DOCSLIB.ORG

Eone Annual Report 2017

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Eone Annual Report 2017 Entertainment One | 2017 Annual Report and Accounts Entertainment One | 2017 Annual Report 2017 Annual Report and Accounts Bringing the best content to the world At a glance Financial highlights 2017 Strategic progress Revenue Adjusted fully diluted earnings per share – Significant progress on the reshaping of the Film business, £1,082.7m 20.0 pence including progress on Fox and Sony partnerships and the +35% (2016: £802.7m) +3% (2016: 19.4 pence) renegotiation of a distribution arrangement with one of our 13 629.1 13 13.9 14 823.0 14 18.3 partners, with associated one-off 15 785.8 15 20.8 charges during the year 16 802.7 16 19.4 17 1,082.7 17 20.0 – Company structure evolving to underpin future growth with plans 0 200 400 600 800 1,000 0 5 10 15 20 25 £m Pence to combine Film and Television Divisions into a single studio operation, following establishment of a combined global sales team effective 1 April 2017 Underlying EBITDA Dividend – Independent library valuation increased to £160.2m 1.3 pence US$1.5 billion at 31 March 2016 +24% (2016: £129.1m) +8% (2016: 1.2 pence) (2015: >US$1 billion) – does not yet include benefit 13 62.5 13 of FY17 performance 14 92.8 14 1.0 15 107.3 15 1.1 – On track to double the size of 16 129.1 16 1.2 the business over the five years 17 160.2 17 1.3 to FY20 0 50 100 150 200 0 0.3 0.6 0.9 1.2 1.5 £m Pence – Confirmation of a new series of Peppa Pig, with 117 episodes to air over four years from Spring 2019 Profit before tax Adjusted net debt – Launch of MAKEREADY, a global content creation company with £37.2m £187.4m industry veteran Brad Weston -22% (2016: £47.9m) £6.6m higher (2016: £180.8m) 13 5.5 13 87.8 14 21.5 14 111.1 15 44.0 15 224.9 16 47.9 16 180.8 17 37.2 17 187.4 0 10 20 30 40 50 0 50 100 150 200 250 £m £m Alternative performance measures We use both statutory and adjusted measures in our strategic report. A full reconciliation between our reported and adjusted results is provided in our Appendix to the Annual Report on page 136. Strategic report Governance Financial statements Our unique model gives us access to the best talent to bring the highest quality content to the world. We source, select and sell entertainment content rights across all media platforms globally. We offer investors an attractive and risk mitigated return in a strong, dynamic and growing market. Demand for multi-channel content is growing and eOne is well positioned to capitalise. Contents Business model and strategy .............2 Board of Directors ...............................44 Chairman’s statement...........................8 Corporate governance report ..........46 Chief Executive Officer’s review ...... 10 Audit Committee ...................................51 Business review ....................................12 Nomination Committee ......................57 Television ..........................................14 Directors’ Remuneration Report ..... 60 Family .............................................. 20 Directors’ Report: additional Film ....................................................24 information .......................................... 80 Finance review .................................... 28 Independent Auditor’s Report ..........84 Principal risks and uncertainties ......33 Consolidated Financial Corporate responsibility ....................38 Statements ............................................88 Corporate governance .......................42 Notes to the Consolidated Financial Statements ......................... 92 Visit our website: entertainmentone.com 1 entertainmentone.com Our business model and strategy Our world of entertainment: we source, select and sell entertainment content rights across all media platforms globally. Sourcing Selecting Selling eOne Annual Report and Accounts 2017 2 Strategic report Governance Financial statements from world class talent We partner with the most talented producers in the world, bringing the very best content into our portfolio for monetisation the highest quality content We focus on the high value content genres and family brands that have global appeal to consumers around the world Our global sales presence enables us to sell content on a single territory, multi-territory or global basis 3 entertainmentone.com creating value through the sourcing of high quality rights from leading creative talent… Source Connect with creative talent KPIs Creating value FY13 79.6 We source our content from the most talented producers £265.3m FY14 87.1 in the world, working with them to develop, produce FY15 105.1 and monetise content most effectively across our global Investment in FY16 108.3 distribution network. By offering them a range of different content across FY17 265.3 partnership structures, we are able to capture their content Television and Family in our portfolio, driving