroline Ip, Ben Court, Jordan Eamon 2009 / Director/Script Margaret All Things Bright and Beautiful 1993 Black Day at Black Rock 2000 / Director/ Script Marietta non Hausswolff von Scott Production Companies Element Corkery Producer Seamus Byrne Production 48 Angels 2006 / Director Marion Comer / Director Barry Devlin Producer Katy Script Gerard Stembridge Producers Anna Baumgarten Producers Mimi Spang, Lesley Pictures, Future Films, Antenna Company Zanita Films Writers Marion Comer, Craig Holland McGuinness Script Barry Devlin Devlin, Marina Hughes Production Company McKimm Production Companies Newgrange 3 Films, Scott Free Producers John McDonnell, Robert Medema, Production Company The Good Film Co. Venus Films Pictures, Friland Porduksjon, Yellow Film Earthbound 2011 / Director/Script Alan Marion Comer Production Company Crushproof 1997 / Director Paul Tickell Brennan Producers Heidi Madsen, Jacqueline Kerrin, Dominic Wright Reflected Light Pictures As If I Am Not Here 2010 / Director/ Blind Flight 2004 / Director John Furse Chaos 2001 / Director/Script Producers Nicholas O’Neill, Kees Kassander Production Companies Ripple World Pictures, Script Juanita Wilson Producers Natalie Producers Sally Hibbin, David Collins, Geraldine Creed Producer Brendan McCarthy Script James Mathers Production Company Paper Dreams Lichtenthaler, James Flynn Production Eddie Dick Script Brian Keenan, John Furse Production Company Blue Light Productions Liquid Films Company Octogon Films Production Company Samson Films A The Eclipse 2009 / Director Conor Charlie Casanova 2012 / Director/Script/ McPherson Producer Rob Walpole Script About Adam 1999 / Director Gerard A Film With Me In It 2008 / Director Ian Bloody Sunday 2001 / Director/Script Paul Producer Terry McMahon Production 68 D Conor McPherson, Billy Roche Production 69 Stembridge Producers Anna Devlin, Fitzgibbon Producers Alan Molony, Susan Greengrass Producers Mark Redhead, Jim Company Source Productions Marina Hughes Script Gerard Stembridge Mullen Script Mark Doherty Production Sheridan, Arthur Lappin Production Company The Daisy Chain 2008 / Director Company Treasure Entertainment Production Company Venus Film & Television Company Parallel Film Productions Hell’s Kitchen Cherrybomb 2009 / Directors Lisa Barros Aisling Walsh Producers Tristan Orpen Lynch, Eden 2008 / Director Declan Recks D’Sa, Glenn Leyburn Producers Michael Dominic Wright Script Lauren Mackenzie Producer David Collins Script Eugene O’Brien The Actors 2003 / Director/Script Conor A Love Divided 1998 / Director Syd Bloom 2004 / Director/Script Sean Walsh Casey, Mark Huffam, Brian Kirk Script Production Company Subotica Entertainment Production Company Samson Films McPherson Story by Neil Jordan Producers Macartney Producers Tim Palmer Producers Sean Walsh, Gerry Murphy, Daragh Carville Production Companies Neil Jordan, Redmond Morris, Stephen Alan Moloney, Gerry Gregg Script Mark Byrne Production Company Octagon Films, Green Park Films Dancing at Lughnasa 1998 / Director Pat The Englishman 2008 / Director Ian Sellers Woolley Production Company Company Stuart Hepburn Production Company Odyssey Pictures Generator Entertainment O’Connor Producer Noel Pearson Script of Wolves Parallel Films Frank McGuinness Production Company Producers Teresa Mulqueen, David Collins Script Ian Sellers, Brendan Grant Production Bogwoman 1997 / Writer/Director Tom Circle of Friends 1993 / Director Pat Ferndale Films Company Samson Films Accelerator 1999 / Director Vinny Murphy A Kiss For Jed Wood 2010 / Director Maurice Collins Producers Martha O’Neill, Tom Collins O’Connor Producers Frank Price, Arlene Producer Michael Garland Script Mark Linnane Producer Tim Palmer Script Barry Production Company De Facto Film & Video