Annual Report 2015-16
Photograph acknowledgements
Front cover (left to right, top to bottom) Aussie Gold Hunters (Electric Pictures) Jasper Jones (Porchlight Films, Bunya Productions) Hounds of Love (Factor 30 Films) Breath (Breath Films), Photographer Nic Duncan Bad Girl (George Nille & Co), Photographer Megan Lewis Who Flew First; Challenging the Wright Brothers (Artemis International) Surfing the Menu: The Next Generation (Noma Films), Photographer Alun Bartsch CONTENTS
1.0 STATEMENT OF COMPLIANCE ...... 3 2.0 OVERVIEW OF THE AGENCY ...... 4 2.1 EXECUTIVE SUMMARY ...... 4 2.2 OPERATIONAL STRUCTURE ...... 6 2.3 PERFORMANCE MANAGEMENT FRAMEWORK ...... 11 2.3.1 OUTCOME BASED MANAGEMENT FRAMEWORK ...... 11 2.3.2 CHANGES TO OUTCOME BASED MANAGEMENT FRAMEWORK ...... 11 2.3.3 SHARED RESPONSIBILITIES WITH OTHER AGENCIES ...... 11 3.0 AGENCY PERFORMANCE ...... 12 3.1 REPORT ON THE SCREENWEST FUNDING PROGRAM 2015-16 ...... 12 3.1.1 FUNDING APPLICATION ASSESSMENTS ...... 13 3.1.2 FUNDING PROGRAM ALLOCATIONS...... 13 4.0 SIGNIFICANT ISSUES IMPACTING THE AGENCY ...... 24 5.0 DISCLOSURES AND LEGAL COMPLIANCE ...... 25 5.1 FINANCIAL STATEMENTS ...... 25 5.2 DETAILED KEY PERFORMANCE INDICATORS INFORMATION ...... 56 5.3 MINISTERIAL DIRECTIVES ...... 60 5.4 OTHER FINANCIAL DISCLOSURES ...... 60 5.4.1 PRICING POLICIES OF SERVICES PROVIDED ...... 60 5.4.2 CAPITAL WORKS ...... 60 5.4.3 EMPLOYMENT AND INDUSTRIAL RELATIONS ...... 60 5.4.4 GOVERNANCE DISCLOSURES ...... 62 5.5 OTHER LEGAL REQUIREMENTS ...... 64 5.5.1 EXPENDITURE ON ADVERTISING, MARKET RESEARCH, POLLING AND DIRECT MAIL ...... 64 5.5.2 DISABILITY ACCESS AND INCLUSION PLAN OUTCOMES ...... 64 5.5.3 COMPLIANCE WITH PUBLIC SECTOR STANDARDS AND ETHICAL CODES ...... 66 5.5.4 RECORDKEEPING PLANS ...... 66 5.6 GOVERNMENT POLICY REQUIREMENTS ...... 67 5.6.1 SUBSTANTIVE EQUALITY ...... 67 5.6.2 OCCUPATIONAL SAFETY, HEALTH AND INJURY MANAGEMENT ...... 61 APPENDIX 1 SCREENWEST FUNDING COMMITMENTS 2015-16 ...... 68 APPENDIX 2 SCREENWEST FUNDED PRODUCTIONS ENTERING PRINCIPAL PHOTOGRAPHY 2015-16 ... 76 Acronyms
AACTA Australian Academy Cinema Television Arts ABC Australian Broadcasting Corporation ACS Australian Cinematographers Society ADG Australian Directors Guild AFI Australian Film Institute AFTRS Australian Film Television and Radio School AIDC Australian International Documentary Conference APRA Australasian Performing Rights Association ASE Australian Screen Editors ASSG Australian Screen Sound Guild ATOM Australian Teachers of Media AWG Australian Writers’ Guild AWGIE AWG national awards DCA Department of Culture and the Arts FTI Film and Television Institute (WA) MIFF Melbourne International Film Festival MIPCOM Marché Internationale de Programmes Communications MIPTV Marché Internationale de Programmes de Television MRA Metropolitan Redevelopment Authority NITV National Indigenous Television PIAF Perth International Arts Festival SBS Special Broadcasting Service SPA Screen Producers Australia WA Western Australia(n) WASAs Western Australian Screen Awards
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1.0 STATEMENT OF COMPLIANCE
For year ended 30 June 2016
HON JOHN DAY MLA
MINISTER FOR CULTURE AND THE ARTS
In accordance with section 63 of the Financial Management Act 2006 (WA), we hereby submit for your information and presentation to Parliament, the Annual Report of Screenwest Inc for the financial year ending 30 June 2016.