present and future value. FY13 95.4 £142.6m FY14 189.7 FY15 175.7 Co-production deals Investment in content FY16 110.2 First Look deals in Film FY17 142.6 Overhead deals FY13 350 US$1.5bn FY14 650 Option deals FY15 801 Library valuation as FY16 1,000 Output deals at 31 March 2016 FY17 1,500 …selecting the most commercial route for bringing the content to consumers… Select Produce/acquire global rights KPIs Creating value In some cases we will acquire content for distribution but increasingly our content businesses are producing content, FY13 507 1,023 FY14 551 funded through low risk production financing secured on FY15 752 pre-sales to our customers. Television half hours FY16 998 produced and acquired FY17 1,023 By producing our own content we can take full control of ownership, globally and in perpetuity, in turn enabling us FY13 246 to maximise revenues through our sales teams. 1,083 FY14 457 FY15 635 Our partner companies: Family licences FY16 847 FY17 1,083 FY13 214 172 FY14 275 FY15 227 Film releases FY16 210 FY17 172 …maximising returns through our deep relationships, expertise across multiple platforms and global footprint… Sell Cinema – Retail – Broadcast – Digital Creating value eOne operates an integrated, international distribution team KPIs that stretches across over 150 territories, with presence in all parts of the content value chain. FY13 12.8 11.0% Our deep relationships with all of the key content buyers £62.8m FY14 14.5 11.1% and our ownership of global content rights positions us well to FY15 17.8 9.5% meet the challenges of this evolving market as our customers TV EBITDA and margin FY16 39.2 16.0% look to buy multi-territory or global content rights. FY17 62.8 13.9% Key channels FY13 5.2 29.7% Cinema Retail £55.6m FY14 10.3 29.0% FY15 23.8 39.1% Family EBITDA FY16 43.3 65.0% and margin FY17 55.6 62.8% FY13 49.3 9.5% £52.7m FY14 74.1 10.8% FY15 73.1 12.3% Broadcast Digital Film EBITDA and margin FY16 52.8 9.5% FY17 52.7 8.9% Fear the Walking Dead Peppa Pig Over 800 licences US$1.2 billion retail sales Over 10 million viewers 6 Oscar® awards US$441 million worldwide total lifetime gross La La Land …successful Deliver execution of the strategy generating improved 2017 financial returns. Performance Our business model has delivered another strong set of results in FY17. Total shareholder return (TSR) As well as robust 140 performances in 120 revenues and EBITDA 100 (up 35% and 24% 80 respectively), we have KPIs 60 once again delivered 40 strong free cash flow 2014 2015 2016 2017 (before production FY13 13.9 eOne FTSE 250 Index finance), continued our 20.0p FY14 18.3 FY15 20.8 progressive dividend Adjusted fully diluted FY16 19.4 policy and increased earnings per share (EPS) FY17 20.0 the value of our content library. Chairman’s statement Continuing to develop and evolve content markets The coming together of content services, technology and consumer demand in this way has created a vibrant and dynamic market for those who produce and own attractive content rights across multiple platforms and territories. Allan Leighton, Non-executive Chairman A vibrant market outlook Entertainment One has delivered a strong trading performance for the year, with very pleasing revenue growth from Television Seismic change has become the norm in the global content and Family, and another year of growth in underlying EBITDA. market, bringing with it both opportunities and challenges for It is particularly noteworthy that this performance includes all participants. Liberated from linear programming schedules significant organic growth and has been delivered against by technology and new digital content platforms, consumers a backdrop of a recovering Film business after two years of have embraced new ways to discover and view their favourite market volatility. This robust set of results allows the Board to shows and films. They demand, and expect, the best television increase the dividend for the year to 1.3 pence, in line with its shows and films to be delivered to them in the way they want, at progressive policy. a time they dictate and on the screen of their choice. Traditional broadcasters and networks have been challenged by these Operational highlights new demands, but many have now responded through improved functionality, pricing and choice of content. Operationally, Entertainment One has had another busy year across a number of fronts. A broad slate of successful film As the industry continues to adjust to this new market paradigm, releases, led by The BFG and The Girl on the Train, reversed two one thing remains clear: demand for quality content remains years of revenue decline and will help drive ancillary windows in high and content platforms are prepared to pay premium future years. Supporting this, action has been taken to further prices for the very best. In response we are developing optimise the film slate and drive operating efficiencies.
