ANNUAL REPORT 2007 2008 CONTENTS

CHAIRMAN and APPENDICES APPENDIX C CHIEF EXECUTIVE Screen Industry OFFICER REPORT 3 APPENDIX A Programs Approvals 40 Independent BOARD MEMBERS Auditor’s Report 22 APPENDIX D PROFILES 6 Screen Culture Approvals 47 Certifi cation of the Financial Report 23 SAFC OVERVIEW 9 APPENDIX E Financial Statement 25 Educational Content Income Statement 25 Fund Approvals 48

Balance Sheet 25 APPENDIX F Statement of Digital Media Fund Approvals 49 Changes in Equity 26 Cash Flow Statement 26 APPENDIX G Program Write Backs 52 Notes to and Forming Part of the Financial Statements 27 APPENDIX H APPENDIX B Committees 54 SAFC Organisation Chart APPENDIX I as at 30 June 2008 35 Asbestos Management 55 SAFC Staff as at 30 June 2008 36 SAFC Staff Details APPENDIX J as at 30 June 2008 37 Freedom of Information 56 CHAIRMAN and CHIEF EXECUTIVE OFFICER REPORT

2007-08 was a landmark year for the Hub. This exciting new $43 million as an agency that is innovative and directing talent in Auction’s strengthening relationship between South Australian Film Corporation. It studio complex located just outside responsive. As the fi rst agency of its Granaz Moussavi. the two organisations is having on was a year that witnessed the most the CBD on the historic Glenside site kind in Australia, and the only state the local sector. The SAFC and AFF fundamental changes to fi lm fi nancing will provide the infrastructure for the fi lm agency that manages production Important impetus was also provided also partnered to continue their in twenty years, with the introduction local production sector for at least the facilities, the SAFC has always been by the Film South Australia initiative, collaboration with director Sarah Watt of the federal Producer Offset and the next 35 years, create a vibrant creative something of a pioneer. And when it which was announced by the Premier and Producer Bridget Ikin, the team creation of a new single federal agency hub for SA fi lm practitioners and has settled into its new state of the in June 2007, and neatly complements behind the multi-AFI award winning Screen Australia. For the SAFC, it was companies and provide a new home art premises in December 2010, the the SAFC’s existing suite of investment Look Both Ways. The SAFC and AFF also a year in which the corporation for the SAFC closer to its key SAFC will be remembered as the fi rst programs. The incentives provided turned 35, generated its largest and client base. agency in Australia to cashfl ow the as part of this program were fully most diverse feature fi lm slate in its newly introduced federal Producer subscribed in 2007-08 and allowed the recent history, and announced plans to In these times of change the SAFC has Offset, and how its willingness to do SAFC to attract high profi le feature create the Adelaide Film And Screen continued to build on its reputation so in a time of uncertainty acted as an fi lms to the state such as Elise, starring important catalyst for productions to Natalie Imbruglia, and Rachel Ward’s seek to shoot in the state during 2007- directorial debut Beautiful Kate, 08 and beyond. starring Bryan Brown.

It was a year in which the SAFC Other fi lms accessing these incentives fi nanced a number of locally generated included Coffi n Rock, the latest by feature fi lms, including Kojo Pictures’ Wolf Creek producer David Lightfoot, Coffi n Rock fi rst fi lm Beautiful, the Australian/ and The Last Ride directed by Cannes- provided post-production fi nance for Chinese animated co-production winning director Glendyn Ivin, while their latest fi lm My Year Without Sex, The Last Dragon starring Sam Neill, the locations services delivered as part which stars Sacha Horler and Matt Day, Auction and Home starring Aden of Film SA were also responsible for and will premiere at the AFF in 2009. Young, the largest single slate of the decision by Napoleon Dynamite locally produced fi lms for more than a producer Chris Wyatt to locate the South Australian fi lms continued to decade. A number of these fi lms are entire shoot of Broken Hill in and have a strong showing at the 2007 being made by new South Australian around Adelaide. AFIs, with Anna Broinowski’s SAFC/ producers, which represents an AFF-fi nanced documentary Forbidden encouraging development for the long A number of these fi lms were fi nanced Lie$ winning Best Documentary and term sustainability of the local sector, in conjunction with the Adelaide Best Editing, to go with its swag of while it is has been thrilling to have Film Festival, and it is exciting to awards from festivals around the the opportunity to support a new SA see the positive impact that the world. Meanwhile, the SAFC had

3 Beautiful CHAIRMAN and CHIEF EXECUTIVE OFFICER REPORT two AFI candidates in 2007 for Best Gen Y series, made by SA creative task ahead will be to fi nd its successor. The SA fi lm industry has a bright important will be the opportunity Short Film, including Chris Houghton’s teams and produced by Kristian future ahead of it, with the Premier’s to attract industry tenants to the site Swing and Anthony Maras’ Spike Up, Moliere and Shane McNeil went into Part of the answer will undoubtedly announcement of the Adelaide Film to create an industry hub that will the latter of which ultimately won the production. The SAFC will continue to lie in the new emerging digital and Screen Hub in May 2008 the foster partnership and mentoring main prize. This remarkable showing look for future documentary initiative media space, where South Australian centerpiece of the Government’s possibilities and allow greater in what is an incredibly opportunities with broadcasters and companies are starting to gain some ongoing commitment to the sector. communication and collaboration competitive fi eld other partners that build on the solid traction. The Deep Sleep, for example, The development of the Hub, from within this fast-evolving sector. indicates the depth of documentary foundations that a project developed under the concept to Business Case, and the creative talent that exists have been developed in the SAFC/ABC Digital Animation Initiative, selection of an appropriate site, has The new hub will be a boutique in the new fi lmmaking state in recent years. was selected as a competition fi nalist taken much work and energy over one-stop-shop for production in generation in for the MIPTV/MILIA 360 Digital a number of years, not to mention Australia, and with its combination South Australia. In television drama, the past Pitching Competition, while the extensive consultation with industry, of fi lm agency, industry tenants and year witnessed the end of Kukan/Champagne for the Ladies and the SAFC is particularly indebted production facilities in Australia will At the same time, some an era when the production game Coolest Girl in School, received to DTED for the rigorous work that be the only precinct of its kind in the of the more ambitious doors fi nally closed on nominations in three categories for the their staff undertook to make the country. It will provide an important SA documentary series McLeod’s Daughters, at the 2007 Games Developers Association project a reality. point of difference for the state in the found signifi cant national end of its eighth season. This of Australia Awards. Meanwhile, federal production landscape, meet audiences. The six part Is series has been an amazing more conventional series which Throughout the process, it has the production and post-production Your House Killing You?, success story for South are looking to use the new digital remained a project close to the a co-production between Italian Spiderman Australia, both in terms of what platforms are also emerging, with Premier’s heart, as it refl ects his vision Tallstoreez Productionz it has contributed to the local Monkeystack’s animated TV series for a viable, vibrant and sustainable and NSW-based Essential Viewing sector, as well as for the profi le of the pilot Bridget the Goddess scooping local production sector. It builds on the screened to strong audience numbers state. The SAFC is immensely proud of the SPAA/Nickelodeon pitching strength of the state and its direction for SBS in October 2007. In May its association with what has become competition, and Dario Rosso’s retro as a centre of independent fi lmmaking, 2008, the “rookie entrepreneur” a standout series in this country. There spoof Italian Spiderman causing an and an industry that can be the master documentary series Risking it All, is no doubt that it will be a hard act to online sensation. The SAFC backed of its own destiny. The new premises directed solely by South Australians follow, and the SAFC gives particular the development of Italian Spiderman at Glenside will provide a much and produced by Alan Carter and thanks to the indefatigable producers from its initial trailer form in 2007, needed new location for the SAFC, Bridget the Goddess Claire Harris, screened on SBS Posie Graeme-Evans, and Andrew and the series has now had well over which has been housed at its Hendon becoming the highest rating program Blaxland and to all of those writers, 2 million hits on YouTube. As a result premises for over twenty fi ve years, needs of a modern fi lm industry, and in the Inside Australia timeslot for six directors, actors and crew who made of its ongoing success the series has and allow it to provide state-of-the-art position it to face the demands and years. Meanwhile, the SA episodes in the series so successful for so long. It begun generating serious interest from facilities that will underpin the growth challenges of tomorrow. the joint SAFC/Screenwest venture has been a great journey, and the next broadcasters from around the world. of the local production sector. Just as

4 CHAIRMAN and CHIEF EXECUTIVE OFFICER REPORT

The perfect complement to this the Film Lab will play a central role in local sector, and particularly its key open and can-do attitude of SAFC’s Finally, sincere thanks must also go to signifi cant screen infrastructure taking emerging fi lmmakers from short creative teams, to assist the industry to staff. A particular thank you must go to the SA Government for its ongoing investment was the Premier’s fi lms through to more demanding succeed creatively, culturally, critically, former Board Members Pamela Martin support for the screen industry, in announcement in the May 2008 state long-form production. and commercially. Over the past year, and Brian Morris who have served particular the Premier and Minister budget of $4M for the SAFC to run the SAFC has worked constructively the Board and industry so well over for Arts Mike Rann who remains a a developmental Film Lab, which will The Lab will run in parallel to the with the industry as it has moved such a long period. The addition of passionate and committed champion provide the necessary content-creation SAFC’s ongoing development through this process, undertaking a Tony Clark, Julie Ryan and Jane Yuile of the sector. The commitments that component to the Government’s fi lm activities, where the SAFC has signifi cant review in 2007, and regular ensures we have a diversity of skills the Government has made to the strategy. This new scheme which will become increasingly active. 2007 meetings have been held since that and abilities as it moves into these sector in the past twelve months fund a slate of eight low budget fi lms saw the completion of the Script time between the South Australian exciting times. are remarkable and defi nitive, and over the next four years, will provide Factory program, an intensive high- Screen Industry Council and the SAFC stand as testaments to the esteem important production opportunities level development program with Board. These discussions have been Many thanks to our Government with which the sector is held at for SA’s new generation of fi lmmaking established industry professionals. In crucial in guiding the SAFC’s thinking stakeholders, especially Greg Mackie the highest levels. The SAFC looks talent. It is these fi lmmakers who will 2008 the SAFC followed this up with about strategy and policy, and they and Alex Reid from Arts SA, and Ray forward to implementing these new in turn one day be the key clients for a sold-out and acclaimed session with will be even more so as time moves Garrand from DTED, all of whom initiatives, planning its new facilities, new Film and Screen Hub, and provide Stephen Cleary, a principal of the on, and particularly as work begins in have been steadfast supporters of the and continuing to play its part in the well regarded development company earnest on the Film and Screen Hub. aims of the Corporation. Particular development of the South Australian ARISTA. The SAFC has identifi ed thanks also to the Premier’s two Arts creative industries, which comprise development as a key focus, and is 2006-07 was by any measure an Policy Advisers over the past year: such a crucial and visionary element working with industry partners such as incredible and busy year for the SAFC. Emma Lawson, a great fi lm advocate of the state’s strategic plan. the Media Resource Centre and the Thanks must go to the Board for their in recent years, and Michelle Bertossa Australian Film , Television and Radio contribution over this past twelve who has worked tirelessly in her new School in a more collaborative months, as well as the management role, to not only respond to the many manner than ever before to develop and staff of the SAFC who have demands of the organisation, but also a suite of development approaches managed a mini production-boom to see through the crucial fi nal stages across the board. and continued to deliver to all of the of the development of the Screen Hub SAFC’s clients and stakeholders in a proposal. Special mention must also Home All of these developments dovetail timely and professional manner. At go to Treasurer Kevin Foley whose the backbone for the next phase of the with the strategic planning process of times over the past year the Hendon support for the Film and Screen Hub as South Australian production industry. the SAFC that has been taking place Studios have been literally bursting at well as the SAFC’s Film Lab proposal Supporting emerging content creators over the past twelve months. The the seams, and producers using the have provided the building blocks for Cheryl Bart Richard Harris is a key part of the development of a SAFC Board has committed to take an facilities regularly commented on the the next phase of the Corporation. Chairman Chief Executive Offi cer sustainable, self-generating sector, and active approach in its support of the

5 BOARD MEMBERS PROFILES

Cheryl Bart John Chataway is Tony Clark is Barry Fox has held Bridget Ikin is an (Chairman) is a a founding partner Director of Rising a number of high independent fi lm lawyer and a non- of the Kojo Group, Sun Pictures (RSP) profi le positions, producer, whose executive Director South Australia’s and has worked as most recently as credits including on a number of largest visual VFX Supervisor or Vice President An Angel At boards including communications Executive Producer of CBS, General My Table, the Economic specialist on big budget Manager of Group Kitchen Sink, Development company. John is Hollywood projects W responsible for Crush, Loaded, Board, ETSA CEO of Touché such as Harry programming and Floating Life Utilities, EOS Adaptive Systems, Potter and the distribution. Prior and Look Both Ltd, Global Properties Ltd, Spark which develop and market next- Goblet of Fire, Blood Diamond, and to CBS, Barry held senior management Ways; she was EP on The Tracker, Infrastructure Ltd, ANZ Trustees generation interactive and adaptive Charlotte’s Web as well as local feature positions with Reuters TV International Australian Rules, Walking on Water Ltd and the Alcohol Education and displays systems. John also remains fi lms such as Elephant Tales. Tony is in Washington, DC and Fox TV in and Kabbarli. From 1996-2000 Rehabilitation Foundation. She is the a Director on the Kojo Board. He is an Emmy and ACS Award-winning London and New York. Bridget was General Manager of SBSi, Chairman of the Adelaide Film Festival, an accomplished director and award- Cinematographer, having worked with responsible for more than 400 hours the Adelaide Film Investment Fund and winning cinematographer in his own Rolf de Heer on The Quiet Room of distinctive Australian television the Environmental Protection Authority right with over 20 years experience in and Dance Me To My Song, which programming. Bridget was an (EPA). Ms Bart serves as a member of the events, fi lm, video and new media both screened in offi cial competition establishing Evaluation Manager at the the SAFC’s Finance and industries. John is also a founding at Cannes, Mario Andreacchio’s Sally Film Finance Corporation in Sydney, Audit Committee. member of the United Film Group, Marshall Is Not An Alien, Tempted where she consulted (amongst others) Board member of the Australian with Bill Bennett and most recently on the features Candy, Footy Legends, Dance Theatre and Deputy Chair of Kalaupapa – Heaven with Paul Cox. Suburban Mayhem, The Home Song the Adelaide Fringe Board. John Whilst juggling cinematography and Stories, Clubland and Lucky Miles. also serves as a member of the SAFC’s his many roles with RSP, Tony has also Bridget is currently producing the Finance and Audit Committee. found time to sit on the Boards of feature My Year Without Sex. The Helpmann Academy, Ausfi lm and Cinenet Systems.