Sellers, Alex Winitsky Script Andrew Davies Dead Bodies 2003 / Director Robert Quinn The Escapist 2007 / Director Rupert Stewart, Vinny Murphy Production Company Devlin, Maurice Linnane Production Company Production Company Good Girls Producers David McLoughlin, Clare Scully Two For the Show Ignition Film Productions Borstal Boy 2000 / Director Peter Sheridan Script Derek Landy Production Company Wyatt Producers Adrian Sturges, Alan Molony Script Rupery Wyatt, Daniel Hardy Production Producers Pat Moylan, Arthur Lappin, Jim Circus Fantasticus 2010 / Director/Script Distinguished Features Company Parallel Film Productions Adam & Paul 2004 / Director Lenny A Man of No Importance 1993 / Director Sheridan Script Peter Sheridan, Nye Heron Janez Burger Producers Morgan Bushe, Jozko Abrahamson Producer Jonny Speers Suri Krishnama Producer Jonathan Cavendish Production Company Hell’s Kitchen Rutar Petri Rossi Production Companies Dead Long Enough 2006 / Director Tom Essential Killing 2011 / Director Jerzy Executive Producers Andrew Lowe, Ed Script Barry Devlin Production Company Little Fastnet Films, Staragara Productions Collins Script James Hawes, Tom Collins Guiney Script Mark O’Halloran Production Bird Boxed 2003 / Director/Script Marion Comer Producer Paul Donovan Production Company Skolimowski Producers Andrew Lowe, Ewa Piaskowska, Jerzy Skolimoski Script Ewa Company Porridge Pictures Producers Laurence Penn, Lene Bausager, Citadel 2011 / Director/Script: Grand Pictures Piaskowska, Jerzy Skolimoski Production A Shine of Rainbows 2009 / Director Vic Douglas Graham Production Companies Ciaran Foy Producers: Katie Holly, Brian Company Element Pictures, Skopia Film, A Further Gesture 1996 / Director Robert Sarin Producers Tina Phelme, Kim Roberts, Fireproof Films, Ugly Duckling Films Coffey, Production Companies: Blinder Dead Meat 2004 / Director/Script Cylinder Productions, Mythberg Films Dornhelm Producers David Collins, Chris James Flynn Script Danis Foon, Catherine Films, Sigma Films Conor McMahon Producers Ed King, Curling Script Ronan Bennett Production Spear, Vic Sarin Production Companies The Boxer 1998 / Producer/Director Michael Griffin Production Company Company Samson Films Octagon Films, Sepia Films Jim Sheridan Producer Arthur Lappin Come On Eileen 2001 / Director/Script: 3 Way Productions Script Terry George Production Company Finola Geraghty, Producers: Finola F Agnes Browne 1999 / Director Anjelica Hell’s Kitchen Geraghty, Katie Holly Kieran J Walsh, Death of a Superhero 2011 / Director Ian The Fading Light 2010 / Director/Script Ivan Huston Producers Jim Sheridan, Arthur Production Companies: Blinder FIlms, Fitzgibbon Producers Michael Garland, Astrid B Kavanagh Producer Anne Marie Naughton Lappin, Greg Smith, Anjelica Huston Boy Eats Girl 2005 / Director Stephen Foal Film Productions Kahmke, Philipp Kreuzer Script Anthony Script Brendan O’Carroll, John Goldsmith Beckett on Film 2000 / Act Without Words Bradley Producers Ed Guiney, Andrew Lowe McCarten Production Companies Grand Production Company Park Films Production Company Hell’s Kitchen I, Director Karel Reisz Act Without Words II, Script Derek Landy Production Company Conamara 2000 / Director Eoin Moore Pictures, Bavaria Pictures The Fifth Province 1997 / Director Frank Director Enda Hughes A Piece of Monologue, Element Films Producer Ingrid Holzapfel Script Greg Stapleton Producer Catherine Tiernan, Nina Ailsa 1993 / Director Paddy Breathnach Director Robin Lefevre Breath, Director Brennan Production Company Boje The Disappearance of Finbar 1994/95 Fitzpatrick, Frank Stapleton Production Producer Ed Guiney Script Joe O’Connor Damien Hirst Catastrophe, Director David The Boy from Mercury 1996 / Director/ Buck Produktion / Director