The Report has been prepared in accordance with the provisions of the Financial Management Act 2006.
Yours sincerely
Janelle Marr CHAIR SCREENWEST
1 September 2016
Contacts
Postal: PO Box 8349, Perth Business Centre, WA 6849 Street: Gordon Stephenson House, 140 William Street, Perth, Western Australia 6000 Internet: www.screenwest.wa.gov.au Email: [email protected] Telephone: +61 8 6552 7700
SCREENWEST ANNUAL REPORT 2015-16 3
2.0 OVERVIEW OF THE AGENCY
2.1 Executive Summary
The global screen industry is a challenging environment to operate in and is becoming increasingly so. At Screenwest we are very fortunate to have long term funding partners in the State Government of Western Australia and Lotterywest, whose long-standing commitment to the screen sector has enabled Screenwest and our screen community to grow and thrive.
The State Government’s support grew during the year with the commitment of $16 million from Royalties for Regions to establish the Western Australian Regional Film Fund. 2015 Premier’s Awards for Public Sector Excellent - Ian Booth, Chief Executive Screenwest; Ngor Tan, Country Manager China, Department Managed by Screenwest, the new fund will provide of State Development; Premier Hon Colin Barnett MLA; Janelle Marr, finance to significant film and television projects to Chair Screenwest; and Stuart Crockett, Director, International Trade enrich the vibrancy of regional Western Australian and Investment, Department of State Development. communities, stimulate regional screen industry activity, and build local capacity. WA Screen Industry Outcomes
Accepting applications from 1 July 2016, the interest Overall it was an encouraging year for Western in the new funding opportunity has already been high Australian productions, with 45 productions entering and we look forward to welcoming high profile principal photography. Screenwest invested $7.8 projects to the State. million into these productions, with the production budgets totalling $48 million. The pace and scale of change being faced by the screen industry is significant and ongoing. As with A record seven features were shot during the year: A the industry, Screenwest is also evolving. During the Few Less Men, Bad Girl, Breath, Hounds of Love, year we undertook industry research and consulted Jasper Jones, OtherLife and feature documentary with a wide range of stakeholders to develop the Whiteley. These were a mix of projects that had been agency’s next five year strategic plan. The Screenwest developed by Western Australians as well as national Strategic Plan 2016-2021 builds on the work projects attracted to Western Australia for the undertaken so far. It provides a refocussing and stunning locations, storylines and talent. renewal of efforts with emphasis placed on the areas’ most pertinent to the Western Australian industry Also filmed were 10 documentary series, seven and community. documentary singles, five short projects (web-series, TV pilot, short film), and 15 Indigenous Community A highlight for Screenwest during the year was, in Stories recordings. partnership with the Department of State
Development, winning the 2015 Premier’s Award for The landscapes of regional Western Australia were Public Sector Excellence in the ‘Western Australia in the prime location for many productions during the Asia’ category. The agency was honoured for its work year. in connecting production companies in Western
Australia with production companies in China. Breath (Breath Films), based upon acclaimed writer
Tim Winton’s award winning and international best- This was Screenwest’s third Premier’s Award win in selling novel, filmed amongst the stunning beaches five years, and is a testament to the quality programs and hills surrounding Denmark and the Great being implemented. Southern. Jasper Jones (Bunya Productions and
Porchlight Films), based on Craig Silvey’s best-selling
4 SCREENWEST ANNUAL REPORT 2015-16 novel, utilised the tall forests and rural setting of Fifteen West Australians from the arts sector were Pemberton and the South West. named Western Australian Living Treasures, including award-winning Perth-based production designer Television documentary series Aussie Gold (Electric Herbert Pinter (Gallipoli, Mao’s Last Dancer, Pictures) filmed in the Goldfields, Dolphin Dynasty Cloudstreet, The Secret River), multi-disciplinary (Sea Dog TV International, WildBear Entertainment) Indigenous artist Doctor Richard Walley (Tribal in the oceans off the Gascoyne region, while Surfing Scent), writer Robert Drewe (The Shark Net, Ned the Menu - Next Generation (Noma Films) took in Kelly), and actress Faith Clayton (Fran, Shame) whose coastal communities from Shark Bay to Kununurra. career spans 60 years in theatre, film, television and radio. West Australians and Western Australian productions were once again recognised on the international and We would like to acknowledge the Minister for national stage. Culture and the Arts, Hon John Day, for his continued commitment to the screen industry; Duncan Ord, Feature film Looking for Grace (Looking for Grace Director General Department of Culture and Arts, for Pty Ltd) was selected In Competition at the his leadership and support; and Lotterywest Chair Venice Film Festival – the first time that a Heather Zampatti and CEO Paul Andrew for their Western Australian film had been selected at this continued support and engagement with the agency prestigious festival. The film was also selected in and the screen industry. the Toronto and Adelaide International Film Festivals, amongst others, before securing a national release.