6 BOARD MEMBERS PROFILES

Gabrielle Kelly is Susan MacKinnon For ten years, Jane Yuile is an award-winning is an award- Julie Ryan worked Director of documentary winning fi lmmaker with Australian Amik Consulting director and and a tireless fi lmmaker Rolf providing producer with 20 advocate for de Heer and expertise to years experience Australian produced fi ve of boards and in television documentaries. his feature fi lms executives in and new media. Her many fi lm including the fi nance, risk, Gabrielle founded credits include Award winning Ten strategy and the Australian the feature Canoes (Special governance. She International Documentary Conference documentaries The Oasis, Global Jury Prize, Un Certain Regard, 2006 currently chairs the boards of 370 in 1987, served as a director of the Haywire, ‘4’ and In The Company of Cannes Film Festival), Alexandra’s degrees Group Limited and Jamfactory Australian Film Finance Corporation Actors. Others are Over My Dead Project (2003 Berline Film Festival), Contemporary Craft and Design, is and has signifi cant senior executive Body, Fetch, Eternity, Loaded - The and The Tracker (2002 Venice Film a Director of the Electricity Supply experience in Australia and the United Gun Lovers, You Must Remember Festival). She recently formed her own Industry Planning Council (SA) and IT&e States in new media companies. This, Dinner For Six, Somewhere production company, CYAN FILMS with Limited, chairs the Finance Committee Between Light And Refl ection and new media producer Kate Croser. Their of Southern Adelaide Health Service Men And Their Sheds. Susan is an fi rst feature fi lm Auction, shot entirely and is on the Finance Committee of Executive Offi cer and a Director of the on location in Iran, is a co-production the University of Adelaide and the Risk Documentary Australia Foundation. with Bahman Ghobadi (Turtles Can Management and Audit Committee of From 1997 to 2005 Susan was the Fly). In 2008, Julie also produced a the Department of Health (SA). Jane Documentary Investment Manager at feature fi lm called Broken Hill, with the is Chairman of the SAFC’s Finance and the Film Finance Corporation Australia producer of Napolean Dynamite, Chris Audit Committee. (FFC) where she assisted fi lmmakers ‘Doc’ Wyatt. in fi nancing over 400 fi lms, including many international co-productions and joint ventures.

7 Stanley and Dean

SAFC OVERVIEW

The SAFC is the lead agency in Screen Industry Programs Production in South Australia Production Investment & South Australia for the development, Revolving Film Fund support and promotion of the screen The SAFC provides a diverse portfolio The SAFC provides support to projects industries. The SAFC is a statutory of programs to facilitate productions that are creative and original, that Production Investment supports the A number of projects were jointly body established under the 1972 South and business and professional display good market prospects and production of fi lm, television or digital funded with the Adelaide Film Festival Australian Film Corporation Act. development opportunities for SA fi lm, have signifi cant economic benefi ts to media projects that are creative, (AFF) which will premiere in February television and digital media makers. South Australian industry. Support original and possess overall appeal to 2009 including the feature fi lms The SAFC has a Board of Directors, Funding is provided to support a broad for production and post-production diverse audiences. Auction, The Last Ride, Home and which is appointed by the State range of activities including: is provided through a combination My Year Without Sex. government and reports to the Minister of investment and the use of the The SAFC also administers a for the Arts. The core functions of the • Production of drama, documentary SAFC’s comprehensive facilities and $3 000 000 Revolving Film Fund to SAFC are to foster the creation and and digital media projects locations support. The SAFC invests sustain and increase fi lm and television delivery of critically acclaimed and • Development of a broad range of in production across a variety of production in South Australia. commercially successful ideas, moving projects genres such as feature fi lm, television images and sound for any viewing • Professional, industry and cultural drama, documentary, digital media In 2007-08, the SAFC provided equity medium; to support the SA screen development production and short fi lm with a strong investment in nine feature fi lms, a major industry in a dynamic and responsive • Business support and travel priority given to the support of South two part cross-platform documentary manner and to optimise opportunities funding to help SA producers attract Australian generated and owned series and three broadcast for production and post-production in marketplace fi nance intellectual property. documentaries as well two educational this state. • Attendance at festivals and awards, documentary projects. seminars, conferences and workshops The work of the SAFC is guided by the as well as mentoring programs This year saw the continuation of the SAFC strategic plan 2005–08 and South SAFC relationship with SBS through the Australia’s Strategic Plan targets that Destinations Australia Documentary relate to the screen industries. Initiative in association with Screenwest, Screen Tasmania and the Northern Territory Film and Television Offi ce (NTFTO).

8 Bridget Goddess

INDUSTRY HIGHLIGHTS

Features and TV drama • Lucky Miles wins BEST FILM at the • SAFC funded feature Dr Plonk • Channel 9 announced that Saint-Tropez Antipodes Film Festival. opens the national AFI screenings Series 8 of McLeod’s Daughters • Ten Canoes wins the 18th NatFilm and was nominated for the ARTISTIC would be the last for this ground Festival’s audience award from a • Hey, Hey It’s Esther Blueburger was INNOVATION AWARD at the 2007 breaking and internationally successful program of 170 fi lms from 50 countries offi cially selected in the “Generation” Toronto International Film Festival TV series which had been entirely shot category at the Berlin International Film on location in South Australia. • Forbidden Lie$ (Producer Sally Festival (Berlinale). • Lucky Miles selected to screen at the Regan, Director Anna Broinowski) American Film Institute in • The feature fi lm Broken Hill, wins an AFI Award for BEST • Beautiful was produced by SA November 2007 produced by Chris Wyatt (Napoleon DOCUMENTARY and is rated in the production company Kojo Pictures, Dynamite) began pre-production in the Top Ten most popular fi lms at Hotdocs starring Peta Wilson, Debora-Lee • Low budget feature fi lms Boxing Hendon studios in March 2008. The Film Festival in Toronto and screens Furness and Tahyna Tozzi, and began Day (producers Kristian Moliere & locations-based production teamed up at Melbourne’s Writer’s Festival, fi lming at SAFC on 10 September 2007 Shane McNeil, Director Kriv Stenders) with local producer Julie Ryan, and the Vancouver Film Festival and the and Modern Love (produced and shoot was more than 90% crewed by Sheffi eld Documentary Film Festival. A • Elise, co-produced by NSW directed by Alex Frayne) both gained South Australians. major cinema release around Australia production company RB Films and SA commercial exhibition at Melbourne’s through Palace Films. company Kojo Pictures, starring Natalie Nova cinema. Boxing Day also won the Imbruglia began pre-production at the ADG Award for Best Feature. The prize • Lockie Leonard (TV series) wins SAFC on 29 October 2007. included screenings in Los Angeles an AFI Award for BEST CHILDREN’S and New York as part of the inaugural TELEVISION DRAMA and also wins a • SAFC funded feature December ADG and Directors Guild of America Logie for the MOST OUTSTANDING Boys (writer Marc Rosenberg) wins Distributors Finders Series. CHILDREN’S PROGRAM, and Sean the BEST ADAPTED FEATURE at the Keenan was nominated for the Australian Writer’s Guild Awards. Graham Kennedy Award for MOST OUTSTANDING NEW TALENT.

9 Bridget Goddess

INDUSTRY HIGHLIGHTS

Documentary and Digital Media • The half hour documentary What • TV documentary series Risking It All The Future Sounded Like screened (Producers Alan Carter & Claire Harris, • Scott Hicks’ documentary, Glass: A at both the Sydney and Melbourne Directors Kath McIntyre, Sophie Hyde, Portrait Of Philip In Twelve Parts Film Festivals, had been accepted Matt Bate, Shane McNeil) commenced screened at the Toronto Film Festival into the Sheffi eld Documentary Film screening on SBS in May 2008 and was Festival, was nominated for an ATOM the highest rating program in the Inside • Sacred Ground won the SPECIAL Best Director Under 30 Award and was Australia timeslot in six years. The JURY PRIZE at FIFO 2008 (Pacifi c broadcast on the ABC. four part documentary series follows International Documentary Film Festival four sets of rookie entrepreneurs as - Tahiti) and the major award at the • What The Future Sounded Like: they attempt to transform their lives by Global Green Indigenous Film Festival The Music Of Tristram Carey setting up their own dream business. (New Mexico, USA). The fi lm has also (produced by Claire Harris and directed received offi cial selection to the 2008 by Matt Bate) and A Fighting Chance • Six part TV documentary series Nepal International Indigenous Film (directed by Mark Andersson and Is Your House Killing You? was a Festival (Kathmandu, June) and the produced by Katrina Lucas and Tom co-production between Adelaide based Reel Earth Aotearoa Environmental Zubrycki) were selected to screen at company Tallstoreez Productionz and Film Festival (New Zealand) and was “Global Doc Days”, held as a part of NSW based Essential Viewing and nominated for BEST INTERNATIONAL the South by Southwest Film Festival in was funded through a documentary DOCUMENTARY at the International Austin Texas. A Fighting Chance was development initiative of the SAFC and Film Festival England. acquired by Al Jazeera. screened on SBS in October 2007.

• Missing Presumed Dead • Producer/Director Karen Hughes (Producer/Director Gerard Reed) and was supported to participate in the Casualties of War, (Producers Rebecca National Headlands workshop and Summerton & Sarah Wishart, Director development process. Jeni Lee) premiered on ABC1 during ANZAC week.

10 SHORT FILM FUND

The Short Film Fund provides South Industry Highlights • Extreme Makeover (Producer Vicki • Former South Australian Michelle • The Perils of Flossy, originally made Australia’s fi lmmakers and digital Sugars, Director Jonathan Daw) was Lehman wins the Tropfest Short Film as a series of short episodes for mobile media practitioners the opportunity • Spike Up (Producer Kent Smith, accepted in offi cial selection at St Kilda Festival’s top award for Marry Me. phones and later developed into a to develop their skills as a way of Writer/Director Anthony Maras) Film Festival. Second prize was won by Uncle Jonny, short fi lm was screened at the St Kilda progressing towards long form feature won the AFI Award for BEST SHORT produced by SA’s Tom Heuzenroeder Film Festival. fi lm, television drama, documentary FILM. Martyn Zub and Pete Smith • My Last Ten Hours With You and also Sarah Crowest won best and digital media production. During were awarded BEST ACHIEVEMENT (Producer Rebecca Summerton, screenplay for Looped. The Tropfest • Five minute short fi lm Stanley & 2007-08 six short fi lms were supported. IN POST PRODUCTION SOUND Director Sophie Hyde) won multiple live broadcast in Adelaide was a huge Dean (Producer Kate Croser, Director at the St Kilda Film Festival with prizes at the SA Short Screen Awards, success attracting approximately 2 500 Hugh Sullivan) was selected as the other nominations including Best held as part of the Adelaide Film people to Rundle Park. opening fi lm for the Shorts Outback Short Film at Australian Director’s Festival including BEST FILM, BEST Festival in Parachilna, and was in Guild and ATOM awards. It was also DIRECTION, BEST DRAMA and • You Better Watch Out (Producer Offi cial Selection for Palm Springs Film offi cially selected at the Austin Film EMERGING PRODUCER. The fi lm Jules Callen and Writer/Director Festival and the Canadian Film Centre Festival, had its European premiere in was also selected for competition at Steve Callen) was chosen as part of (CFC) Worldwide Shorts Film Festival competition at the International Film Uppsala Film Festival (Sweden) and the Offi cial Selection at the Calgary in Toronto. It was also shortlisted for Festival Rotterdam and was offi cially St Kilda Film Festival and won BEST Underground Film Festival, Beverly selection in the Rushes Soho Short Film selected for competition at the Santa FILM at the Mardi Gras My Queer Hills Shorts Film Festival, Cleveland Festival in London. Barbara International Film Festival. Career Film Festival and the AUDIENCE International Film Festival, Beverly Spike Up screened across 21 cities in AWARD at Melbourne Queer Film Hills Shorts Festival, Santa Cruz Film France as part of the Académie des Festival. Sophie Hyde also won the City Festival, Palm Springs Film Festival, Arts et Techniques du Cinéma’s - “The of Melbourne EMERGING FILMMAKER Fantastic Fest, Boston International Golden Nights of Short Films” in Paris. award for Best Australian Short Queer Film Festival, Perth Revelation Film. International Film Festival and the 2008 • Swing (Producer Louise Pascale, Byron Bay Film Festival. You Better Director Chris Houghton and Writer • Bad Habits by SA Indigenous Watch Out was also nominated for Cath Moore) won the Carbon Planet fi lmmaker Jason Ramp screened at the seven South Australian Short Screen Audience Award for BEST SHORT FILM Australian International Film Festival, Awards and won the BEST FILM and at the Adelaide Film Festival and was Palm Springs Film Festival, Flickerfest the BEST SCREENPLAY. nominated for Best Short Film at AFI. Film Festival, Numia Australian SHORTS It was also included in offi cial selection Film Festival and won the prize for at the St Kilda Film Festival and BEST INDIGENOUS FILM at the Heart Vladivostok International Film Festival. of Gold Film Festival.

11 My Tehran for Sale

EDUCATIONAL CONTENT FUND

The Educational Content Fund Industry Highlights (ECF) provides matched funding with Government and non-commercial • Nunkuwarrin Yunti was invited to partners for the production of promote Why Me? at the Education educational, sponsored and Department ‘Dare to Lead’ Program, government related projects across Education Development Centre, all platforms. Two projects were Hindmarsh which showcases funded during the 2007-08 year, resources to all schools throughout Controversies of the Stuart Case South Australia. (Producer Helen Leake, Director Craig Lahiff) which looks at the national • Producer Chris Faull’s project The and international legal ramifi cations Stories of Us, a bullying resource for of the famous South Australian trial middle schools that was supported by and Necessary Games (Producer the SAFC through the ECF has now Bryan Mason, Director Sophie Hyde), been re-worked and sold to the United an experimental dance fi lm and States education market. Chris was documentary highlighting the work of fl own to New York with six students to Restless Dance theatre. appear on the CBS Early Show and had an article written about the project in The Chicago Tribune.

• Launch of Homestart Startdreams interactive website developed with Kojo Interactive.

• Bragg About Adelaide a joint initiative between the SAFC and the Department of Premier and Cabinet with Royal Institute of Great Britain (RiGB) has gone to tender this year and will be going into production in 2008-09.

12 SCRIPT AND PROJECT DEVELOPMENT

Script and Project Development Industry Highlights aims to support the development of outstanding original and creative • The Deep Sleep, a project developed • Coolest Girl in School, co-produced Australian fi lm, television and digital under the SAFC/ABC Digital Animation by Champagne for the Ladies and media projects. The SAFC invested Initiative (Producers Kate Croser Kukan Studios, received nominations in the development of 14 drama and Hugh Sullivan) was selected as in three categories for the 2007 Game projects, six documentary projects and a competition fi nalist for the MIPTV Developers Association of Australia seven digital media projects received featuring MILIA 2007 Content Awards. These included Best Mobile investment, funding including four 360 Digital Pitching Competition Title and Best Graphics, with company cross-platform projects, two digital (Cannes). The Deep Sleep was the Champagne for the Ladies nominated animation projects and a narrative- only Australian representative of four in the Best New Start Up category. based website series. projects selected to pitch in the BBC Teenage Drama & Entertainment • Producer Kate Croser from Cyan category. Films and writer Ruth Estelle were supported to attend a one week Script • Rocket Science development Development Workshop in Sydney program continued with mentorship with internationally acclaimed script guidance provided to South Australian developer Michael Hauge. 12 Scripts fi lmmakers by experienced consultants were selected nationally to attend the Victoria Treole and Sue Murray. workshop that took place from 17-21 May 2008. • Animated TV series pilot Bridget the Goddess by Monkeystack (Justin Wight, Shane Bevan, Troy Bellchambers) scooped the SPAA pitching competition winning $20,000 in co-funding from Nickelodeon.