Load more

Recommended publications
  • RAPPORTO Il Mercato E L’Industria Del Cinema in Italia 2008
    RAPPORTO Il Mercato e l’Industria del Cinema in Italia 2008 fondazione ente dello spettacolo RAPPORTO Il Mercato e l’Industria del Cinema in Italia 2008 In collaborazione con CINECITTA’ LUCE S.p.A. Con il sostegno di Editing e grafica: PRC srl - Roma fondazione ente Realizzazione a cura di: Area Studi Ente dello Spettacolo Consulenza: Redento Mori dello spettacolo Presentazione el panorama della pubblicistica italiana sul cinema, è mancata fino ad oggi una sintesi che consentisse una visione organica del settore e tale da misurare il peso di una realtà produttiva che per qualità e quantità rappresenta una delle voci più significative Ndell’intera economia. Il Rapporto 2008 su “Il Mercato e l’Industria del Cinema in Italia” ha lo scopo primario di colmare questa lacuna e di offrire agli operatori e agli analisti un quadro più ampio possibile di un universo che attraversa la cultura e la società del nostro Paese. Il Rapporto è stato realizzato con questo spirito dalla Fondazione Ente dello Spettacolo in collaborazione con Cinecittà Luce S.p.A., ed è il frutto della ricerca condotta da un’équipe di studiosi sulla base di una pluralità di fonti e di dati statistici rigorosi. Questo rigore si è misurato in alcuni casi con la relativa indeterminatezza di informazioni provocata dall’assenza di dati attualizzati (ad esempio, per i bilanci societari) e dalla fluidità di notizie in merito a soggetti che operano nel settore secondo una logica a volte occasionale e temporanea. La Fondazione Ente dello Spettacolo opera dal 1946. Finora si è conosciuto molto del cinema italiano soprattutto in termini di È una realtà articolata e multimediale, impegnata nella diffusione, promozione consumo.
    [Show full text]
  • Eone Annual Report 2019
    2019 Annual Report and Accounts Unlocking the power & value of creativity We are focused on building the leading talent-driven, platform- agnostic entertainment company in the world. Through our deep creative relationships we are able to produce the highest quality content for the world’s markets. We are powered by global reach, scale and local market knowledge to generate maximum value for this content. Strategic Report SR Governance G Financial Statements FS Unlocking the Unlocking the value of originality power & value p.10 of creativity Unlocking the power of creativity p.12 Strategic report Governance 02 At a glance 66 Corporate governance 04 Chairman’s statement 68 Board of Directors 06 Chief Executive Officer’s review 70 Corporate governance report 10 Unlocking the power 78 Audit Committee report & value of creativity Unlocking the 86 Nomination Committee report value of direction 20 Market Review 90 Directors’ Remuneration report p.14 22 Business Model 118 Directors’ report: 24 Strategy additional information 26 Key performance indicators Financial statements Business review 122 Independent auditor’s report 28 Family & Brands 127 Consolidated financial statements 36 Film, Television & Music 131 Notes to the consolidated financial statements Unlocking the 46 Finance review power of storytelling 51 Principal risks and uncertainties Visit our website: entertainmentone.com p.16 58 Corporate responsibility Unlocking the value of talent p.18 entertainmentone.com 1 AT A GLANCE Performance highlights Strong growth in underlying EBITDA
    [Show full text]
  • 2017 DGA Episodic Director Diversity Report (By STUDIO)
    2017 DGA Episodic Director Diversity Report (by STUDIO) Combined # Episodes # Episodes # Episodes # Episodes Combined Total # of Female + Directed by Male Directed by Male Directed by Female Directed by Female Male Female Studio Title Female + Signatory Company Network Episodes Minority Male Caucasian % Male Minority % Female Caucasian % Female Minority % Unknown Unknown Minority % Episodes Caucasian Minority Caucasian Minority A+E Studios, LLC Knightfall 2 0 0% 2 100% 0 0% 0 0% 0 0% 0 0 Frank & Bob Films II, LLC History Channel A+E Studios, LLC Six 8 4 50% 4 50% 1 13% 3 38% 0 0% 0 0 Frank & Bob Films II, LLC History Channel A+E Studios, LLC UnReal 10 4 40% 6 60% 0 0% 2 20% 2 20% 0 0 Frank & Bob Films II, LLC Lifetime Alameda Productions, LLC Love 12 4 33% 8 67% 0 0% 4 33% 0 0% 0 0 Alameda Productions, LLC Netflix Alcon Television Group, Expanse, The 13 2 15% 11 85% 2 15% 0 0% 0 0% 0 0 Expanding Universe Syfy LLC Productions, LLC Amazon Hand of God 10 5 50% 5 50% 2 20% 3 30% 0 0% 0 0 Picrow, Inc. Amazon Prime Amazon I Love Dick 8 7 88% 1 13% 0 0% 7 88% 0 0% 0 0 Picrow Streaming Inc. Amazon Prime Amazon Just Add Magic 26 7 27% 19 73% 0 0% 4 15% 1 4% 0 2 Picrow, Inc. Amazon Prime Amazon Kicks, The 9 2 22% 7 78% 0 0% 0 0% 2 22% 0 0 Picrow, Inc. Amazon Prime Amazon Man in the High Castle, 9 1 11% 8 89% 0 0% 0 0% 1 11% 0 0 Reunion MITHC 2 Amazon Prime The Productions Inc.