Screenwest supported productions received 14 nominations in the 5th AACTA Awards with Robert Connolly and Steve Worland winning the AACTA Award for Best Original Screenplay for Paper Planes. In addition, Herbert Pinter won the AACTA Award for Best Production Design in Television, for The Secret River – Part 1, and Reg Cribb and Jeremy Sims were awarded Best Adapted Screenplay for their feature film Last Artemis International’s Brian Beaton and Celia Tait, with guests Peter Cab to Darwin. Rowsthorn, Ray Martin and Greig Pickhaver at the Who Do You Think You Are? Series 7 launch in July 2015.
Who Do You Think You Are? (Artemis In closing we would like to acknowledge the passing International & Serendipity Productions) received during the year of Western Australian producer, a Logie nomination for Best Factual Program and colleague and friend of Screenwest, Brian Beaton. A House of Hancock (Cordell Jigsaw Productions) highly respected documentary maker, Brian had a receive one for Most Outstanding Miniseries or long and successful career. With his business partner, Telemovie. Celia Tait, he brought to our screens seven seasons of Who Do You Think You Are?, Saving Andrew Mallard, There was three wins and eight nominations at Shaun Micallef’s Stairway to Heaven, The the 2015 ATOM Awards: Karroyul (Spear Point Dreamhouse and Desperately Seeking Sheila, and Productions) won Best Short Fiction (50 minutes many more. He is sadly missed by the team at or less); Prison Songs (Beyond West and Spear Screenwest, and will be missed by all of those who Point Productions) won Best Indigenous had the opportunity to know him. Resource, and The War That Changed Us (Electric
Pictures) won Best Docudrama.
Western Australian cinematographers took home an impressive 14 awards at the Australian Cinematography Society (ACS) SA/WA Awards. Special congratulations to Torstein Dyrting ACS
who took home four Gold awards, along with the Milton Ingerson Award for Best Entry for his work Janelle Marr Ian Booth on Prison Songs. CHAIR CHIEF EXECUTIVE
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Surfing the Menu: The Next Generation (Noma Films)
2.2 Operational Structure Objectives Within the context of a rapidly evolving industry in Enabling Legislation terms of digital production, distribution and changing audiences, Screenwest will, in partnership Screenwest is an incorporated association under with the Western Australian screen industry: the Associations Incorporation Act 1987 (WA) and 1. Enhance the industry’s capability. is governed by its Constitution. 2. Increase funding to the industry.
3. Strengthen the positioning of the industry. Responsible Minister 4. Operate as a Leading Best Practice Agency.
The Hon John Day MLA, Minister for Culture and Screenwest has three operational divisions: the Arts. Executive and Corporate Services Organisational Structure Provides leadership and operational management including strategic and operational planning, Our Vision budget planning, corporate governance and Screenwest is the partner of choice, enabling a compliance reporting to major stakeholders. thriving, distinctive and world-class Western Information and communications technologies, Australian screen industry. finance and human resource services are provided in collaboration with the Department of Culture We aim to be the partner of choice with and the Arts (DCA). stakeholders in Australia and abroad to underpin Funding Program the growth and success of the Western Australian Designs, implements and administers funding screen industry; an industry with flexible, initiatives to support and develop Western entrepreneurial companies and distinctive, Australian screen industry practitioners and innovative, world-class screen content, recognised productions, and build a sustainable screen industry nationally and internationally. in Western Australia.
Mission Communications Screenwest exists to partner with the Western Promotes Screenwest and the Western Australian Australian screen industry to produce and promote screen industry to increase its profile and quality storytelling that delivers multiple cultural achievements; fosters the Western Australian and economic benefits to the Western Australian community’s engagement with screen content and community. the local screen industry; and liaises with and keeps key stakeholders informed.
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Organisational Chart
Screenwest organisational structure as at 30 June 2016.