13 Beautiful Kate

PRODUCER BUSINESS DEVELOPMENT

Producer Business Development • Launch of the privately capitalised Business Travel supports producers Festival and Awards Grants Industry Highlights supported seven established South Adelaide Motion Picture Company travel to attend markets both nationally allow South Australian fi lmmakers Australian producers by investing in (AMPCo) which is developing a slate of and internationally in order to attract and digital media practitioners to • Five SA producers were selected into their slate of projects and providing fi lms for production over the next fi ve marketplace fi nance for a project or travel to key festivals and interstate the inaugural “37 South” market and funding that can be used for general years. The fi rst of these is an Australian- slate of projects. 13 South Australian award ceremonies where they are initiative of the Melbourne International development expenses and other Chinese co-production The Last producers were supported under this being recognised for their work. Five Film Festival. project related and business expenses, Dragon which went into pre-production scheme to attend international markets, practitioners were supported to attend such as travel, marketing, overheads in February 2008. and fi ve producers were supported to a range of events including AFI Awards, • Kristian Moliere’s project Home was and professional development attend interstate meetings. Inside Film Awards, Atom Awards and selected for presentation at SPAAmart. opportunities. • Tallstoroeez productionz co-produced Dungog Film Festival. Is Your House Killing You, a high • The SAFC supported SA producer budget TV documentary series with Kristian Moliere to attend the Essential Viewing for SBS. distributors screenings of Boxing Day in LA and New York. • Smoking Gun Productions (Kristian Moliere & Shane McNeil) produced a three part half hour Documentary series Generation Y for SBS and secured AFC Indivision fi nancing for feature fi lm Home (Producer Kristian Moliere, Director Kriv Stenders, Writer Andy Cox).

14 PRACTITIONER DEVELOPMENT FUNDING

Practitioner Development Funding Industry Highlights The Attachment Scheme assists Industry Highlights provides professional and career individuals with relevant experience development support for fi lm, • 50 South Australian writers, in fi lm, television or digital media • Two indigenous attachments • Natasha Phillips was supported by television, documentary and digital producers and directors were production to move to a higher level (Gina Rings and Kristen Khan) were the SAFC for two Attachments: a media practitioners. 82 traditional supported to attend the ARISTA in their profession by obtaining on the supported on the documentary series 3rd Assistant Director attachment on media practitioners were supported Script workshop, funded through job experience in the industry. The First Australians. Hey, Hey It’s Esther Blueburger and to attend industry events including the Premier’s Special Script initiative. SAFC funded 11 traditional media a 1st Assistant Director attachment Screen Producers Association of Stephen Cleary, a leading UK based attachments and nine digital media •Jame Maiden was attachment to the on Beautiful and was subsequently Australia (SPAA), SPAA Fringe, script consultant, ran two workshops attachments specifi cally targeting Director on the French production employed on McLeod’s Daughters as Australian International Documentary (‘Adaptation’ and ‘Treatments’) held industry needs. company MVC’s Documentary 3rd Assistant Director. Conference (AIDC), and a number of at the Media Resource Centre (MRC) Fishermen in Australia: From other interstate seminar and short with support of the SA Chapter of the Coorong to Kangaroo Island. courses. 14 digital media practitioners Australian Writers Guild (AWG). were supported to attend a number A further 4 projects were provided • Four graduates of the AFTRS (SA) of events and workshops including one-on-one script consultancy by Mr Digital Media certifi cate course were Pixar/Autodesk workshop. The SAFC Cleary. The response to this script able to receive industry placement also delivered a budget for a short fi lm initiative from participants attachments through the SAFC workshop for potential short fi lm fund was overwhelmingly positive. including Sam Norman, Benjamin applicants. Rayner, Adam Trowse and Jeremy • 12 South Australian practitioners Kelly-Bakker. were supported to attend a one day Story Mastery Seminar with Michael • SA emerging fi lmmaker Kelly Hauge in Melbourne. Michael Hauge Schilling was supported by SAFC as is an internationally acclaimed the Directors attachment on McLeod’s script developer who has worked Daughters and Rachael Thompson on with numerous Hollywood writers, the documentary Seed Hunter. producers, directors and actors to develop their box offi ce successes.

15 Home

INDUSTRY DEVELOPMENT

Industry Development Events & Industry Highlights Screen Culture Organisation Funding Activities (IDEA) provides funding is provided to organisations that for industry development events and • SAFC provided funding and in-kind • An SAFC Producer Rebate Seminar support and develop screen culture in activities. Six organisations were support for the I Can See Queerly with Producer/lawyer Nick Cole and South Australia in line with the SAFC’s provided with support for industry short fi lms, through use of the SAFC the FFC’s Antonia Barnard was held mission statement. Ten organisations relevant events including Shorts Film post-production facilities and post- at the MRC, explaining in detail to SA including the MRC, AWG, AFI, SPAA, Festival, Australian Cinematographers’ production staff support. fi lmmakers the workings of the new Australian Interactive Media Industry Society, Australian Film Television federal production incentives. Association (AIMIA), AIDC, ACS and Radio School (AFTRS), Australian • SAFC presented Rocket Science South Australian Branch, Shorts Film Writers’ Guild, SPAA, and AFF. seminars, part of the Premier’s special • MOU signed between SAFC and Festival and ADG were provided script initiative, with mentorship Fuse Festival aimed at fostering funding to support signifi cant industry guidance provided to South Australian relationships between the local fi lm development and cultural fi lmmakers by experienced consultants and music industries. development activities. Victoria Treole and Sue Murray. • The SAFC and AIDC Director, Joost • The AFTRS Drama of Screenwriting den Hartog, hosted a documentary workshop was run by acclaimed script facilitation session with local industry. writer Billy Marshall-Stoneking. • SAFC hosted the Puglia Delegation • The SAFC and the MRC co-hosted (Italy) who were presenting the Terra II a low budget fi lmmaking workshop Film Festival by way of follow up on the conducted by Kriv Stenders (Director) recent trade mission to Italy to develop and Kristian Moliere (Producer) contacts and future projects. analysing their low budget feature fi lm Boxing Day. The workshop was one of • SAFC hosted a Shorts networking the best attended SAFC workshops in event to match make emerging recent years. practitioners with projects and crew for the purpose of applying to the Short Film Fund.

16 Casualties of War

STUDIO SERVICES

Mixing Theatre Sound Stages Production Facilities Tenants for 2007-08

The following projects came through • Record, edit and deliver Foley for the • Sound Stage 2 booked for shooting • Kojo Pictures feature fi lm Beautiful The following are long term tenants the SAFC post sound facilities during feature fi lm Beautiful – Kojo Pictures footage for Mitre 10 TVC – Filmsmith occupied Production Offi ces, at the SAFC: 2007-08 Australia Wardrobe, Art Department, Laundry • Complete deliveries for the feature and Make-up rooms • Angela Heesom Casting • Final mix of MRC projects Love is fi lm Kenny – Thunderbox Television • Resin shot TVC footage in Blue, Checking In, Dyke and How To Sound Stage 2. • Production company • Cameraquip Bury The Dead. • Record ADR for the feature fi lm Film2Opportunity leased Production Australia – BazMark Films 2 Pty Ltd • Spirit Films booked Sound Stage 2 for Offi ces, Wardrobe, Art Department, • Hypervision • Final mix check of the Documentary shooting footage for a Mitsubishi TVC. Laundry and Make-up rooms for Glass: A Portrait Of Philip In Twelve • Record, edit and deliver Foley for the production on their feature fi lm Elise. • Masonfi lm Pty Ltd Parts - Tracks Adelaide TV series Chandon • The Fairies, booked Sound Stage 2 to shoot footage for a DVD project. • Broken Hill an Audience Alliance • Sonic Art • Deliveries for the feature fi lm Razzle • Record, edit and deliver Foley for the Motion Picture Studio production Dazzle – Wild Eddie Productions feature fi lm Elise – Film2Opportunity • Sound Stage 1 was booked for fi lming leased Production Offi ces, Wardrobe, • Sputnik Films Pty Ltd for the feature fi lm Broken Hill. Art Department, Laundry and Sound • Final mix for Hip Hop documentary Stage 1 to complete their production. • Vertigo Productions - Underground Transmitter • Final mix of MRC projects Casual, Daniel and Killjoy. • The feature fi lms Hey, Hey Its • Geoffrey Reed Communication • Record, edit and deliver Foley for the Esther Blueburger, an EB Production, feature fi lm Cactus – Tracks Adelaide • Final mix and deliver the Pradigmn/ and Lucky Miles, a Short of Easy • Cyan Films BowerBird Films documentary River of Production, leased a Production Offi ce • Final mix, printmaster and deliver for No Return. to conclude their productions. • Tania Nehme the feature fi lm Disgrace – Disgrace Pty Ltd • Final mix and printmaster feature fi lm The SAFC are at 100% capacity Elise – Film2Opportunity Pty Ltd for long term tenants. • Record, edit and deliver the short fi lm Past Midnight – Mills Street • Final mix and printmaster Beautiful Productions – Kojo Pictures

17 MARKETING AND LOCATIONS

Marketing and Locations liaises with Media Liaison Advertising and Promotion Relationship Building local, national and international clients The SAFC works closely with local Key messages were promoted to - Information and Networking The SAFC also provided assistance to increase all types of production in and key national media with the targeted audiences during 2007-08 Opportunities for the Screen Industry at the premieres and launches of a the State. In addition it markets the objective of creating positive editorial by employing the SAFC’s advertising Throughout 2007-08 the SAFC held number of SAFC funded projects services and competitive advantages opportunities to promote the activities strategy, with particular focus more targeted events than in previous including Hey, Hey It’s Esther offered by the local industry and of the SAFC and the South Australian continuing to be on the main trade years, including Industry Drinks Blueburger, Ten Empty, Risking It All, works to ensure that a positive profi le screen industry. A number of media directory Encore reinforcing the SAFC’s functions, various events designed Italian Spiderman and Past Midnight. with key stakeholders is upheld. releases were produced during 2007- branding, which appeared on the to provide practical information to The Marketing Department is also 08 which attracted national and local front cover and within the body of the the local industry, as well as events The SAFC hosted a Business SA responsible for managing the SAFC’s coverage on topics such as the SAFC’s printed directory and website. delivered by relevant experts to assist Networking function, pre-shoot branding, communication to the 35th Birthday, ARISTA Script Writing development and growth of the celebrations for the feature fi lms industry, media relations and events. and Development Workshops led The SAFC’s promotional brochure, local sector. Events such as the Low Beautiful Kate and Broken Hill, Low by Stephen Cleary, project funding South Australia - Endless Possibilities, Budget Filmmaking Workshop and the Budget Filmmaking Workshop (with announcements including feature fi lms continues to be a cost effective means Producer Offset Information Session Boxing Day as case study), Producer Boys Are Back, Beautiful Kate, Home, to support the promotion of the were well received by the industry and Offset Information Seminar, the ARISTA Auction, The Last Dragon and My industry in domestic and international events of this kind will be prominent in Script Writing and Development Year Without Sex, the appointment markets. Over 2,000 brochures the 2008-09 marketing strategy. Three Workshop and an information session of SAFC Board members in 2007 (Tony were distributed in 2007-08 to key industry drinks networking events on the SAFC’s move to Glenside held Clark, Julie Ryan and Jane Yuile), AFI stakeholders at a range of meetings, were also held, a reduction on the six at the MRC. Nominations for Forbidden Lie$, industry trade shows and events as well functions held in previous years. Swing and Spike Up and the impact as to the general public. The SAFC assisted networking sessions of McLeod’s Daughters on the local The SAFC also provided assistance to between South Australian industry industry and the state’s economy. a number of industry related events representatives and key decision throughout 2007-08. These included makers from various Australian screen the premiere of Bollywood fi lm Love industry organisations including Story 2050, the AIDC closing night visitations from the ABC and SBS. celebrations, Tropfest, Flickerfest, a Fuse Festival Networking Function, the AFI Awards, SPAA Conference, SPAA Fringe and the ADG Conference.

18 MARKETING AND LOCATIONS

Website and Newsletters Memberships Outbound Missions and The SAFC distributes fortnightly The SAFC is a member of a number Offshore Promotion email updates to subscribers on of different business and screen Although there was a particularly industry related news and information. industry organisations which assist with strong focus on the domestic market in In June 2008 the SAFC website relationship building and advocacy. 2007-08, several marketing exercises www.safi lm.com.au was re-launched It is a member of Ausfi lm, with the overseas provided opportunities to with a new design and increased CEO being a member of the Ausfi lm promote South Australia both as functionality including RSS feeds Board, with other staff represented on a production and post-production allowing users to subscribe and receive the Marketing Committee and Policy destination to international markets. automatic notifi cation when updates Committee. It is also a member of the are listed on the website. The other Association of Film Commissioners The main offshore trade mission in signifi cant addition to the website is the International (AFCI), which has a 2007-08 involved the SAFC launching inclusion of a searchable Practitioner worldwide network of more than the new Adelaide Film and Screen Hub Database which gives practitioners 300 fi lm commissions. The SAFC is a in Los Angeles which was combined the unique ability to list and update member of the Australia China Business with attendance at the Cannes their own contact details, experience Council (ACBC), the Australia India International Film Festival and a trade and credits under relevant categories. Business Council (AIBC) (SA Chapter) mission to the Puglia region, Italy. The These enhancements ensures the SAFC and Business SA. SAFC also attended G’day USA in website remains a cost effective source Los Angeles and was represented by for communicating information to both Ausfi lm at other international events the industry and general public on such as the AFCI Locations Expo and SAFC policies, programs, services the Hong Kong Filmmart. and structure.

19 MARKETING AND LOCATIONS

Film South Australia Initiative The SAFC also provides assistance to The Film SA initiative also included In July 2007-08 the SAFC received bring screen industry practitioners to specifi c funding to be allocated for additional funding from the South Australia who have projects for fi nancial incentives to help attract or Department of Trade and Economic which the state is a viable shooting keep production in the State. This Development (DTED) to establish the option. The Marketing and Locations incentive budget was allocated to Film South Australia (Film SA) initiative. Department coordinated inbound three feature fi lm projects based on To be spread over a four year period, missions and locations recces to South their meeting criteria established in the the funding was provided to allow Australia from other states in Australia, Film SA Content Attraction Strategy. the SAFC to establish a dedicated as well as from the United States and In assessing projects, the SAFC location offi ce and to provide a range Canada during 2007–08. considered the following criteria: of fi nancial incentives to attract fi lm, television, commercial and PDV work Already this proactive approach by • The majority of the shoot will occur to South Australia. This funding has the SAFC has resulted in a number in SA also allowed the SAFC to enhance of productions being shot in South the services it previously provided to Australia with several more scheduled • The total production spend in SA manage location enquiries and inbound to occur in 2008-09. These inbound missions. missions and location recces involved • The number of key creative roles customised tours of locations and fi lled by South Australians As part of this initiative, the SAFC still facilities, one-on-one meetings with key offers a free and confi dential location industry personnel and social functions • The number of South Australians service where it deals with location for guests to meet South Australian employed on the project enquiries for fi lm, television dramas screen practitioners. and series, reality television, television • The economic benefi t to the state commercials, documentaries and short fi lms. The three projects selected were Elise, Beautiful Kate and Coffi n Rock.