    [Show full text]
  • Music on PBS: a History of Music Programming at a Community Radio Station
    Music on PBS: A History of Music Programming at a Community Radio Station Rochelle Lade (BArts Monash, MArts RMIT) A thesis submitted for the degree of Doctor of Philosophy January 2021 Abstract This historical case study explores the programs broadcast by Melbourne community radio station PBS from 1979 to 2019 and the way programming decisions were made. PBS has always been an unplaylisted, specialist music station. Decisions about what music is played are made by individual program announcers according to their own tastes, not through algorithms or by applying audience research, music sales rankings or other formal quantitative methods. These decisions are also shaped by the station’s status as a licenced community radio broadcaster. This licence category requires community access and participation in the station’s operations. Data was gathered from archives, in‐depth interviews and a quantitative analysis of programs broadcast over the four decades since PBS was founded in 1976. Based on a Bourdieusian approach to the field, a range of cultural intermediaries are identified. These are people who made and influenced programming decisions, including announcers, program managers, station managers, Board members and the programming committee. Being progressive requires change. This research has found an inherent tension between the station’s values of cooperative decision‐making and the broadcasting of progressive music. Knowledge in the fields of community radio and music is advanced by exploring how cultural intermediaries at PBS made decisions to realise eth station’s goals of community access and participation. ii Acknowledgements To my supervisors, Jock Given and Ellie Rennie, and in the early phase of this research Aneta Podkalicka, I am extremely grateful to have been given your knowledge, wisdom and support.
    [Show full text]
  • Results for the Year Ended 31 March 2015 19 May 2015 Summary
    RESULTS FOR THE YEAR ENDED 31 MARCH 2015 19 MAY 2015 SUMMARY Strong financial performance Strategy on track to double the size of the business Dividend declared, up 10% Positive outlook 2 3 BRINGING THE BEST CONTENT TO THE WORLD SOURCE: CONNECT WITH CREATIVE TALENT A TRUE PARTNER TO THE BEST CREATIVE TALENT SCALE SELECT: PRODUCE / ACQUIRE GLOBAL RIGHTS REACH THE WORLD’S LEADING INDEPENDENT DISTRIBUTOR Cinema Retailer Broadcaster Digital SELL: 4 INDUSTRY DYNAMIC CREATES OPPORTUNITIES Audiences demanding high quality content Global multi-platform rights distribution a competitive advantage 5 TARGET TO DOUBLE THE SIZE OF BUSINESS Goal by 2020 2015 6 FINANCIAL OVERVIEW 7 KEY FINANCIAL HIGHLIGHTS PRO FORMA EBITDA1,2 ADJUSTED DILUTED EPS3 £117.2m 23.5p Up 11% Up 12% ADJUSTED FREE CASH ADJUSTED NET DEBT5 FLOW4 £41.0m £224.9m Up £22.2m 1.9x EBITDA1,2 1 Pro forma financial results include the results of Phase 4 Films, Paperny Entertainment, Force Four Entertainment and The Mark Gordon Company (which were acquired on 3 June 2014, 31 July 2014, 28 August 2014 and 7 January 2015, respectively) as if those businesses had been acquired on the first day of the comparative year, with comparative figures translated at 2015 actual foreign exchange rates. 2 Underlying EBITDA is operating profit before one-off items, amortisation of acquired intangible assets, depreciation, amortisation of software, share-based payment charge, and ‘tax, finance costs and depreciation’ related to joint ventures. Underlying EBITDA is reconciled to operating profit in the ‘Other Financial Information’ section of the Results Announcement. 3 Adjusted profit before tax is profit before amortisation of acquired intangible assets, share-based payment charge, ‘tax, finance costs and depreciation’ related to joint ventures, operating one-off items and one-off items relating to the Group’s financing arrangements; adjusted diluted 8 earnings is adjusted for the tax effect of these items.