Screenwest Board Business Administration. She has held directorships across a range of sectors including her current Board members are appointed by the Minister for directorship with Ability Centre, one of WA’s Culture and the Arts for a three-year period. largest and reputable disability providers. Members are appointed according to their expertise and experience in areas relevant to In 2012, she was awarded a 40Under40 WA Screenwest’s activities. Business News Award; and in 2013 StepBeyond won a Telstra Business Award and she was a Mrs Janelle Marr, Chair Finalist in the WA Telstra Business Women’s Commenced on the Board January 2013; Appointed Awards. Chair June 2015; Term expires 31 December 2018 Ms Catherine Ferrari Mrs Marr is Founder and Managing Director of Commenced January 2016; Term expires 31 StepBeyond, an award-winning December 2018 strategy consultancy that provides advisory services to corporate, government and not-for- Ms Ferrari joined Water Corporation in 2004 in the profit organisations. role of General Manager, Communications Group. In 2013 she became General Manager of the newly She has 20 years consulting experience, nine years formed Customer and Community Group. She was as Director of StepBeyond. Prior to this she previously Chief Executive Officer of the Western worked with some of the world’s most recognised Australian Symphony Orchestra and Western brands including Credit Suisse, Goldman Sachs, Australian Director of the Australian Society of KPMG and Ernst & Young in Perth, Melbourne and Certified Practicing Accountants. London. Ms Ferrari is also Deputy Chair of the West Mrs Marr is a graduate of the Australian Institute Australian Opera; a Board Member of the John of Company Directors, and holds a Master of
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Curtin Gallery, Energy and Water Ombudsman; a Ms Innes spent 11 years working in the arts sector trustee of the Legal Contribution Trust; and in the area of Aboriginal and Torres Strait Islander Director of Water Corporation Superannuation Pty arts. She is experienced in Government at both Ltd. State and Federal levels and in the community arts sector. Ms Amanda Higgs Commenced January 2012; Reappointed January Mr Stephen Langsford 2015; Term Expires 31 December 2017 Commenced December 2007; Reappointed 2011 and 2014; Term expires 31 December 2016 Ms Higgs is a Creative Producer at Matchbox Pictures and was previously an independent before Mr Langsford has an entrepreneurial background in joining Matchbox in September last year. As well as entertainment, media and technology. He is two series of The Time of Our Lives for the ABC, Ms founder, Executive Chairman and CEO of movie and Higgs co-created and produced the first three TV streaming company, ASX-listed Quickflix series of the Network Ten television drama The Limited. Prior to Quickflix, he founded and Secret Life of Us. The series won three Logies for successfully grew information technology Most Outstanding Drama and was nominated for a companies Change Corporation and Method + number of Australian Film Institute (AFI) and Madness both which were acquired by ASX-listed AWGIE Awards. It was the most watched program companies. Mr Langsford’s earlier career was in in the 16-39 demographic three years running from funds management with Australian boutique firm 2001. Ms Higgs has worked at ABC TV Drama as an Armstrong Jones and prior to that an international Executive Producer, and Acting Head of Drama in accounting firm. late 2009. She script edited The Slap and was consultant EP on SLiDE for Fox8. Ms Higgs has also Mr Bryce Menzies been on the board of AACTA and the National Appointed 23 May 2016; Term expires 31 December Screenwriters Conference. She is currently 2018 producing the mini-series' Barracuda and Seven Types of Ambiguity for the ABC. Mr Menzies is a Melbourne based partner of law firm Marshalls and Dent, and has worked in the Mr Christopher Holman film industry for over 30 years, on more than 500 Appointed January 2016; Term expires 31 productions. His executive producer credits December 2018 include Malcolm (1985), Death in Brunswick (1990), Two Hands (1999), The Tracker (2002), Ten Canoes Mr Holman is a Director of Azure Capital Limited (2006), Mary and Max (2009), 100 Bloody Acres and brings a wealth of corporate advisory (2012), Son of a Gun (2013) and Charlie’s Country experience including mergers and acquisitions, (2013). principal investments and capital markets transactions. He also sits on the boards of His legal work included Muriel’s Wedding (1994), companies operating in the maritime and Ned Kelly (2002), The Proposition (2005), Clubland technology sectors and is involved with a number (2007), Death Defying Acts (2007), Red Dog (2011), of charity organisations. A Few Best Men (2011) and The Sapphires (2012).