20 FINANCE

Financial Management Information Technology Occupational, Health, Safety and Welfare Management The SAFC received $5 260 000 from Film SA funding was established The SAFC provides a managed, high the South Australian Government, to enable the SAFC to attract fi lm, speed network environment for both Safety Performance exceeded target The SAFC will be required to develop, which comprised of Program Funding television, commercial production, staff and production fi lm crew working with no workers compensation claims, implement and maintain an OHS of $3 650 000, Operating Funding post-production and digital effects out of the SAFC studio facilities. notifi able occurrences or injuries system that meets the Self-Insured of $895 500 and a further $686 000 production to South Australia. during 2007-08. Performance Standards, be able to for the Film SA initiative and an In its fi rst year the SAFC invested This year saw a consolidation of the determine and manage claims as well additional one-off amount of $28 558 $420 000 in fi nancial incentives to existing network infrastructure, and During October 2007, the Department as develop, implement and maintain to undertake a Business Case for the attract projects to South Australia with the analysis and planning of a network of Premier and Cabinet (DPC) advised strategies to meet the requirements of Adelaide Film and Screen Hub. the remaining funding being spent on upgrade which will provide more that the Statutes Amendment (Public the Safety in the Public Sector Plan. locations services and administrative fl exible and targeted networks for Sector Employment Act) 2006 would Program revenues of $3 650 000 undertakings. both small and large fi lm productions. impact the SAFC as it would no longer A certifi cate of compliance was issued enabled the SAFC to continue to be classed as a non-exempt employer, from Testel for the 2007-08 year for provide fi nancial support at the same The SAFC has reported an overall Information Technology implemented that employees would be deemed to electrical testing of all SAFC electrical levels as 2006-07. surplus for the current year of changes to the Screen Industry be employed by the Crown, which is devices and loose cords. $330 031. Programs (SIP) fi nancial planning deemed to be an exempt employer Operating expenditure was less than databases and work was undertaken of the Workers Rehabilitation and The SAFC has three fully trained fi rst forecast, and together with Studio The Corporation remains in a strong on design changes to the SAFC Compensation Act. aid offi cers and two fi re wardens. Services income being higher than fi nancial position with cash reserves to information systems that will anticipated due to an increased meet its obligations and commitments. substantially streamline the entry of Commencing 1 November 2007 the demand for Mixing Theatre services, data and provide improved reporting. SAFC was a separate work location has meant that the Operating Surplus under DPC’s self- insured registration was $165 470. Investment Returns were which meant that the SAFC ceased levy also higher than anticipated, although payments to WorkCover. slightly lower than 2006-07.

21 APPENDIX A INDEPENDENT AUDITOR’S REPORT

22 APPENDIX A

STATEMENT BY CHIEF EXECUTIVE OFFICER AND PRINCIPAL ACCOUNTING OFFICER

We certify that the attached general purpose fi nancial report for the South Australian Film Corporation:

• complies with any relevant Treasurer’s instructions issued under section 41 of the Public Finance and Audit Act 1987, and any relevant Australian accounting standards;

• are in accordance with the accounts and records of the South Australian Film Corporation: and

• presents a true and fair view of the fi nancial position of the South Australian Film Corporation as at 30 June 2008 and the results of its operation and cash fl ows for the fi nancial year.

We certify that the internal controls employed by the South Australian Film Corporation for the fi nancial year over its fi nancial reporting and its preparation of the general purpose fi nancial report have been effective throughout the reporting period.

Richard Harris Gaye Jones CHIEF EXECUTIVE OFFICER GENERAL MANAGER / MANAGER, FINANCE

Dated at Adelaide, South Australia, this day of 2008.

23 APPENDIX A

STATEMENT OF BEHALF OF THE MEMBERS OF THE SOUTH AUSTRALIAN FILM CORPORATION

In accordance with a resolution of the Members of the Corporation, in the Members’ opinion:

The general purpose fi nancial report presents fairly, in accordance with applicable Australian Accounting Standards, (including Australian Accounting Interpretations), the Public Finance and Audit Act 1987 and other mandatory professional reporting requirements, the fi nancial position of the Corporation as at 30 June 2008 and the result of its operations and its cash fl ows for the year ended 30 June 2008.

Signed in accordance with a resolution of the Board.

Cheryl Bart Jane Yuile CHAIRMAN MEMBER

Dated

24 APPENDIX A

INCOME STATEMENT - For the Year Ended 30 June 2008 BALANCE SHEET - As at 30 June 2008

Note 2008 2007 Note 2008 2007 $’000 $’000 ASSETS $’000 $’000 EXPENSES CURRENT ASSETS: Development and Production Funding 3 2 458 2 601 Cash 11 7 222 6 512 Depreciation of plant and equipment and amortisation Receivables 12 113 59 of leasehold improvements 4 42 71 Revolving Film Fund secured loans 13 810 733 Educational Content Fund Grants 22 229 Total Current Assets 8 145 7 304 Staff benefi ts 5 1 168 1 051 Supplies and Services 6 1 578 1 314 NON-CURRENT ASSETS: Remuneration of members and related expenses 7 113 111 Plant, equipment and leasehold improvements 14a 114 97 Screen Industry Program grants 609 618 Revolving Film Fund secured loans 13 - 160 Other Special Grants 64 64 Other non-current assets 15 119 119 Total Expenses 6 054 6 059 Total Non-Current Assets 233 376 Total Assets 8 378 7 680 INCOME Film distribution returns 224 287 LIABILITIES Interest 8 551 467 CURRENT LIABILITIES: Studio hire 278 165 Payables 16 1 283 920 Other income 9 70 86 Revenues in advance 17 30 Total Income 1 123 1 005 Provision for staff benefi ts 17 77 63 Total Current Liabilities 1 377 1 013 NET COST OF PROVIDING SERVICES (4 931) (5 054) NON-CURRENT LIABILITIES: REVENUES FROM SA GOVERNMENT 10 5 261 4 563 Provision for staff benefi ts 17 4 - NET RESULT 330 (491) Total Non-Current Liabilities 4 - Total Liabilities 1 381 1 013 The net result is attributable to the SA Government as owner NET ASSETS 6 997 6 667 EQUITY Contributed Capital 8 460 8 460 Retained Earnings (1 463) (1 793) TOTAL EQUITY 6 997 6 667

The total equity is attributable to the SA Government as owner

Commitments 18 Contingent Liabilities 19

25 APPENDIX A

STATEMENT OF CHANGES IN EQUITY - For The Year Ended 30 June 2008 CASH FLOW STATEMENT - For The Year Ended 30 June 2008

Note Contributed Retained Total Note 2008 2007 Capital Earnings $’000 $’000 $’000 $’000 $’000 CASH FLOWS FROM OPERATING ACTIVITIES CASH OUTFLOWS Balance at 30 June 2006 8 460 (1 302) 7 158 Staff benefi ts (1 144) (1 080) Revolving Film Fund secured loans (650) (1 002) Net Result - (491) (491) Screen Industry Program grants (673) (682) Total recognised income/expense for - (491) (491) 2006-07 Development and Production Funding (2 121) (2 597) Other Special Grants (22) (229) Balance at 30 June 2007 8 460 (1 793) 6 667 Other payments (1 630) (1 312) GST payments on purchases (408) (460) Net Result - 330 330 Cash used in operations (6 648) (7 362) Total recognised income/expense for - 330 330 2007-08 CASH INFLOWS Studio, fi lm development and documentary sales 252 483 Balance at 30 June 2008 8 460 (1 463) 6 997 Interest 538 477 Repayment of Revolving Film Fund secured loans 733 1 014 All Changes in Equity are attributable to the SA Government as owner Returns from fi lm investments 224 287 Other 61 97 GST receipts on sales 127 49 GST refunded by Australian Taxation Offi ce 275 423 Cash generated from operations 2 210 2 830

Cash Flows from SA Government Receipts from SA Government 5 199 4 763

Net Cash provided by Operating Activities 20(b) 761 231 CASH FLOWS FROM INVESTING ACTIVITIES Cash Outfl ows Purchase of plant, equipment and leasehold improvements (51) (29) Cash used in Investing Activities (51) (29) NET INCREASE IN CASH 710 202 Cash at the beginning of the fi nancial year 6 512 6 310 Cash at the end of the fi nancial year 20(a) 7 222 6 512

26 APPENDIX A

1.Objective and Funding Statement of Compliance The core functions of the South Australian Australian accounting standards include as at the reporting date, classifi ed The Accounts are presented in Film Corporation (the Corporation) are to Australian equivalents to International according to their nature. A threshold of Australian dollars. foster the creation and delivery of critically Financial Reporting Standards and AAS $100 000 for separate identifi cation of acclaimed and commercially successful ideas, 29 Financial Reporting by Government these items applies. Other than Revenues (b) The Reporting Entity moving images and sound for any viewing Departments. Australian accounting from State Government, the SAFC did All funds through which the Corporation medium; to support the SA screen industry standards and interpretations that have not have any other transactions over the controls resources to perform its functions in a dynamic and responsive manner and to recently been issued or amended but are not $100 000 threshold. have been included in this fi nancial report. optimise opportunities for production and yet effective have not been adopted by the b) Expenses as a result of engaging post-production in South Australia. Corporation for the reporting period ending consultants (as reported in the Income Screen Industry Program Fund 30 June 2008. Statement) The Screen Industry Program Fund provides The Corporation provides fi nancial c) Employee target voluntary separation investments in approved projects, project assistance by way of grants, loans and The preparation of the fi nancial package information; development loans and grants to screen equity investments. report requires: d) Employees whose normal remuneration industry practitioners. The cost of providing • The use of certain accounting estimates is $100 000 or more (within $10 000 these programs is deducted from the funds The Corporation’s principal sources of funds and required management to exercise its bandwidths) and the aggregate of the received from the State Government. are State Government grants, investment judgment in the process of applying the remuneration paid or payable or otherwise income, revenue from studio and facilities Corporation’s accounting policies. Areas made available, directly or indirectly by the Educational Content Fund hire and distribution returns. involving a higher degree of judgment entity to those employees; and The Educational Content Fund provides or where assumptions and estimates are e) Board/committee member and funding for the production of non- 2. Summary of Signifi cant Accounting signifi cant to the fi nancial statements, are remuneration information, where a board/ print communication resources to meet Policies outlined in the applicable notes: and committee member is entitled to receive the requirements of South Australian (a) Basis of Accounting • Compliance with accounting policy income from membership other than a direct Government’s departments and agencies. The general purpose fi nancial report statements issued pursuant to section 41 out-of-pocket reimbursement. The participating departments and agencies has been prepared on an accrual basis of the Public Finance and Audit Act 1987, contribute to the cost of productions. The and is based on historical cost. It is in by authority of the Treasurer’s Instruction The Cash Flow Statement has been Corporation receives an executive producer’s accordance with Treasurer’s Instructions 19 Financial Reporting. In the interest of prepared on a cash basis. fee for productions that utilise the fund. and Accounting Policy Statements issued public accountability and transparency the pursuant to the Public Finance and Audit accounting policy statements require the The fi nancial statements are based on a Revolving Film Fund Act 1987, applicable Australian Accounting following note disclosures, that have been twelve month operating cycle and do not The Revolving Film Fund provides secured Standards (including Australian Accounting included in this fi nancial report: take into account changing money values or, loans to fi lm and television producers. Interpretations) and other authoritative a) Revenues, expenses, fi nancial assets and except where stated, the current valuations The loans are provided on an interest pronouncements of the Australian liabilities where the counterparty/transaction of non-current assets. bearing basis. Accounting Standards Board. is with an entity within the SA Government

27 APPENDIX A

Administered Items: Disbursement Returns Account Grants for other programs continue to be as part of a restructuring of administrative The Corporation provides to fi lm producers recognised as an expense when payments arrangements then the assets are recorded at a service for disbursing investment returns are made. the value recorded by the transferor prior to to investors. The Corporation does not the transfer. have control of, or discretion to apply these (e) Receivables investment returns towards achieving the Receivables include amounts receivable Where payment for an asset is deferred, the Corporation’s objectives, therefore, the from Trade debtors, prepayments and Corporation measures the obligation at the disbursement activities are not recognised other accruals. present value of future outfl ow, discounted in the fi nancial statements but have been using the interest rate of a similar length refl ected in Note 22. Trade receivables arise in the normal course borrowing. of selling goods and services to other (c) Revenue Recognition government agencies and to the public. All non-current tangible assets are Government grants and fi lm distribution Trade receivables are generally receivable capitalised. returns are recognised on receipt. Interest within 30 days after issue of an invoice. revenues are recognised as they accrue. Depreciation Other revenue is recognised after services Collectability of trade receivables is reviewed Plant and equipment items are depreciated have been provided. on an ongoing basis. Debts that are known over their estimated useful lives using the to be non-recoverable are written off when straight line method and the following rates: (d) Development and Production Funding identifi ed. An allowance for doubtful debts During the 2006-2007 fi nancial year the is raised when there is objective evidence Class of Assets Percent Board of Directors undertook an analysis of that the corporation will not be able to Production, projection, 10-30 current industry standards and revised its collect the debt. editing and sound equipment policy for accounting for project investments. Offi ce furniture, 10-30 Production Investments are now recognised (f) Non-current asset acquisition and equipment and computers as an expense at the time when all formal recognition contract documentation has been fully Assets are initially recorded at cost or at the Depreciation rates and methods are executed by all parties. Previously this type value of any liabilities assumed, plus any reviewed annually. of fi nance was amortised over the two years incidental cost involved with the acquisition. following completion of the projects. This Where assets are acquired at no value or Amortisation of Leasehold Improvements policy change ensures that income matches minimal value, they are recorded at their fair Leasehold improvements are amortised over more closely with expenditure. value in the Balance Sheet. However, if the the lease term or their estimated useful life, assets are acquired at no or nominal value whichever is the shorter, using the straight line method.