    [Show full text]
  • Los Angeles Mission 2019
    EC7.7 REPORT FOR ACTION Los Angeles Mission 2019 Date: August 13, 2019 To: Economic and Community Development Committee From: General Manager, Economic Development and Culture Wards: All SUMMARY On May 9, 2019, Mayor John Tory, alongside Deputy Mayor Michael Thompson, Councillor Paula Fletcher and key City staff led a delegation of 30 Toronto screen industry companies and organizations to Los Angeles to strengthen existing relationships and foster new ones with Los Angeles’ leading film, television and digital media companies in order to secure more investment in Toronto. The delegation, the largest to date for this mission, presented a unified voice for the jurisdiction and showcased Toronto’s commitment to growing the industry beyond the $2 billion it contributed to the city in 2018. Messaging from Mayor Tory, Deputy Mayor Thompson, Councillor Fletcher, City staff and delegates was focused on infrastructure growth, workforce development and customer service during this unprecedented golden age of content creation. This report provides an overview of the Mayor’s Los Angeles Mission including key activities and outcomes. RECOMMENDATIONS The General Manager, Economic Development and Culture recommends that: 1. City Council receive this report for information. FINANCIAL IMPACT The total cost of the trade mission was $152,822.42. The net cost after sponsorship contributions of $133,193.16 was $19,629.26. This amount was included in Economic Development and Culture's 2019 Approved Operating Budget, under the Film and Entertainment Industries activity. Future investments in Toronto by companies met in Los Angeles will result in benefits to the City. Los Angeles Mission 2019 Page 1 of 9 The Chief Financial Officer and Treasurer has reviewed this report and agrees with the financial impact information.
    [Show full text]
  • The 12Th Annual Jerusalem Pitch Point
    The 12th Annual Jerusalem Pitch Point 01. pitchpoint past projects Saving Neta Youth Fill the Void Tikkun In Between Scaffolding That Lovely Girl Zero Motivation Policeman .02 03. SCHEDULE INDUSTRY DAYS EVENTS 2017 SUNDAY, JULY 16th reading of a trade publication from the recent Marché du Film in Cannes, and the large variety of advertising contained within. 10:00-12:15 Are there absolute rules to be followed or mistakes to be avoided? How does one stand out from Pitch Point Production Competition the crowd? How can design allow a project to reach or create an audience without betraying Open to the general public its artistic spirit and creative integrity? Theater 4, Jerusalem Cinematheque 16:00-17:30 13:00-18:45 Based on a True Story – A Documentary Panel Industry Panels Finding a new subject for a documentary film can be very exciting. But after the precious Open to the general public story is found, how do you tell it? Sinai Abt (Kan - Israeli Public Broadcasting Corporation), Theater 4, Jerusalem Cinematheque Joëlle Alexis (Film Editor), Osnat Trabelsi (Israeli Documentary Filmmakers Forum) and Maya Zinshtein (Forever Pure) discuss the ups and downs of “writing” reality, from the blank page to the editing bay. Moderated by Osnat Trabelsi 13:00-14:30 One Film, Many Platforms - A Distribution Panel 17:45-18:45 The “Digital Revolution” has had an effect on every aspect of our lives, including our industry. Jerusalem Through the Director’s Viewfinder - The Quarters Panel Alongside groundbreaking advances in filmmaking, film distribution is in the midst of a digital Four acclaimed international directors – Todd Solondz (Happiness), Anna Muylaert (The Second transformation.