Sue Clayton Producers David Production Company Temple Films Mamet Come and Go, Director John Crowley Writer Martin Duffy Producer Marina Hughes Collins/Bertil Ohlsson, Martin Bruce Clayton Company Ocean Films Endgame, Director Conor McPherson Production Company Mercurian Films Country 2000 / Director/Script Kevin Script Dermot Bolger Production Company Finding Joy 2012 / Director/Script Neil Alarm 2008 / Director/Script Gerard Footfalls, Director Walter Aasmus Happy Liddy Producer Jack Armstrong Samson Films Dowling Producers Neil Dowling, Ross Stembridge Producers Anna Devlin, Days, Director Patricia Rozema Krapp’s Last Breakfast on Pluto 2006 / Director Neil Production Company Indi Films Marina Hughes Production Company Tape, Director Atom Egoyan Not I, Director Jordan Writer Neil Jordan (based on the book Disco Pigs 2000 / Director Kirsten Sheridan Whitaker Production Company True Films Venus Productions Neil Jordan Ohio Impromptu, Director by Patrick McCabe) Producers Alan Moloney, Cowboys & Angels 2004 / Director/ Producer Ed Guiney Script Enda Walsh Five Day Shelter 2010 / Director/Script Charles Surridge Play, Director Anthony Neil Jordan, Stephen Woolley Production Script David Gleeson Producer Nathalie Production Company Temple Films Ger Leonard Producers Liam O’Neill, Villi Albert Nobbs 2011 / Director Rodrigo Garcia Minghella Rockaby, Director Richard Eyre Companies Parallel Films, Number 9 Films Lichtenthaeler Production Company Ragnarsson Production Company Paradox Producers Alan Moloney, Glenn Close, Bonnie Rough for Theatre I, Director Kieron J. Walsh Wide Eye Films Drinking Crude 1997 / Writer/Director Curtis, Julie Lynn Script John Banville, Glenn Rough for Theatre II, Director Katie Mitchell Broken Harvest 1993 / Director Maurice Owen McPolin Producers Kim Tapsell, Gerry Pictures Close, Gabriella Prekop Production Company That Time, Director Hales Garrad Waiting O’Callaghan Producer Jerry O’Callaghan The Crooked Mile 2001 / Director/Script Johnston Production Company Sweetskin Five Minutes of Heaven 2009 / Director Parallel Film Productions for Godot, Director Michael Lindsay-Hogg Script Kate O’Callaghan, Maurice O’Callaghan Stephen Kane Producers Triona Campbell, Oliver Hirschbiegel Producers Eoin What Where, Director Damien O’Donnell, Production Company Avril Ryan Production Company Campbell Dollhouse 2011 / Director/Script O’Callaghan, Ed Guiney, Andrew Lowe Script All Good Children 2010 / Director Alicia Duffy Producers Alan Moloney, Michael Colgan Destiny Films Ryan Productions Kirsten Sheridan Producer John Wallace Producers Ed Guiney, Andrew Lowe, Jonathan Production Company Blue Angel Films. Production Company The Factory Guy Hibbert Production Companies Element Cavendish, Tom Dercourt, Patrick Quinet Byzantium 2012 / Director Niall Jordan Dorothy Mills 2008 / Director Agnes Merlet Pictures, Big Fish Films, Ruby Films Production Company Element Pictures Becoming Jane 2007 / Director Julian Jarrold Script Moira Buffini Producers Alan Moloney, Producers Marc Missonier, Eric Jehelman, Producers Robert Bernstein, Douglas Rae, Stephen Woolley, Elizabeth Karlsen, William James Flynn Script Agnes Merlet, Juliette Flick 1999 / Director Fintan Connolly Graham Broadbent, James Flynn, Morgan D. Johnson, Sam Englebardt Production Sales Production Companies Fidélité Films, Producer Fiona Bergin Script Fintan Connolly O’Sullivan Script Kevin Hood, Sarah Williams Companies Parallet Films, Number 9 Films Octagon Films Production Company Fubar Production Companies Ecosse Films, Blueprint Films, Octagon Films Frankie Starlight 1994/95 / Director Michael The Hanged Man (El Juego del Adhorcado) I Went Down 1997 / Director Paddy Kisses 2008 / Director/ Script Lance Daly Love and Savagery 2009 / Director John The Moth Diaries 2011 / Director/Script Lindsay-Hogg Producer Noel Pearson Script 2009 / Director Manuel Gómez Pereira Breathnach Producer Rob Walpole Script Producer Macdara Kelleher Production Smith Producers Barbara Doran, Lynne Mary Harron Producers MDavid Collins, Chet Raymo, Ronan O’Leary Production Producers Ana Amigo, Tristan Orpen Lynch, Conor McPherson Production Company Company Fastnet Films Wilson, Kevin Tierney, Tristan Orpen Lynch Sandra Cunningham, Karina Martine Company Ferndale Films Dominic Wright Production Companies Treasure Films Script Des Walsh Production Companies Production Companies Samson Films, Subotica Entertainment Amigo Produtions, Korea 1993 / Director Cathal Black Producer Subotica Entertainment, Morag Loves Strada Films, Mediamax Freeze Frame 2004 / Director/Script John Cinematograficas, Lennon Proucciones The Investigator (A Nyomazó) 2009 / Darryl Collins Script Joe O’Byrne Production Company, Park Ex Pictures Simpson Producers Michael Casey, Martha Director/Script Attila Galambos Producers Company Black Star Films/Cathal Black Films My Brothers 2010 / Director Paul Fraser O’Neill Production Companies Parallel World Happy Ever Afters 2009 / Director/Script Ferenc Pustai, Macdara Kelleher, Martin Love Eternal 2012 / Director/Script Brendan Producers Rebecca O’Flanagan, Rob Productions, Wildfire Films Stephen Burke Producer Lesley McKimm Persson Production Companies Fastnet Films, Muldowney Producers Conor Barry, Morgan Walpole Script William Collins Production Company Newgrange Pictures KMH Film, Anagram Production Bushe, Macdara Kelleher Production Production Company Rubicon Films The Front Line 2006 / Director/Writer L Companies Fastnet Films, Red Lion S.a.r.l, David Gleeson Producers Nathalie Headrush 2003 / Director/Script Shimmy Inside I’m Dancing 2004 / Director Damien Lapland Odyssey (Napapiirin, Sankarit) Rinkel Film BV, T.O Entertainment My Friend Joe 1994/95 / Director Chris Lichtenhaeler, James Flynn Production Marcus Producer Edwina Forkin Production O’Donnell Producers James Flynn, Juanita 2011 / Director Dome Karukoski Producers Bould Producers Michael O’Connell, Gerhard Company Wide Eye Films Company Zanzibar Films Wilson, Catherine Tiernan Script Jeffrey Jacqueline Kerrin, Dominic Wright, Aleski Schmidt Script David Howard, Declan Hughes 70 Caine, based on a story by Christian O’Reilly Bardy, Martin Persson Script Pekko Pesonen Production Company ProMedia 71 Haywire 2012 / Director Steven Soderbergh Production Company Octagon Films Production Companies Ripple World Pictures, M Script Lem Dobbs Producers Gregory Jacobs, Helsinki Filmi, Anagram Produktion The Magdalene Sisters 2003 / Director/ Mystics 2003 / Director David Blair Producers G Alan Moloney Production Companies Parallel Intermission 2003 / Director John Crowley Script Peter Mullan Producers Ed Guiney, Mark O’Sullivan, Michael Ryan, Nigel Warren Garage 2007 / Director Lenny Abrahamson FIlm Productions, Relativity Media Producers Neil Jordan, Alan Moloney, Stephen Frances Higson Production Company Green Script Wesley Burrows Production The Last Bus Home 1997 / Writer/Director Producers Ed Guiney, Andrew Lowe Script Woolley Writer Mark O’Rowe Production Element Films Company MR Films Johnny Gogan Producer Paul Donovan Mark O’Halloran Production Company Helen 2009 / Directors/Script Christine Companies Parallel Films, Company of Wolves Production Company Grand Pictures Element Pictures Molloy, Joe Lawlor Producer Joe Lawlor Man About Dog 2004 / Director Paddy Production Company Desperate Optimists Isolation 2006 / Director/Writer Billy O’Brien Breathnach Producers Robert Walpole, The Last of the High Kings 1994/95 / The General 1998 / Writer/Producer/ Producers Ruth Kenley-Letts, Bertrand