28 APPENDIX A

(g) Payables (h) Provisions The annual leave liability is expected to (j) Leases The net GST recoverable from, or payable Payables include creditors, accrued expenses Doubtful Debts be payable within twelve months and is The determination of whether an to the Australian Taxation Offi ce has been and employment on-costs. The recoverability of trade debts is assessed measured at the undiscounted amount arrangement is or contains a lease is based recognised as a receivable/payable in the annually and provision is made for any expected to be paid. In the unusual event on the substance of the arrangement. The Balance Sheet. Creditors represent the amounts owing for doubtful debts. where salary and wages and annual leave are Corporation has assessed whether the goods and services received prior to the end payable later than 12 months, the liability will fulfi lment of the arrangement is dependent Cash fl ows are reported on a gross basis of the reporting period that are unpaid at Staff Benefi ts be measured at present value. on the use of a specifi c asset or assets and in the Cash Flow statement. The GST the end of the reporting period. Creditors Provision has been made in the fi nancial the arrangement conveys a right to use the component of cash fl ows arising from the include all unpaid invoices received relating statements, where stated, for the (i) Superannuation asset. The South Australian Film Corporation investing activities, which are recoverable to the normal operations of the Corporation. Corporation’s legal liability for staff benefi ts The Corporation contributes to staff has entered into operating leases. from, or payable to the Australian Taxation arising from services rendered by employees nominated externally managed funds in Offi ce, have however been classifi ed as Accrued expenses represent goods and prior to balance date. This provision includes respect of the provision of future retirement Operating Lease operating cash fl ows. services provided by other parties during annual leave entitlements and entitlements benefi ts for its employees. Pursuant Operating leases payments are recognised the period that are unpaid at the end of the for long service leave. No provision has been to the Commonwealth Government’s as an expense in the Income Statement on a (l) Tax Status reporting period and where no invoice has made for sick leave as it is regarded as an Superannuation Guarantee legislation straight-line basis over the lease term. The The activities of the Corporation are exempt been received. expense of the period during which leave is contributions were made at a rate of 9 straight-line basis is representative of the from Commonwealth income tax but subject taken. percent of eligible earnings. pattern of benefi ts derived from the leased to other Commonwealth taxes such as fringe All payables are normally settled within 30 assets. benefi ts tax, goods and services tax and days from the date of the invoice or date the Employment related on-costs have been The Corporation does not guarantee the payroll tax. invoice is fi rst received. included in payables. performance of these funds. (k) Accounting for the Goods and Services Tax (GST) (m) Rounding As a consequence of the Change in Liabilities for long service leave entitlements The Department of Treasury and Finance Income, expenses and assets are recognised All amounts are rounded to the nearest Accounting Policy regarding the Amortisation have been calculated at nominal amounts centrally recognises the superannuation net of the amount of GST except that: thousand dollars. Policy for Investments and Loans, Film and based on current salary and wages rates. The liability in the whole-of-government general • the amount of GST incurred by the Digital Media Investments are recognised as Department of Treasury and Finance have purpose fi nancial report. Corporation as a purchaser that is not (n) Comparative Information a Liability when a contract has been advised that a benchmark of 6.5 years can recoverable from the Australian Taxation The presentation and classifi cations of items fully executed. be used for a short hand estimation of long Offi ce is recognised as part of the cost of in the fi nancial report are consistent with service leave liability in accordance with the acquisition of an asset or as part of an item the prior period except where a specifi c provisions of Australian Accounting Standard of expense; and Accounting Policy statement or Australian AASB 119 ‘Employee Benefi ts’. This advice • receivables and payables are stated with Accounting Standard has required a change. has been adopted and the long service leave the amount of GST included. Where applicable the comparatives have liability has been calculated on that basis. At been restated to assist users’ understanding 30 June 2008, a liability existed for one staff of the current reporting period and do not member. replace the original fi nancial report for the preceding period. 29 APPENDIX A

2008 2007 2008 2007 3. Development and Production Funding $’000 $’000 6. Supplies and Services $’000 $’000 Film Investments 1 870 2 269 Audit fees for the audit of the fi nancial report * 40 35 Project Development 588 332 Computer supplies and related expenses 75 108 2 458 2 601 Contractors 36 188 Cost of goods sold 32 25 4. Depreciation of Plant and Equipment and Amortisation of Leasehold Doubtful Debts (4) (24) Improvements Industry promotion and participation 575 109 Depreciation: Legal fees 44 16 Production, projection, editing and sound equipment 13 24 Location promotion costs 27 65 Offi ce furniture, equipment , computers and database 22 40 Motor vehicle - 9 Amortisation: Occupancy expenses: Leasehold improvements 7 7 Building rent 195 192 42 71 Contract cleaning and associated expenses 42 46 Utility expenses 63 65 5. Staff Benefi ts Other 213 251 Salary and wages (including annual leave) 1 025 908 Repairs and maintenance 18 21 Superannuation 93 84 Stationery 21 20 Long service leave 4 7 Telephones and communications 27 24 Workers compensation insurance 3 10 Temporary staff and contractors 81 107 Payroll and fringe benefi ts tax 43 42 Travel 93 57 1 168 1 051 1578 1 314

* The auditors provided no other services. Remuneration paid to executives was in the following bands: Number Number $100 001 - $110 000 - 1 $120 001 - $130 000 1 -

The PSE Act provides that the Chief Executive of the Department of the Premier and Cabinet is the “employing authority” of all staff of the South Australian Film Corporation.

Consistent with the PSE Act, the Chief Executive of the Department of the Premier and Cabinet has delegated all of his powers and functions relating to the employment of staff to the South Australian Film Corporation. The Treasurer, pursuant to the PSE Act, has also issued a direction to the South Australian Film Corporation to make payments with respect to any matter arising in connection with the employment of a person under the SAFC Act.

30 APPENDIX A

2008 2007 2008 2007 7. Remuneration of Members and Related Expenses $’000 $’000 8. Interest $’000 $’000 Remuneration of members 77 71 Deposits with SA Government Financing Authority 516 416 Board related expenses 36 40 Revolving Film Fund loans 35 49 113 111 Film projects - 2 Amounts paid to a superannuation plan for board/committee members was 551 467 $7 000 (2007 $6 500) and is included in Board related expenses

9. Other Income Remuneration paid to Board members for the full year ended 30 June 2008 2008 2007 Number Number Revolving Film Fund fees 13 14 Members Members Disbursement Service fees 24 21 $0 1 1 Grant repayments 29 49 $1 - $10 000 5 1 Sundry income 4 2 $10 001 - $20 000 6 7 70 86

The following held offi ce as Board members for the full year ended 30 June 2008 • C Bart 10. Revenues from SA Government • *P Martin - appointment ended 25 Feb 2008 Operating grant 895 894 • B Morris – appointment ended 25 Feb 2008 • B Fox Screen Industry Program Fund program grant 3 451 3 444 • J Chataway • J Shteinman – appointment ended 27 Oct 2007 Educational Content Fund grant 200 200 • G Kelly Contribution from other State Government agencies 715 25 • S MacKinnon • B Ikin 5 261 4 563 • T Clark – appointed 28 Oct 2007 • Jane Yuile – appointed 20 March 2008 11. Cash • Julie Ryan – appointed 20 March 2008 Short term deposits 6 392 5 857

* Board fees are not payable to government employees in accordance with the Department of the Premier and Cash at bank and on hand 830 655 Cabinet Circular 16. 7222 6512 The Corporation entered into commitments during the current year to provide Revolving Film Fund loans of 12. Receivables $595 000 (2007 nil) in respect of fi lm productions which Corporation members were associated. The Corporation entered into commitments during the current year to provide Investment funds of $675 000 (2007 $94 000) Trade debtors 68 36 in respect of fi lm productions which Corporation members were associated. The relevant members did not participate in the processes of approving those commitments. Less: Provision for doubtful debts 16 21 52 15

Sundry debtors and prepayments 61 44 61 44 Total Receivables - Non-SA Government Entities 113 59

31 APPENDIX A

2008 2007 2008 2007 13. Revolving Film Fund Secured Loans $’000 $’000 15. Other Assets $’000 $’000 Classifi ed as: Prepayments 119 119 Current Assets 870 793 Less Provision for impairment 60 60 The Corporation intends to vacate the Hendon premises at the end of the current lease term. The Corporation negotiated an agreed payment for the reinstatement of the premises, which was paid during the 2005 fi nancial Current Assets 810 733 year. The payment has been shown as a prepayment of $118 500 and will be recognised as an expense when Non-Current Assets - 160 the premises are vacated on or around 30 June 2011. Total 810 893 16. Payables As at 30 June 2008 loans were provided on an interest bearing basis and secured, with due regard to the credit Trade creditors 181 99 worthiness of the producer or guarantees provided by distributors and sales agents and/or by the Federal Govern- ment through its recently introduced Producer Scheme, and by a combination of: Production Investments 953 616 Unearned Income 138 200 a) a charge over the producer’s assets from the fi lm, including the right to receive income; b) a charge over all investors or the Producers share of gross proceeds from exploitation of the fi lm; and Other payables 11 5 c) in certain circumstances, personal guarantee and indemnity 1 283 920

14. (a) Plant, Equipment and Leasehold Improvements Leasehold improvements - At cost 52 52 17. Provision for Staff Benefi ts Less: Accumulated depreciation 41 34 Current Liability: 11 18 Provision for annual leave 54 46 Production equipment - At cost 168 166 Accrued Salaries and Wages 23 17 Less: Accumulated depreciation 137 124 77 63 31 42 Offi ce equipment - At cost 211 195 Non-Current Liability: Less: Accumulated depreciation 180 158 Provision for long service leave 4 - 31 37 WIP at cost 41 - Total 114 97

(b) Reconciliation of Non-Current Assets Leasehold Studio and Offi ce WIP Tangible Improvements Mixing Equipment $’000 Assets $’000 Theatre $’000 $’000 $’000 Carrying amount as at 18 42 37 - 97 1 July 2007 Additions - 2 16 41 59 Less: Depreciation and (7) (13) (22) - (42) amortisation Balance as at 11 31 31 41 114 30 June 2008

32 APPENDIX A

18. Commitments 19. Contingent Liabilities

(a) Screen Industry Program Funds On 30 June 2008 a contract was executed for the funding of the feature fi lm Boys are Back for the amount of The Corporation has given commitments of $1 500 000 (2007 $1 454 000) to approved applicants in respect of $600,000. The contract was conditional on Cabinet approval. As that approval was given on 21 July 2008 the production investments. These commitments were not recognised in the fi nancial statements at 30 June 2008. $600,000 will be recognised as an expense in 2008-2009.

(b) Educational Content Fund The Corporation has given commitments of $232 000, (2007 $nil) in respect of productions to be fi nanced from 20. Notes to the Statement of Cash Flows the Fund. These commitments were not recognised in the fi nancial statements. (a) Reconciliation of Cash For the purposes of the Cash Flow Statement, cash consists of cash on hand and at bank and investments in (c) Revolving Film Fund money market instruments. Cash fl ow loans of $3 263 000 (2007 $nil) had been approved by the Board. Cash at 30 June as shown in the Cash Flow Statement is reconciled to the related item in the Balance Sheet as follows: (d) Operating Leases 2008 2007 Lease - Accommodation $’000 $’000 The Corporation’s operating lease is for accommodation. The non-cancellable lease is for the period to 30 June Cash assets 7 722 6 512 2011. Future rental commitments are payable as follows:

2008 2007 (b) Reconciliation of net cash provided by operating activities $’000 $’000 to Net cost of services Not later than one year 278 243 Net cash provided by operating activities 761 231 Later than one year but not later than fi ve years 580 550 Less revenues from SA Government (5 261) (4 563) Total Operating Lease Commitments (including GST) 858 793 Non cash items Depreciation, amortisation and write-offs (42) (159) Lease - Photocopier Provision for doubtful debts 5 24 Not later than one year 20 17 Changes in assets and liabilities Later than one year but not later than fi ve years 65 78 Decrease in inventories - (26) 85 95 Increase/(decrease) in receivables 49 (344) Decrease in Revolving Film Fund loans (83) (12) (e) Salaries Increase in investments and project development loans (262) - Future contracted salary commitments are payable as follows: Increase in payables (74) (234) Not later than one year 925 950 Increase/(decrease) in provision for employee benefi ts (24) 29 Later than one year but not later than fi ve years 515 485 1 440 1 435 Net cost of providing services from ordinary activities (4 931) (5 054)

33 APPENDIX A

21. Additional Financial Instruments Disclosure 22. (a) Administered Item: Disbursement Returns Account 2008 2007

(a) Accounting Policies and Terms and Conditions Affecting Future Cash Flows $’000 $’000 Financial Assets Balance at 1 July 107 184 Cash assets are available at call and are recorded at cost. Receivables are recorded at cost. Revolving Film Fund loans are recognised at cost and are classifi ed between the current asset and non-current asset elements based Add: Receipts on the repayment terms specifi ed in each agreement. Royalties, distribution advances, etc. 974 842 Financial Liabilities Less: Expenditure Payables are raised for all amounts billed but unpaid. Creditors are normally paid within 30 days. Disbursements to and on behalf of investors 778 484 (b) Interest Rate Risk 2008 Producer overhead costs 137 414 Fixed Interest Floating Non-Interest Total Carrying Weighted Disbursements fees 24 21 Rate Interest Bearing Amount Average $’000 Rate $’000 $’000 Effective Balance at 30 June 142 107 $’000 Interest Rate Financial Assets: Percent (b) Administered Item: Unclaimed Investor Returns Account Cash assets - 7 222 - 7 222 7.15-7.664% Balance at 1 July 68 69 Receivables - - 52 52 Add: Unclaimed returns 1 5 Revolving Film Fund 810 - - 810 4%-5.6% loans Less: Returns to investors 3 6 810 7 222 52 8 084 Balance at 30 June 66 68 Financial Liabilities: Payables - - 181 181 23. Economic Dependency

- - 181 181 The ongoing activities of the Corporation are dependent on the annual provision of grants from the State Government.

2007 24. Consultants Fixed Interest Floating Non-Interest Total Carrying Weighted Rate Interest Rate Bearing Amount Average During the 2007-08 fi nancial year, consultants were used for the purpose of preparing a Business Case for a $’000 $’000 $’000 $’000 Effective Screen Hub. Consulting fees of $29 000 (2007 $142 500) were paid to Connell Wagner. Interest Rate Financial Assets: Percent 2008 2007 Cash assets - 6 512 - 6 512 5.65-5.79% Number Number Receivables - - 15 15 Below $10 000 - 2 Revolving Film Fund 893 - - 893 4% - 5.6% $10 000 - $50 000 1 - loans Above $50 000 - 1 893 6 512 15 7 420 Financial Liabilities: 25. Events after balance date Payables - - 99 99 The State Government is progressing with a Shared Services Reform Initiative which is intended to centralise a - - 99 99 number of transaction processing functions. The South Australian Film Corporation has been identifi ed as an agency which will participate in this initiative and as a result it is anticipated that some staff may be transferred to Shared Services SA. The impact of this change on the Corporation resulting from this transfer of processing (c) Net Fair Values functions is still being determined. The net fair value of fi nancial assets and liabilities of the Corporation approximates their carrying value.