    [Show full text]
  • Getting a on Transmedia
    ® A PUBLICATION OF BRUNICO COMMUNICATIONS LTD. SPRING 2014 Getting a STATE OF SYN MAKES THE LEAP GRIon transmediaP + NEW RIVALRIES AT THE CSAs MUCH TURNS 30 | EXIT INTERVIEW: TOM PERLMUTTER | ACCT’S BIG BIRTHDAY PB.24462.CMPA.Ad.indd 1 2014-02-05 1:17 PM SPRING 2014 table of contents Behind-the-scenes on-set of Global’s new drama series Remedy with Dillon Casey shooting on location in Hamilton, ON (Photo: Jan Thijs) 8 Upfront 26 Unconventional and on the rise 34 Cultivating cult Brilliant biz ideas, Fort McMoney, Blue Changing media trends drive new rivalries How superfans build buzz and drive Ant’s Vanessa Case, and an exit interview at the 2014 CSAs international appeal for TV series with the NFB’s Tom Perlmutter 28 Indie and Indigenous 36 (Still) intimate & interactive 20 Transmedia: Bloody good business? Aboriginal-created content’s big year at A look back at MuchMusic’s three Canadian producers and mediacos are the Canadian Screen Awards decades of innovation building business strategies around multi- platform entertainment 30 Best picture, better box offi ce? 40 The ACCT celebrates its legacy Do the new CSA fi lm guidelines affect A tribute to the Academy of Canadian 24 Synful business marketing impact? Cinema and Television and 65 years of Going inside Smokebomb’s new Canadian screen achievements transmedia property State of Syn 32 The awards effect From books to music to TV and fi lm, 46 The Back Page a look at what cultural awards Got an idea for a transmedia project? mean for the business bottom line Arcana’s Sean Patrick O’Reilly charts a course for success Cover note: This issue’s cover features Smokebomb Entertainment’s State of Syn.
    [Show full text]
  • Annual Report 2018 2 Annual Report 2018
    ANNUAL REPORT 2018 2 ANNUAL REPORT 2018 ACCELERATING GROWTH PLAYING BY THE NEW RULES: IN THE DIRECT BRAND DATA GOVERNANCE, ECONOMY REVOLUTION ETHICS, AND LEGISLATION et’s not mince words: 2018 was a year of We see no reason to believe this direct brand ata is to the 21st century what capital massive disruption by any measure—and all economy will slow down, let alone go into reverse. This was to the 20th century. If you doubt that, Lsigns point to this disruption accelerating in “stack-your-own supply chain” is now so advanced and Dconsider this: In 2018, American companies 2019 and beyond. so embedded in the economy that the trends we’ve spent nearly $19.2 billion on the acquisition of For over a century, dominant consumer-facing seen for the past decade will only accelerate. audience data and on solutions to manage, process, companies created value through their ownership and and analyze digital audience data—a figure that operation of high-barrier-to-entry, capital-intensive It also represents an incredible represents a staggering 17.5 percent increase supply chains. The most successful companies owned opportunity for those who understand from the prior year (State of Data 2018 Report, outright or had significant control over every major the power of interactive media in this Winterberry Group, IAB). function within their supply chain, from the sourcing of new world order. This is the current data landscape—and the raw materials to the ownership of their factories and elephant in the room. warehouses, to the railway cars and trucks that got Digital advertising—whether display, search, or Our industry is at the center of a seismic change If you don’t have consumers’ trust, their goods to market.
    [Show full text]
  • Hasbro Annual Report 2020
    Hasbro Annual Report 2020 Form 10-K (NASDAQ:HAS) Published: February 27th, 2020 PDF generated by stocklight.com UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 Form 10-K ☒ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended December 29, 2019 Commission file number 1-6682 Hasbro, Inc. (Exact Name of Registrant As Specified in its Charter) Rhode Island 05-0155090 (State of Incorporation) (I.R.S. Employer Identification No.) 1027 Newport Avenue Pawtucket, Rhode Island 02861 (Address of Principal Executive Offices) (Zip Code) Registrant’s telephone number, including area code (401) 431-8697 Securities registered pursuant to Section 12(b) of the Act: Title of each class Trading Symbol(s) Name of each exchange on which registered Common Stock HAS The NASDAQ Global Select Market Securities registered pursuant to Section 12(g) of the Act: None Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes ☒ or No ☐. Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act. Yes ☐ or No ☒. Indicate by check mark whether the registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days.