Faivre, Simon Channing Williams Script Pearse N Director David Keating Producer Tim Director John Boorman Production Company The Hideaways 2011 / Director Agnés Merlet Ed Guiney Production Companies Element Elliott Production Companies Treasure Night Train 1998 / Director John Lynch Palmer Script David Keating, Gabriel Byrne Merlin Films Script Nick Murphy, Agnés Merlet Producers Films, The Bureau Entertainment, Potboiler Productions Producer Tristan Orpen Lynch Script Aodhan Production Company Parallel Films James Flynn, Jean Luc Ormieres Production Madden Production Company Subotica Gold in the Streets 1996 / Director Company Desperate Optimists Istanbul (Isztambul) 2011 / Director/ Mapmaker 2001 / Director/Script Johnny Entertainment The Last September 1999 / Director Elizabeth Gill Producer Noel Pearson Script Script Ferenc Török Producers Dominic Gogan Producer Paul Donovan Production Deborah Warner Producer Yvonne Thunder Janet Noble, Noel Pearson Production His & Hers 2009 / Director/Script Ken Wright, Jacqueline Kerrin, Lászlo Kántor, Company Grand Pictures Niko and the Way to the Stars 2008 / Script John Banville Production Company Company Ferndale Films Wardrop Producer Andrew Freedman Petra Goedings, Serkan Acar Production Directors Michael Hegner, Kari Juusonen Thunder Pictures Production Company Venom Films Companies Ripple WorlsPictures, Új Budapest Mickybo & Me 2005 / Director/Script Script Hannu Tuomainen, Marteinn Thorisson, Goldfish Memory 2003 / Director/Script Filmstudió Phanta Vision, Kuzey Terry Loane Producers Mark Huffam Mark Hodkinson Production Companies Le Dernier Mot 1999 / Director Sebastien Liz Gill Producer Breda Walsh Production The Honeymooners 2004 / Director/Script Mike McGeagh Production Companies Magma Films, Animaker, Ulysses Films, Afilm Grall Producers John Kelleher, Fabienne Company Goldfish Films Karl Golden Producers Martina Niland, Martin Octagon Films Servan-Schreiber Script Anne Valton, Brinkler Production Company Samson Films Nora 1999 / Director Pat Murphy Producers Marina Ní Dhubhain Production Company Good Vibrations 2012 / Directors Lisa Barros J Middletown 2006 / Director Brian Kirk Writer James Flynn, Tracey Seaward Script Pat Fastnet Films D’Sa, Glen Leyburn Script Colin Carberry, How About You 2007 / Director Anthony Johnny Was 2006 / Director Mark Hammond, Daragh Carville Producers Michael Casey, Murphy, Gerard Stembridge Production Glenn Patterson Producers Chris Martin, Byrne Producer Noel Pearson Script Writer Brendan Foley Producers Patrick Mark Byrne, Martha O’Neill Production Company Volta/Metropolitan Films Life’s a Breeze 2012 / Director/Script Lance Andrew Eaton, David Holmes, Rebecca Jean Pasley, based on a short story by Maeve Fitzsymons, Tom Maguire, Paul Largan, Lars Company Green Park Films Daly Producer Macdara Kelleher Production O’Flanagan, Rob Walpole Script Janet Noble, Binchy Production Company Ferndale Films Hermann, Ira Besserman, Brendan Foley Not Afraid, Not Afraid 2001 / Director Annette Companies Fastnet Films, Anagram Noel Pearson Production Companies Treasure Production Company Borderline Productions The Mighty Celt 2005 / Director/Script Carducci Producers Morgan O’Sullivan, Entertainment, Canderblinks How Harry Became a Tree 2001 / Director Pearse Elliott Producers Robert Walpole, James Flynn, Howard Gibbins Script Annette Little Foxes (Lísˆticˆky) 2009 / Director/Script Goran Paskaljevic Producer Liam O’Neill Jump 2012 / Director Kieron J Walsh Script Paddy McDonald, Paddy Breathnach, Michael Carducci, Barry Devlin Production Company Mira Fornayovà Producers Davis Collins, The Guard 2010 / Director/Script John Script Goran Paskaljevic, Stephen Walsh Kieron 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