34 APPENDIX B SOUTH AUSTRALIAN FILM CORPORATION ORGANISATION CHART AS AT 30 JUNE 2008

BOARD

Richard Harris Chief Executive Officer

Marion Yelland Executive Assistant HR & OHS&W

Defrim Isai Stefan Grun Jo Mulcahy Gaye Jones Tony Young Head, Screen Acting Head, Studio Services Manager, Acting Head Industry Program Marketing & Locations HR & OHS&W General Manager Information Technology

Melissa Juhanson Sandy Lepore Danielle Elliott Joy Bollmeyer TBA Senior Project Officer Project Officer Acting Receptionist (0.5) Legal Manager (maternity leave) (maternity leave) Marketing Manager Office Administrator (0.5)

Andrew Ellis Rebecca Summerton Sophie Christian Leanne Ridley Kevin Hatswell Project Officer Project Officer (0.4) Marketing Assistant (0.6) Receptionist (0.5) Disbursement Manager

Kylee Watson Kath Mcintyre Melissa Eldridge Financial Services Project Officer (0.6) Program Coordinator Officer

Kate Jarrett Andrada Tudor Leigh Hodgkiss Project Administrator Project Administrator Bookkeeper (0.6)

35 APPENDIX B SAFC STAFF AS AT 30 JUNE 2008

Chief Executive Offi ce Marketing and Locations

Richard Harris - Chief Executive Offi cer Stefan Grun - Acting Head, Marketing & Marion Yelland - Executive Assistant Locations Manager Joy Bollmeyer - Receptionist / Offi ce Administrator Danielle Elliott - Acting Marketing Manager Leanne Ridley - Receptionist (part time) Sophie Christian - Marketing Assistant (part time)

Finance Department Studio Services

Gaye Jones - Manager, Finance Jo Mulcahy - Studio Services Manager Kevin Hatswell - Disbursement Offi cer Kylee Watson - Financial Services Offi cer Leigh Hodgkiss - Bookkeeper (part time) The South Australian Film Corporation would like to thank the following people for their valuable contribution Information Technology and support during the 2007-08 year:

Tony Young - Head, IT Beth Neate - Project Offi cer Christine Sweeney - Project Offi cer Screen Industry Programs Rebecca Waddingham - Program Coordinator Matthew Byrne - Program Coordinator Defrim Isai - Head, Screen Industry Programs Sandy Cameron - Project Offi cer Melissa Juhanson - Senior Project Offi cer Melanie Jose - Legal Manager (maternity leave) Sandra Lepore - Project Offi cer (maternity leave) Kath McIntyre - Project Offi cer (part time) Rebecca Summerton - Project Offi cer (part time) Andrew Ellis - Project Offi cer Kate Jarrett - Project Administrator Andrada Tudor - Project Administrator Melissa Eldridge - Program Coordinator

36 APPENDIX B SAFC STAFF DETAILS AS AT 30 JUNE 2008

Employee Numbers, Gender and Status Status of Employees in Current Position

Total Number of Employees FTEs Ongoing Short-Term Long-Term Other (Casual) TOTAL Contract Contract Persons 22 Male 2 4 6 FTEs* 19.5 Female 7.4 6.1 13.5 * FTEs shown to 1 decimal point TOTAL 9.4 10.1 19.5

Gender % Persons % FTEs Male 27 0 Persons Ongoing Short-Term Long-Term Other (Casual) TOTAL Contract Contract Female 73 31 Male 2 4 6 Female 9 7 16 Number of Persons During the 07-08 Financial Year TOTAL 11 11 22 Separated from the agency 6 Recruited to the agency 12 Number of Executives* by Gender, Classifi cation and Status

Number of Persons at 30 JUNE 2008 Classifi cation Ongoing Contract Contract Other (Casual) TOTAL Tenured Untenured On Leave without Pay 2 Male Female Male Female Male Female Male Female Male Female 1 1 Number of Employees by Salary Bracket TOTAL 1 1 Salary Bracket Male Female Total $0 - $46 399 11 11 *An Executive is someone who : 1. receives a total salary equivalent to $95,648 per annum or more (equating to EL1 minimum under the public $46 400 - $58 999 2 2 4 service structure) OR receives a Total Remuneration Package Value (TPV) type contract equivalent to $120,235 per annum or more (equating to ExA minimum under the PSM Act). A total remuneration package includes $59 000 - $75 499 2 2 4 monetary benefi ts such as salary and allowances, plus employer superannuation contributions and other non- $75 500 - $94 999 1 1 2 monetary benefi ts such as a vehicle. AND $95 000+ 1 1 2. Has professional or managerial ‘executive’ responsibilities, and therefore is not receiving a salary or TRPV in the range described above based only on additional allowances paid for specialist skills or for the purposes of at TOTAL 6 16 22 traction and retention. OR Occupies a position having a work value of 670 points or more (using the Mercer Cullen Egan Dell Note: assessment tool). • Salary details relate to pre-tax income excluding super and FBT OR • Non-executive employees on salary sacrifi ce arrangements are shown as pre-sacrifi ce values. Is appointed pursuant to either Part 4 or Part 7 (Division 1) of the PSM Act 1995 • Executive employees are shown as the value of the fi nancial benefi ts component of their Total Remuneration OR Package Value excluding super. Is employed under the PSM Act in the classifi cation types EL, EX, MLS or SAES • Non-fi nancial benefi ts and allowances are excluded for all employees. • The salary brackets have been constructed as an approximation for level of responsibility, and are based on the current remuneration structures of the PSM Act Administrative Services Stream.

37 APPENDIX B SAFC STAFF DETAILS AS AT 30 JUNE 2008

Number of Average Days Leave Taken Per Full Time Equivalent Employee Cultural and Linguistic Diversity

Leave Type 2007-08 2006-07 2005-06 2004-05 Male Female Total % of Agency SA Sick Leave 3.6 4.6 6.0 4.3 Community* Family Carer’s Leave 0.1 Number of Employees 2 2 9.09 20.3% born overseas Miscellaneous Special Leave Number of 1 1 4.54 15.5% Employees who speak language(s) other than Number of Aboriginal and/or Torres Strait Islander Employees English at home * Benchmarks from ABS Publication Basic Community Profi le (SA) Cat No 2001.0. Aboriginal/ Male Female Total % of Agency Target* Torres Strait Islander $ 0 - $46 399 0 0 0 0% 2% Documented Review of Individual Performance Management $46 400 - $58 999 0 0 0 0% 2% Employees with….. % of Total Workforce $59 000 - $75 499 0 0 0 0% 2% A review within the past 12 months 27% $75 500 - $94 999 0 0 0 0% 2% A review older than 12 months 18% $95 000 + 0 0 0 0% 2% No review 54% TOTAL 0 0 0 0% 2%

* Target from SASP Leadership and Management Training Expenditure

Number of Employees by Age Bracket by Gender Training and Development Total Cost $ % of Total Salary Expenditure Age Bracket Male Female Total % of Total Workforce Total training and development expenditure 21 868 2% Benchmark* Total leadership and management 9 667 1% 15-19 6.7 development expenditure 20-24 2 2 9.09 10.5

25-29 1 1 4.55 10.2 Accredited Training Packages by Classifi cation 30-34 1 4 5 22.72 9.9 35-39 2 2 9.09 11.2 Classifi cation Number of Accredited Training Packages 40-44 1 2 3 13.64 11.9 CEO 4 45-49 2 3 5 22.72 12.3 Managers 7 50-54 1 1 4.55 11.3 Executive Assistant 2 55-59 2 2 9.09 8.6 Financial Assistant 1 60-64 1 1 4.55 5.0 Bookkeeper 1

65+ 2.4 * NOTE: Each employee classifi cation used in the agency should appear as a separate row TOTAL 6 16 22 100.00 100.0

* SOURCE: Australian Bureau of Statistics Australian Demographic Statistics, Labour Force Status (ST LM8) by sex, age, state, marital status – employed – total from Feb 78 Supertable, South Australia at March 2007

38 APPENDIX B SAFC STAFF DETAILS AS AT 30 JUNE 2008

Number of Employees with Disabilities Fraud (According to Commonwealth DDA Defi nition) Nature of Fraud Detected Number of Instances Male Female Total % of Agency Nil Nil TOTAL 0 0 0 0 Strategies Implemented to Control and Prevent Fraud

SAFC Management undertakes ongoing risk assessment in regards to possible fraud. Types of Employee Disabilities The Corporation’s Risk Management Plan and Policy and Procedures Manual are regularly updated to ensure Disability Male Female Total % of Agency systems are communicated and implemented throughout the Corporation; all accounts are approved by the CEO; and reports by the Finance Manager and CEO in relation to both accounts as well as ongoing risk assessment are Physical 0 0 0 0 made directly to the Finance and Audit Committee, and ultimately to the Board. Intellectual 0 0 0 0 The current risk profi le for fraud in the Corporation has been identifi ed as low, however a range of strategies and Sensory 0 0 0 0 processes have been put in place to both identify and manage cases of suspected fraud. Psychological / 0 0 0 0 Psychiatric Consultancies Other 0 0 0 0 Total Amount Spent Total Expenditure on all Number of TOTAL 0 0 0 (This column will Consultancies for Year Consultancies Engaged not sum to 100%) Below $10 000 0 1 $10 000 to $50 000 28 558 Number of Employees with Disabilities Requiring Workplace Adaptation Above $50 000 0

Male Female Total % of Agency Name Consulting Firm with Brief Summary of the Services for which Engaged TOTAL 0 0 0 0 spend above $10 000 Connell Wagner Business Case – Glenside site redevelopment Contractual Arrangements

Number of contractual arrangements entered into where the total value of the contract Nil Overseas Travel exceeds $4 million (GST inclusive) or that have extended beyond a single year Number of Employees Destination/s Reasons for Travel Total Cost $ 1 USA Trade Mission to Los Angeles 7 066 Account Payment Performance 1 USA G’day LA - USA 9 889 1 USA Los Angeles – Screen Hub an- 3 494 Particulars No of % of Value in $A of % of nouncement Accounts Paid Accounts Paid Accounts Paid Accounts Paid (By Number) (By Value) 2 France Cannes Film Festival 22 747 Paid by due date* 1 783 100 5 652 762 100% 1 Italy Puglia Filmmakers 2 395 Paid late, within 30 days of due date 0 0 0 0% Paid more than 30 days from due date 0 0 0 0%

* NOTE: The due date is defi ned under section 11.7 of Treasurer’s Instruction 11 Payment of Creditors’ Accounts. Generally, unless there is a discount or a written agreement between the public authority and the creditor, payment should be within thirty days of the date of the invoice or claim. Some agencies receive invoices signifi cantly later than the invoice date, due to supplier invoicing processes. Agencies may choose to report against the date the invoice is fi rst received rather than the date of invoic 39 Coffi n Rock

APPENDIX C SCREEN INDUSTRY PROGRAMS APPROVALS SCREEN INDUSTRY PRODUCTION INVESTMENT

Production Investment – Feature Films Production Investment – Documentary

Date Committed Applicant Project Film SA $ Date Committed Applicant Project $ 08/08/07 Kojo Productions Beautiful 300 000 20/09/07 SAFC/ScreenWest/NTFO/ Destination Australia: Circle 42 100 000 SBSI/Doc Initiative 20/09/07 Ultrafi lms Pty Ltd Seed/Coffi n Rock 140 000 110 000 01/10/07 Jeni Lee t/as Carousel Media Casualties of War - a Soldier’s Story 37 000 20/09/07 Hibiscus Films Pty Ltd My Year Without Sex 125 000 01/12/07 Fusion Films Wudinna, The Town They Gave Away 42 500 01/01/08 Newtown Films Beautiful Kate 140 000 53 455 01/04/08 Tony Collins/Carmel Young In a League of Their Own 40 000 01/03/08 J Ryan & K Croser Auction 250 000 08/04/08 SAFC/ScreenWest/NTFO/ Destination Australia: Don’t Call me 100 000 01/03/08 Kristian Moliere Home 300 000 SBSI/Doc Initiative Lucky 21/04/08 Helen Leake, Murali Jewel 280 500 Sub-Total 319 500 Thalluri, Nick Selth

01/05/08 Nicolas Cole, The Last Ride 225 000 Talk Films Pty Ltd Sub-Total 280 000 1 643 955 Production Investment – Short Films

Date Committed Applicant Project $ 06/04/08 Matthew Bate/Viron Mystery of Flying Kicks 53 000 Papadopoulos 06/04/08 Kelly Schilling/Sally Clarke Kind of Man 53 000 06/04/08 Viron Papadopoulos Bad Language 53 000 Sub-Total 159 000

40 APPENDIX C SCREEN INDUSTRY PROGRAMS APPROVALS SCREEN INDUSTRY PRODUCTION INVESTMENT

Production Investment – Legal Costs

Applicant Project $ Applicant Project $ 7th Crossing Reshah 149 Readymade Productions National Assoc School Psychologists Conven- 65 tion Jotz Productions Pty Ltd A Fighting Chance 14 One Night the Moon 112 J Ryan & K Croser Auction 86 Cathy Beitz SAFC/SBSi Inside Australia - Fair Dinka 25 Kojo Productions Beautiful 477 ScreenWest/SBSi SAFC/ScreenWest/SBSi Generation Y Initia- 2 648 Newtown Films Beautiful Kate 1 895 tive The Bush and the City 17 Ultrafi lms Pty Ltd Seed 242 Jeni Lee t/as Carousel Media Casualties of War - a Soldier’s Story 617 The Bush and the City 34 Deck Dogz Deck Dogz 30 Richard Becker The December Boys 37 SAFC/ScreenWest/NTFO/SBSI/Doc Destination Australia: Circle 42 665 Vicki Sugars The Gulf (Past Midnight) 28 Initiative Nicolas Cole, Talk Films Pty Ltd The Last Ride 986 SAFC/ScreenWest/NTFO/SBSI/Doc Destination Australia: Don’t Call me Lucky 223 Initiative Cath Moore The South Ride 83 Disgrace 6 Fusion Films Wudinna, The Town They Gave Away 2 950 Vertigo Productions Dr Plonk 36 Cathy Beitz SAFC/SBSi Inside Australia - Fair Dinka 43 RB Films Pty Ltd Elise 600 Sub-Total 16 030 First Nation Films Pty Ltd First Australians 129 Liberty Productions Pty Ltd Forbidden Lie$ 77 Giant Steps 84 Miriam Stein Hey, Hey It’s Esther Blueburger 147 Home 17 Camerawork Pty Ltd I Love a Sunburnt Country 5 Tony Collins/Carmel Young In a League of Their Own 663 Helen Leake, Murali Thalluri, Nick Selth Jewel 71 RT Productions Little Aussie Big Dreams 13 Martian Nights 109 Millennium Pictures Pty Ltd McLeod’s Daughters - Series 8 641 Ali Ashdown miniSeries Initiative: The Perils of Flossy 30 Hibiscus Films Pty Ltd My Year Without Sex 1 882

41 APPENDIX C SCREEN INDUSTRY PROGRAMS APPROVALS DEVELOPMENT

Film & Television Short Film

Date Applicant Project $ Date Applicant Project $ Committed Committed 05/12/07 Ruth Estelle Touched 8 600 12/07/07 Anthony Maras Spike Up (Marketing Investment) 3 000 01/08/07 Storm Ashwood Escape & Evasion 17 000 Sub-Total 3 000 01/08/07 Velvet Pictures Soon Ruby Soon 14 200 01/08/07 RT Productions The Grandfather’s Chest 4 000 01/08/07 Jim Madrid 4 Winds 13 500 Producer Business 01/08/07 Flying Ant Productions Pty Ltd Namatijira 21 050

01/08/07 Go Patterson Films Pty Ltd The Mindless Ferocity of Sharks 21 000 Date Applicant Project $ 24/09/07 The People’s Republic of Animation I Was a Teenage Butterfl y 10 000 Committed 05/12/07 Cyan Films Pty Ltd Auction 13 600 15/07/07 Adelaide Motion Picture Adelaide Motion Picture 50 000 05/12/07 Punchline Pty Ltd Hear me Roar 13 500 15/07/07 Cyan Films Pty Ltd Cyan Films Pty Ltd 25 000 21/04/08 Helen Leake, Murali Thalluri, Nick Jewel 19 500 15/07/07 Smoking Gun Productions Pty Ltd Smoking Gun Productions Pty Ltd 25 000 Selth 15/07/07 Tallstoreez Productions Pty Ltd Tallstoreez Productions Pty Ltd 50 000 01/06/08 Pacifi c & Beyond Pty Ltd (Ron CS High 10 000 15/07/07 Craig Lahiff Craig Lahiff 20 000 Saunders) 15/07/07 Australian International Pictures Australian International Pictures 20 000 06/06/08 Craig Lahiff The Void 9 850 01/08/07 Go Patterson Films Pty Ltd Go Patterson Films Pty Ltd 50 000 06/06/08 Helen Leake Vanished 9 750 Sub-Total 240 000 18/03/09 Phillip Bowman Run Santa Run 3 000 Sub-Total 188 550