    [Show full text]
  • A World of Entertainment Entertainment One Ltd
    A world of entertainment Entertainment One Ltd. Annual Report and Accounts 2014 We are Entertainment One. Contents Strategic Report 1 Highlights Entertainment One’s goal is to be 2 Group at a Glance 4 Chairman’s Statement the world’s leading independent 6 Chief Executive’s Summary 8 Group Objectives and Strategy entertainment group, through the 10 Business Model 12 Market Overview production and acquisition of 14 Film Review 18 Television Review entertainment content rights for 22 Financial Review 26 Principal Risks and Uncertainties exploitation across all consumer 30 Corporate Social Responsibility media throughout the world. Corporate Governance 32 Board of Directors 34 Corporate Governance 40 Audit Committee Report 44 Directors’ Remuneration Report 61 Nomination Committee Report 62 Directors’ Report: Additional Information 64 Statement of Directors’ Responsibilities Consolidated Financial Statements 65 Index to the Consolidated Financial Statements 66 Independent Auditor’s Report 69 Consolidated Income Statement 69 Consolidated Statement of Comprehensive Income 70 Consolidated Balance Sheet 71 Consolidated Statement of Changes in Equity 72 Consolidated Cash Flow Statement 73 Notes to the Consolidated Financial Statements Television Chief Executive’s Summary Film Review Darren Throop’s review of the year A review of our Film Division for the is set out on pages 6 and 7. year is set out on pages 14 to 17. Television Review A review of our Television Division for the year is set out on pages 18 to 21. Film entertainmentone.com ANNUAL
    [Show full text]
  • Item List for Location ZE for the Item Groups You Selected
    10:14 AM 1/24/2018 Item List for Location ZE For The Item Groups You Selected Call Number Title Author Publisher Pub. Date Barcode 613.7 Bey (VHS) Beyond basic yoga for dummies Dragonfly Productions[unknown] Inc. 33246001206861 613.7046 AM (DVD) AM PM yoga for beginners Lions Gate Entertainment,[2012] 33246002326791 941.83508 Lew Secret child : Lewis, Gordon. Harper Element, [2015] 33246002313112 (ON TRACE) BBC DVD FICMI-5, MI-5 volume (s.7) 07 BBC Video ; [2010] 33246002010338 (ON TRACE) DVD FIC Eight8 movie family adventure collection Echo Bridge Home Entertainment,[2013] 33246002290732 (ON TRACE) DVD FIC NothiNothing in common Tri Star, [2002] 33246001431956 (ON TRACE) DVD FIC RedRed Magnolia Home Entertainment,[2008] 33246002179083 (ON TRACE) DVD FIC StarStar trek XI Paramount, [2009] 33246001904911 BBC DVD FIC Above (s.2)Above suspicion, set 2 ITV Studios Home Entertainment[2012] ;33246002162659 BBC DVD FIC Agath (M. Agatha7 & 12) Christie's Marple, set 1, volume 2 : A&E Television Networks[2006] : 33246001875970 BBC DVD FIC Agath (M. Agatha8 & 9) Christie's Marple, set 1, volume 1 : A&E Television Networks[2006] : 33246001875962 BBC DVD FIC Agath (T. 2)Agatha Christie's Partners in Crime, set 2 distributed exclusively[2004]. by Acorn Media,33246002226959 BBC DVD FIC Balle Ballet shoes BFS Video, [2000] 33246001613892 BBC DVD FIC Berke Berkeley square, the complete series / BFS, [2011] 33246002256402 BBC DVD FIC Broad (s.1)Broadchurch, season 1 / Entertainment One (New[2014] Releases), 2013.33246002277978 BBC DVD FIC Broke (s. 3)The Brokenwood mysteries, series 3 Acorn, [2017] 33246002396141 BBC DVD FIC Danie Daniel Deronda BBC Video ; [2003] c2002.33246001980986 BBC DVD FIC Death (s.2)Death in paradise, season 2 BBC ; [2013] 33246002248862 BBC DVD FIC Death (s.3)Death in paradise, season 3 BBC Worldwide., [2014] 33246002356111 BBC DVD FIC Death (s.5)Death in paradise, season 5 BBC Video, [2016] 33246002313419 BBC DVD FIC Downt (DowntonDownton Abbey Abbey, s.
    [Show full text]