International Business Travel

Documentary Date Applicant Project $ Committed 04/10/07 Karen Power Screenwriting Expo 2007 2 500 Date Applicant Project $ Committed 14/01/08 Bryan Mason Berlinale Talent Campus Travel 4 036 14/09/07 Karen Hughes Headlands 2008 - Searching for Stellu 10 000 14/01/08 Eddie White Pulse Showcase @ Australia Week 1 500 11/01/08 SIPS Susan MacKinnon Doco Pitch 1 863 17/01/08 Simon Butters Kidscreen Summit 08 5 490 Training Day 17/01/08 Alex Alexander Kidscreen Summit 08 2 500 01/03/08 Q Productions 100 Years of Motherhood 18 000 28/03/08 Kristian Moliere New Zealand Travel 3 000 03/03/08 T Collins/C Young/J Ramp No Fixed Address 4 745 28/03/08 Kristian Moliere USA travel 5 000 03/04/08 John Macumba/Jeffrey Bruer Tracking School 8 550 14/04/08 Helen Leake Cannes 2008 5 000 14/04/08 AFTRS Headlands 2008 - AFTRS 10 000 14/04/08 Terry Charatsis Cannes 2008 5 000 Sub-Total 53 158 14/04/08 Vicki Sugars Cannes 2008 4 985 Sub-Total 39 011

42 APPENDIX C SCREEN INDUSTRY PROGRAMS APPROVALS DEVELOPMENT

Development Investment – Legal Fees

Applicant Project $ Applicant Project $ Q Productions 100 Years of Motherhood 188 One Night the Moon One Night the Moon 51 Jim Madrid 4 Winds 28 Eddie White Pulse Showcase @ Australia Week 97 Adelaide International Pictures Adelaide International Pictures 103 Enjoy Entertainment Run Santa Run 173 Adelaide Motion Pictures Adelaide Motion Pictures 380 Karen Power Screenwriting Expo 2007 93 Cyan Films Pty Ltd Auction 594 Smoking Gun Productions Pty Ltd Smoking Gun Productions Pty Ltd 116 Australian International Pictures Australian International Pictures 28 Velvet Pictures Soon Ruby Soon 39 Bryan Mason Berlinale Talent Campus Travel 58 Closer Productions Staying Up - Marketing 33 Helen Leake Cannes 2008 299 Tallstoreez Pty Ltd Tallstoreez Productions Pty Ltd 209 Craig Lahiff Craig Lahiff 86 RT Productions The Grandfather’s Chest 258 Pacifi c & Beyond Pty Ltd CS High 175 Go Patterson Films Pty Ltd The Mindless Ferocity of Sharks 49 Cyan Films Pty Ltd Cyan Films Pty Ltd 98 Go Patterson Films Pty Ltd The Poisoned Wife 20 D Woodgate D Woodgate 15 Peter Leovic The Roadman 32 Mike Piper Destination Australia Workshop 33 Ruth Estelle Touched 382 Storm Ashwood Escape & Evasion 465 John Macumba/Jeffrey Bruer Tracking School 55 European Film Market 40 Kristian Moliere USA travel 31 Kristen Khan First Australians - Post Production Attach- 13 Craig Lahiff Vanished 27 ment Sub-Total 7 630 Archangel Australia Globalisation: Breakdown or Breakthrough 137 Go Patterson Films Pty Ltd Go Patterson Films Pty Ltd 115 SAFC Headlands 2008 157 Punchline Pty Ltd Hear me Roar 180 Housebound Productions Pty Ltd Housewife 361 The People’s Republic of Animation I Was a Teenage Butterfl y 245 J Lee & R Summerton It’s A Circus in Cambodia 223 Film Graphic Entertainment Pty Ltd Jetty Rats 15 Kaboodle Kaboodle 27 Simon Butters Kidscreen Summit 08 224 Australian International Pictures Killing For Pleasure 224 Matty Swink Matty Swink 184 Mark Patterson Mindless Ferocity of Sharks 753 GA Reed t/a Remo Media Missing - Presumed Dead 81 Flying Ant Productions Pty Ltd Namatijira 100 Kristian Moliere New Zealand Travel 45 T Collins/C Young/J Ramp No Fixed Address 145

43 APPENDIX C SCREEN INDUSTRY PROGRAMS APPROVALS INDUSTRY & PRACTITIONER

Interstate Business Travel Development Grants

Date Applicant Project $ Date Applicant Project $ Committed Committed 07/02/08 Carly Maple Meeting with Edwina Thring 500 18/07/07 Annie Fox Writing for Animation Masterclass (AWG) 450 07/02/08 Brenton Dean Meeting with Edwina Thring 500 18/07/07 Ali Ashdown Resilience with Dr Chris Stevens (AFTRS) 750 05/03/08 Troy Bellchambers Meeting with Nickelodeon 500 25/07/07 Craig Lahiff 37 South: Bridging the Gap, MIFF 07 500 05/03/08 Justin Wright Meeting with Nickelodeon 500 25/07/07 Julie Ryan 37 South: Bridging the Gap, MIFF 07 500 03/04/08 Craig Lahiff SPAA Holding Redlich Seminar 500 25/07/07 Kate Croser 37 South: Bridging the Gap, MIFF 07 500 - Sydney 25/07/07 Kristian Moliere 37 South: Bridging the Gap, MIFF 07 500 Sub-Total 2 500 25/07/07 Wayne Groom 37 South: Bridging the Gap, MIFF 07 500 25/07/07 Wayne Groom Australian International Movie Convention 07 650 31/07/07 H Jean Moyes Investigating Perf. with the Mike Leigh Method 275 Festivals & Awards 31/07/07 A Ashdown Investigating Perf. with the Mike Leigh Method 275 31/07/07 A Ellis Investigating Perf. with the Mike Leigh Method 275 Date Applicant Project $ Committed 16/08/07 Anthony Judith Western Masterclass (ADG) 1 000 15/10/07 Sophie Hyde Uppsala International Short Film 2 500 06/09/07 Dave de Vries AFTRS pitching competition 35 Festival 2007 06/09/07 Albert Jamae AFTRS pitching competition 35 16/11/07 Eddie White IF Awards 2007 200 09/10/07 Ashlee Page National Screenwriters Conference 2007 682 21/11/07 Louise Pascale AFI Awards 2007 300 09/10/07 Yasemin Sabuncu National Screenwriters Conference 2007 682 21/11/07 Christopher Houghton AFI Awards 2007 300 09/10/07 Matthew Cormack National Screenwriters Conference 2007 682 07/05/08 Steve Callan Dungog Film Festival 300 09/10/07 Bettina Hamilton SPAA Fringe 2007 390 Sub-Total 3 600 09/10/07 Christine Williams SPAA Fringe 2007 390 09/10/07 Dave de Vries SPAA Fringe 2007 390 15/10/07 Chad Leader SPAA Fringe 2007 390 22/10/07 Sharyn Pancione SPAA Fringe 2007 390 22/10/07 Jennifer Jones SPAA Fringe 2007 390 22/10/07 David Ngo SPAA Fringe 2007 390 08/10/07 Sophie Hyde Australian Directors Guild Conference 492 12/11/07 Julie Ryan SPAA Conference 2007 1 000 12/11/07 Kate Croser SPAA Conference 2007 1 000 12/11/07 Kristian Moliere SPAAmart / SPAA Conference 2007 750 12/11/07 Shane McNeil SPAA Conference / IF Awards 2007 433 13/11/07 Troy Bellchambers SPAA Conference 2007 960 13/11/07 Shane Bevin SPAA Conference 2007 960 13/11/07 Anne Tsoulis SPAA Conference 2007 1 000

44 APPENDIX C SCREEN INDUSTRY PROGRAMS APPROVALS INDUSTRY & PRACTITIONER

Development Grants cont.

Date Applicant Project $ Date Applicant Project $ Committed Committed 13/11/07 Scott McDonald SPAA Conference 2007 1 000 22/04/08 Hugh Nguyen Michael Hauge Seminar Melbourne 450 13/11/07 Mario Andreacchio SPAA Conference 2007 770 22/04/08 Wayne Groom Michael Hauge Seminar Melbourne 450 04/12/07 Media Resource Centre SA Short Screen Awards 2007 - Best Short Film 3 000 22/04/08 Stephen House Michael Hauge Seminar Melbourne 450 01/01/08 Mark Anderson AIDC 625 22/04/08 Tania Nehme Michael Hauge Seminar Melbourne 450 01/01/08 Katrina Lucas AIDC 625 22/04/08 Sue Brown Michael Hauge Seminar Melbourne 450 01/01/08 Shalom Almond AIDC 625 22/04/08 Kate Croser Michael Hauge Seminar Melbourne 450 01/01/08 Rick Cavaggion AIDC 625 22/04/08 Cathy Beitz Michael Hauge Seminar Melbourne 400 01/01/08 Rachael Thompson AIDC 625 22/04/08 Michael Clarkin Michael Hauge Seminar Melbourne 450 01/01/08 Sonja Vivienne AIDC 625 22/04/08 Jennifer Jones Michael Hauge Seminar Melbourne 450 01/01/08 Sophie Hyde AIDC 625 22/04/08 Christopher Houghton Michael Hauge Seminar Melbourne 340 01/01/08 Bryan Mason AIDC 625 22/04/08 Fiona De Caux Michael Hauge Seminar Melbourne 600 01/01/08 Ron Bollman AIDC 625 22/04/08 David de Vries Michael Hauge Seminar Melbourne 600 01/01/08 Mike Piper AIDC 625 02/05/08 Kate Croser & Ruth Michael Hauge Workshop Sydney 1 930 Estelle (Cyan Films) 01/01/08 Helen Leake AIDC 300 12/05/08 Jo Rossiter ACS50 Conference 300 01/01/08 Gabrielle Kelly AIDC 300 12/05/08 JoAnne Bouzianis-Sellick ACS50 Conference 300 21/01/08 Kim Mavromatis AIDC 2008 625 12/05/08 Nick Berry-Smith ACS50 Conference 400 21/01/08 Lara Damiani AIDC 2008 625 12/05/08 Kirsty Stark ACS50 Conference 485 21/01/08 Jeni Lee AIDC 2008 625 12/05/08 Simon Mazengarb ACS50 Conference 560 21/01/08 Julia De Roeper AIDC 2008 625 12/05/08 Maxx Corkindale ACS50 Conference 560 21/01/08 Mark Thompson AIDC 2008 625 19/05/08 Peter Welch Michael Hauge Seminar Melbourne 300 21/01/08 Claire Harris AIDC 2008 625 20/05/08 Ali Ashdown AFTRS Running Your Own Creative Business 100 07/02/08 Kim Mavromatis FIFO 2008 480 Sub-Total 48 072 18/02/08 Judi Oehme AIDC 2008 300 18/02/08 Tony Collins AIDC 2008 625 18/02/08 Caroline Man AIDC 2008 - Destination Australia 1 000 18/02/08 Tait Muller AIDC 2008 - Destination Australia 1 000 18/02/08 Lauren Drewery AIDC 2008 - Destination Australia 1 000 01/04/08 Mike Piper Destination Australia Workshop 205

45 APPENDIX C SCREEN INDUSTRY PROGRAMS APPROVALS INDUSTRY & PRACTITIONER

Mentors/Attachments Events & Activities

Date Applicant Project $ Date Applicant Project $ Committed Committed 16/07/07 Vanessa Carr Philip Glass - Sound Post attachment 3 600 03/06/07 Generation Y Documentary Initiative Generation Y Workshop 231 19/07/07 Rachael Thompson Seed Hunter - Director’s Attachment 3 600 08/08/07 Shorts Film Festival Shorts 07…cinematic storytelling at its 5 000 best 31/07/07 Kelly Schilling McLeod’s Daughters - Director 3 600 Attachment 08/08/07 Feast Festival I can see Queerly Now 5 10 000 09/08/07 James Mellor Beautiful - Art Department 3 600 22/08/07 Australian Writers’ Guild National Screenwriter’s Conference & 3 500 Attachment 40th AWGIE Awards 26/08/07 Natasha Phillips Beautiful - Art Department 3 600 22/08/07 Screen Producers Association of Aust SPAAmart 2 500 Attachment 22/08/07 Australian Cinematographers Society ACS SA/WA 2007 Awards 1 500 18/10/07 Shannon Crotty Elise - 1st AD Attachment 3 600 22/08/07 Australian Directors Guild 2007 ADG Conference & Awards 3 500 06/11/07 Gina Rings First Australians - Post Production 3 600 Attachment 24/10/07 Australian Writers’ Guild AWG suite of programs 07/08 6 948 06/11/07 Kristen Khan First Australians - Post Production 3 600 21/11/07 Australian Film Television & Radio School Drama Screenwriting Workshop (3 days) 2 000 Attachment 01/12/07 Australian Film Television & Radio School Producer’s Offset Seminar (1 Day) 2 000 17/04/08 James Maiden Fishermen in SA from Coorong to KI 1 705 Sub-Total 37 159 - Directors Attachment 01/05/08 Anny Duff Broken Hill - Camera Attachment 3 600 23/06/08 Eve Foreman Beautiful Kate attachment 6 545 Program Cost Recoupment Sub-Total 35 725 $ Recoupment 386 893 Script & Committee Fees 29 368 Sub-Total 416 261

TOTAL 3 213 151

46 APPENDIX D SCREEN CULTURE APPROVALS

Program Funding

(Note: Approvals are on a Calendar Year basis) January 2008 to December 2008 Applicant $ Australian Writers’ Guild 21 000 Media Resource Centre 202 888 Australian International Documentary Conference 10 000 Mega SA 10 000 AIMIA 10 000 Australian Teachers of Media 2 000 AFI 10 000 Australian Director’s Guild 3 000 SPAA 3 000 Australian Cinematographers Society 1 500 MRC – Digitopia 20 500

TOTAL 293 888

Program Cost Recoupment

$ Recoupment 7 000 Sub-Total 7 000

TOTAL 300 888

47 Figaro Pho

APPENDIX E EDUCATIONAL CONTENT FUND APPROVALS

ECF Program Cost Recoupment Date Project Title Applicant Contribution $ 19/03/08 Controversies From The Stuart Case Helen Leake & Craig Lahiff 38 169 $ 07/05/08 Necessary Games Closer Productions 64 000 Recoupment 32 092 Total 102 169 Script & Committee Fees 1 300 Sub-Total 33 392

Legal Fees TOTAL 137 109 ECF Project Title Applicant Contribution $ Bragg About Adelaide Linda Cooper 634 Bringing Them Home R Cavaggion & K Goodman Todd 83 Camels: Dreaming or Nightmare Broadwater Motion Pictures 518 Money Management Education Program Homestart Finance 73 Stories of Us – Series 2 Chris Faull 129 Autism SA (Nikki Fort) The Autism Point of View 111 Total 1 548

48 APPENDIX F DIGITAL MEDIA FUND APPROVALS DIGITAL MEDIA PRODUCTION INVESTMENT

Digital Media Production Investment Digital Media Production Investment – Legal Costs

Date Applicant Project $ Applicant Project $ Committed Indigemedia Incorporated 12 Canoes 1 065 20/09/07 SAFC/ScreenWest/NTFO/SBSI/Doc Destination Australia: Circle 42 50 000 Initiative SAFC/ScreenWest/NTFO/SBSI/Doc Initiative Destination Australia: Circle 42 769 08/04/08 SAFC/ScreenWest/NTFO/SBSI/Doc Destination Australia: Don’t Call 50 000 SAFC/ScreenWest/NTFO/SBSI/Doc Initiative Destination Australia: Don’t Call me Lucky 618 Initiative me Lucky Re Angle Pictures Pty Ltd iloveasunburntcountry.com 34 12/12/07 Kate Croser Stanley & Dean Continuous Version 1 000 ABC/SAFC Initiative SAFC ABC Digital Animation Initiative 709 (5 minutes) marketing - Figaro Pho 01/06/08 Ali Ashdown The Perils of Flossy 1 000 ScreenWest/SBSi SAFC/ScreenWest/SBSi Generation Y Initia- 2 609 Sub-Total 102 000 tive Kate Croser Stanley & Dean Continuous Version (5 min- 60 utes) marketing The Perils of Flossy The Perils of Flossy 17 Heather Croall UsMob.com.au 29 Sub-Total 5 910

49 APPENDIX F DIGITAL MEDIA FUND APPROVALS DIGITAL MEDIA DEVELOPMENT INVESTMENT

Digital Media Project Development Digital Media Development Investment – Legal Costs

Date Applicant Project $ Applicant Project $ Committed Monkeystack Bridget The Goddess 28 27/07/07 Incite Stories Family Values 26 050 Simply Splendid Productions Collaboree Quiz Pilot 176 01/09/07 Cordell Jigsaw Productions Why Don’t We Have Sex Anymore? 15 000 Monkeystack Dots and Diamond 239 01/09/07 Simply Splendid Productions Collaboree Quiz Pilot 15 000 Incite Stories Family Values 138 01/09/07 Beth Neate/Priscilla Davies/ Vampire’s Day Out 15 000 James Calvert/Stephen Sewell/ Dario Russo - Alrugo Entertainment Italian Spiderman 475 Stu Connolly Donna Wilkins Meeting in Hong Kong with Eddy Tan 144 27/09/07 Monkeystack Dots and Diamond 10 000 Hugh Sullivan The Deep Sleep 55 01/02/08 Dario Russo - Alrugo Entertainment Italian Spiderman 9 500 Luke Jurevicius Figaro Pho 271 01/06/08 Monkeystack Bridget The Goddess 23 000 Beth Neate/Priscilla Davies/James Calvert/ Vampire’s Day Out 14 Sub-Total 113 550 Stephen Sewell/Stu Connolly Cordell Jigsaw Productions Why Don’t We Have Sex Anymore? 225 Sub-Total 1 765 Digital Media International Business Travel

Date Applicant Project $ Committed 03/04/08 Donna Wilkins Meeting in Hong Kong with Eddy 2 500 Tan Sub-Total 2 500

50 APPENDIX F DIGITAL MEDIA FUND APPROVALS DIGITAL MEDIA INDUSTRY AND PRACTITIONER DEVELOPMENT GRANTS

Digital Media Festival and Awards Grants Digital Media Internships/Attachments/Mentors

Date Applicant Project $ Date Applicant Project $ Committed Committed 08/10/07 Holly Owen ATOM Awards 2007 300 05/07/07 Jason Crisp Resin Pty Ltd - 3D Artist attachment 7 200 Sub-Total 300 22/08/07 Ben Kilsby Monkeystack - Digital Artist Attachment 7 200 06/09/07 Andrew Palmer Resin Pty Ltd - 3D Artist attachment 7 200 06/09/07 Sam Norman Rising Sun Pictures 7 200 Digital Media Development Grants 06/09/07 Benjamin Rayner Rising Sun Pictures - Render Wrangler / 3D attachment 7 200 Date Applicant Project $ 06/09/07 Adam Trowse Rising Sun Pictures - Render Wrangler attachment 7 200 Committed 07/09/07 Erfan Khadem The Cutting Room - Online Editor Attachment 3 600 08/08/07 Annie Fox X-Media Lab Professional Day 2007 349 13/02/08 Christian Kuntz Figaro Pho attachment 3 600 08/08/07 Roberto Genito Learning the Art Of Pixar (AFTRS) 484 17/03/08 Jeremy Kelly-Bakker Rising Sun Pictures - Digital Media Attachment 7 200 03/09/07 Donna Wilkins My Gen’ - Sydney Business Trip 500 Sub-Total 57 600 21/09/07 SAFC Budgeting for Short Film Workshop 1 100 26/10/07 Sam White Various Meetings & Game Connect Asia 500 Pacifi c Program Cost Recoupment 15/11/07 Ben Kilsby Game Connect: Asia Pacifi c 358 04/12/07 Media Resource Centre SA Short Screen Awards 2007 3 000 Project $ - Innovation in DM Award Recoupment 120 388 22/01/08 Sandra Cook LAMP 2008 330 Script & Committee Fees 1 850 31/03/08 Joshua Bowman Pixar Animation Workshop 300 Sub-Total 122 238 01/04/08 Brodie McCrossin Pixar/Autodesk Animation Workshop 300

01/04/08 Nathan Jones Pixar/Autodesk Animation Workshop 300 TOTAL 414 584 01/04/08 Anto Bond Pixar/Autodesk Animation Workshop 300 01/04/08 Matthew Ziegler Pixar/Autodesk Animation Workshop 300 01/04/08 Justin Wight Pixar/Autodesk Animation Workshop 300 01/04/08 Troy Bellchambers Pixar/Autodesk Animation Workshop 300 Sub-Total 8 721

51 Last Ride (shooting on Lake Gairdner)

APPENDIX G PROGRAM WRITE BACKS THE FOLLOWING SCREEN INDUSTRY PROGRAM COMMITMENTS WERE WRITTEN BACK DURING THE YEAR:

SCREEN INDUSTRY

Production Investment Practitioner Development Grants

Applicant Project $ Applicant Project $ Vertigo Productions Dr Plonk 5 Anthony Judith Western Masterclass 1 000 Piper Films Wire Through The Heart (Presale) 28 364 Matthew Cormack National Screenwriters Conference 2007 682 ABC ABC/SAFC Documentary Series Initiative 400 000 Sonja Vivienne AIDC 625 Arch Angel Australia The China Love Bus 85 000 Jeni Lee AIDC 625 Sub-Total 513 369 Claire Harris AIDC 625 Sub-Total 3 557

Project Development Loans

Applicant Project $ Mentors/Attachments Peter D’Andrea In Between Gigs 300 Applicant Project $ Lavinia Grey Opium 1405 Gina Rings First Australians – Post Production Attachment 438 Kath Dooley Detached 91 Kristen Khan First Australians – Post Production Attachment 222 Housebound Productions Housewife 45 Sub-Total 660 The People’s Republic of Animation I Was a Teenage Butterfl y 10 000 Sub-Total 11 841

Events & Activities

Applicant Project $ AFTRS AFTRS Training Courses 102 Sub-Total 102

52 APPENDIX G PROGRAM WRITE BACKS

SCREEN CULTURE

Screen Culture Grants Digital Media Practitioner Development Grants

Applicant Project $ Applicant Project $ PY Media 15 750 SAFC Budgeting for Short Film Workshop 127 Sub-Total 15 750 Sub-Total 127

DIGITAL MEDIA Digital Media Events & Activities

Digital Media Production Investment Applicant Project $

Applicant Project $ Australian Teachers of Media ATOM – Screen Culture 2005 1 500 SBS My Space 439 Australian Film, Television & Radio School Australian Film, Television & Radio School 400 ABC Digital Animation Initiative Misc Expenses 220 Nova Scotia Producer Event Nova Scotia Producer Event 1 005 Sub-Total 659 AFTS – SA Shake Compositing 101 600 Sub-Total 3 505

Digital Media Project Development Investment

Applicant Project $ Jason Sidoryn Planet Matilda 900 K McLean, M Kenihan & D Sjostrom Little Green Men 5 000 Ryan Green Predator Prey 6 000 Sub-Total 11 900

53 My Tehran for Sale

APPENDIX H COMMITTEES BOARD COMMITTEE

Finance and Audit COMMITTEES WITH DELEGATED Christine Sweeney : Project Offi cer Screen Tony Clark : Industry Representative Industry Programs Within the Committee structure adopted by AUTHORITY Industry Programs Lisa Horler : Industry Representative Sandy Cameron : Project Offi cer Screen the Board, the Finance and Audit Committee Andrada Tudor : Project Administrator Screen Industry Programs oversees the fi nancial controls and fi nancial The following committees consider Industry Programs Digital Media Project Development Kate Jarrett : Project Administrator Screen management reporting of the SAFC. applications for funding up to $100 000 Jeff Canin : Industry Representative Committee Industry Programs (such amounts being cumulative) : Kathy Drayton : Industry Representative Richard Harris : Chief Executive Offi cer Katrina Sedgwick : Industry Representative The Committee meets prior to Board Ron Bollman : Industry Representative - Committee Chairman - Adelaide Film Festival Director meetings and consists of: Film Development Committee (Drama) Sally Ingleton : Industry Representative Defrim Isai : Head Screen Industry Programs Anthony Maras : Industry Representative Richard Harris : Chief Executive Offi cer Mike Piper : Industry Representative - Committee Chairman Kristian Moliere : Industry Representative Jane Yuile : Member and - Committee Chairman Kath McIntyre : Industry Representative Sandy Cameron : Project Offi cer Screen Kate Kennedy : Industry Representative Committee Chairman Stephanie Ziersch : Acting Chief Executive Industry Programs Cheryl Bart : Board Chairman Offi cer - Committee Chairman Educational Content Fund Committee Rebecca Summerton : Project Offi cer Screen Crossover Project Committee John Chataway : Board Member Defrim Isai : Head Screen Industry Programs Richard Harris : Chief Executive Offi cer Industry Programs Richard Harris : Chief Executive Offi cer Sandy Lepore : Project Offi cer Screen - Committee Chairman Kate Jarrett : Project Administrator Screen - Committee Chairman The Finance and Audit Committee meetings Industry Programs Gaye Jones : Acting Chief Executive Offi cer Industry Programs Defrim Isai : Head Screen Industry Programs are attended by: Sandy Cameron : Project Offi cer Screen - Committee Chairman Andrada Tudor : Project Administrator Screen Sandy Cameron : Project Offi cer Screen Industry Programs Defrim Isai : Head Screen Industry Programs Industry Programs Industry Programs Richard Harris : Chief Executive Offi cer Kate Jarrett : Project Administrator Screen - Committee Chairman Chris Joyner : Industry Representative Lisa Horler : Industry Representative Gaye Jones : Manager – Finance Industry Programs Rebecca Summerton : Project Offi cer Screen Justin Wight : Industry Representative Marion Yelland : Executive Assistant and Julie Ryan : Industry Representative Industry Programs Kylie Roberts : Industry Representative The SAFC appreciates the contributions Minute Taker Helen Bowden : Industry Representative Christine Sweeney : Project Offi cer Screen Karen Orr Vered : Industry Representative made by all committee members and Kath Shelper : Industry Representative Industry Programs Shane Bevin : Industry Representative acknowledges the expertise and commitment Trevor Farrant : Industry Representative Sandy Cameron : Project Offi cer Screen industry members brought to the SAFC’s Wayne Groom : Industry Representative Industry Programs Producer Business Development management. Andrada Tudor : Project Administrator Screen Application Assessment Meeting Film Development Committee Industry Programs Defrim Isai : Head Screen Industry Programs (Documentary) Helen Richardson : Arts SA Government Christine Sweeney : Project Offi cer Screen Richard Harris : Chief Executive Offi cer Representative Industry Programs - Committee Chairman Linda Cooper : Project Partner Defrim Isai : Head Screen Industry Programs Kath McIntyre : Industry Representative Short Film Fund Committee Sandy Cameron : Project Offi cer Screen Jason Sidoryn : Industry Representative Richard Harris : Chief Executive Offi cer Industry Programs Cathy Beitz : Industry Representative - Committee Chairman Kath McIntyre : Project Offi cer Screen Megan McMurchy : Industry Representative Defrim Isai : Head Screen Industry Programs Industry Programs Tracy Riddiford : Industry Representative Sandy Lepore : Project Offi cer Screen

54 APPENDIX I ASBESTOS MANAGEMENT

The Hendon premises are owned by and leased from Jones Lang LaSalle. An Asbestos Reinspection Report and Register is commissioned each year by Jones Lang LaSalle, which provides relevant information which is incorporated into the Asbestos Register. The Register must be accessed prior to any maintenance work being undertaken.

Defi nitions: Category No of Sites Category Description Interpretation One or more items at these sites…. Category: The site performance score At start At end determined by the lowest item performance of year of year score at each site. 1 Remove Should be removed promptly 2 Remove as soon as practicable Should be scheduled for removal at Number of Sites in Category: A count of a practicable time how many sites have the corresponding site 3 1 1 Use care during maintenance May need removal during performance score with separate counts maintenance works done at the start and the end of each year. Category Description: Indicates 4 1 1 Monitor condition Has asbestos present. Inspect according to legislation and policy the recommended action corresponding to the lowest item performance score (recorded 5 No asbestos has been removed (All asbestos identifi ed as per OHS&W 4.210(1) has been in the asbestos register by a competent removed) person as per OHS&W Regulations (SA) 1995 4.2.10) 6 Further information required (These sites not yet categorised)

Interpretation: A brief real-world example of what each category implies for a site.

55 APPENDIX J FREEDOM OF INFORMATION ACT 1991 PART 2 - SECTION 9

INFORMATION STATEMENT 1. Agency Structure 3. Agency Organisation Chart The SAFC will: The SAFC was established by the South Refer to Appendix B. - Identify the relevant policy documents SOUTH AUSTRALIAN FILM Australian Film Corporation Act 1972 4. Documents held by the SAFC and - Specify to whom enquiries about policy CORPORATION (as amended) to establish a viable fi lm available for inspection upon payment of documents can be made (FOI AGENCY NUMBER G244) industry in South Australia. The SAFC, fee (unless an exempt document under - Determine whether any or all of the through its Board of Directors, is subject Schedule 1 of the FOI Act) documents are exempt documents The following information is provided to to the general control and direction of the • Administrative fi les including all documents - Where access is to be granted, specify satisfy the requirements of the Freedom of Minister for the Arts. It is accountable to relating to the day to day running of the times and addresses at which the Information Act 1991 as amended (FOI Act). Government by: the SAFC agency’s policy documents can be inspected • regular reporting to the Minister and also • Development fi les or purchased or provide copies thereof. to Arts SA • Production fi les - Where the applicant has requested that • the presentation of its annual budget which access is to be given in a particular way,: requires approval by the Minister - provide such access where practicable • its annual fi nancial statements and annual 5. Documents held by the SAFC and - or negotiate method of access with report available free of charge the applicant • providing information to the Minister of any • Annual Reports - as per Section 22(2) of the Act. circumstance which is not foreshadowed in the budget. Requests under the FOI Act for access should 6. Access Arrangements and Procedures be accompanied by an application fee of Members of the public seeking access to $25.75, and directed to: 2. Agency Functions documents held by the SAFC may lodge an The SAFC’s role in developing the screen application, in accordance with section 13 of Freedom of Information Offi cer industry of South Australia includes the the FOI Act with the SAFC’s accredited FOI South Australian Film Corporation provision of funding, the management of a Offi cer. 3 Butler Drive production and post-production facility and Hendon SA 5014 representation on behalf of investors in the All applications made pursuant to the FOI Telephone No. (08) 8348 9300 distribution of its own and other product. Act are processed through and by the SAFC’s Facsimile No. (08) 8347 0385 The SAFC is no longer a producer in its own accredited FOI Offi cer in accordance with the Email: FOI@safi lm.com.au right, except under special circumstances SAFC’s FOI Policy. approved by the Minister. Fees and charges are reviewed every fi nancial year in line with an agreed indexation factor. Information on fees and charges can be found at www.archives.sa.gov.au

56 3 Butler Drive, HENDON SA 5014 Tel: 8348 9300 Fax: 8347 0385 www.safi lm.com.au

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