Ms Carol Innes Mr Menzies’ previous board memberships have Commenced July 2014; Term expires 30 June 2017 included Film Victoria, Screen Tasmania, South Australian Film Corporation and Melbourne Ms Innes currently holds the position of Manager International Film Festival. Aboriginal Cultural Heritage & Arts at the Metropolitan Redevelopment Authority Mr Aidan O'Bryan (MRA). She was previously employed at Commenced December 2007; Reappointed 2011 the South West Aboriginal Land & Sea Council and 2014; Term expires 31 December 2016 (SWALC) for nine years where she worked on projects that maintained Noongar involvement in After completing a degree in Philosophy and many areas through Native Title. Previous to this, Political Science, Mr O’Bryan moved from political research into online development and eventually
8 SCREENWEST ANNUAL REPORT 2015-16 into media production. In 2000 he established Board Members retired in 2015-16 WBMC; started producing for television; created the first television series in the world to Professor Dax Calder incorporate SMS interactivity; and established Commenced January 2013; Term Expired Australia's most prolific television program legal 31 December 2015 download site. Professor Calder is a Specialist Periodontist and the Mr O’Bryan wrote and directed Something In The founder of West Perth Periodontics. He is also Water, a feature rockumentary about the involved in post-graduate teaching and research at remarkable, disproportionate success of the WA The University of Western Australia and the music scene; co-wrote Hurt, a revolutionary University of Sydney. interactive documentary about domestic violence; and has produced or executive produced the Professor Calder also holds directorships with feature films Son of a Gun, Wasted on the Southbank Day Hospital and OMR Pty Ltd, a not- Young and Ned Rifle. He recently produced the sci- for-profit consultancy for venture capital, fi feature film OtherLife alongside his producing philanthropic organisations and individuals seeking partner Janelle Landers and in collaboration with to invest in the listed ASX biotechnology sector. He See Pictures. is a majority shareholder of Patrys Pty Ltd (ASX:PAB), an ASX listed Australian biotechnology Ms Sue Taylor company. Commenced January 2012; Reappointed January 2015; Term Expires 31 December 2017 Mr Alan Lindsay Commenced January 2007; Reappointed 2009 and Ms Taylor has been a filmmaker for more than 30 2012; Term expired 31 December 2015 years working across all types of productions ranging from documentaries, children’s drama, Industry veteran and managing director of adult drama and feature films. She established her production group and VFX studio Vue Group, Mr own production company in 2001 and has been Lindsay has built powerful relationships with China. nominated for numerous AFI, Logie and Critics Vue Group has completed two joint venture Circle Awards for projects, which include the animated movies with China and service produced children’s series Minty and Time Trackers, the adult the production of one of China’s top director’s mini-series The Shark Net, the telemovies 3 Acts of Palme d’Or nominated movie. Vue Group received Murder and An Accidental Soldier, and the feature Western Australia’s Creative Industries Export films Last Train to Freo and The Tree. Award in 2014.
The Tree, an Australia / France co-production was Finance and Audit Committee selected to close the 2010 Cannes Film Festival and has now screened around the world with sales to The Finance and Audit Committee (FAC) assists the 40 countries. Her latest feature film Looking For Screenwest Board to discharge its responsibility to Grace, directed by Sue Brooks, was recently exercise due care, diligence and skill in relation to selected to screen in competition at the Venice Screenwest’s reporting of financial information, Film Festival, Toronto International Film Festival, internal audit process and risk management and the Adelaide International Film Festival. programs.
Ms Taylor is a former vice president of the Screen The 2015-16 FAC Members were: Producers Association and a former Director of Janelle Marr (Resigned FAC Chair and Screenrights. Committee 17 March 2016) Catherine Ferrari (Member from 8 February 2016. Appointed Chair 17 March 2016) Stephen Langsford Chris Holman (appointed 20 April 2016) Alan Lindsay (retired 31 December 2015).
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Senior Officers Business Consulting, an international consultancy company providing strategy and business advice Mr Ian Booth LLB, Chief Executive and deal making services to the global screen Appointed 2007; Reappointed 2012 industries.
Mr Booth has been Chief Executive of Screenwest From 2000 – 2011, Mr Smith was an executive at for nine years during which time he has overseen Warner Bros Pictures where he headed the strong growth in the Western Australian screen business affairs department for Warner's local industry. language production and acquisition division in Europe, Asia and the Middle East, most recently Mr Booth previously worked as Business Affairs serving as a Senior Vice President. In this time the Manager for Drama and Comedy at the ABC where division released over 350 films throughout the he worked on projects including Kath & Kim, MDA, world. Prior to this he worked across all genres in The Glasshouse, Enough Rope, The Shark Net and television production with London Weekend Marking Time. A lawyer by background, he ran his Television and Granada Media (now ITV Plc). own law practice specialising primarily in film and television law, and also established the production Mr Smith trained as an entertainment lawyer and company Sassafras Films. holds BA, LLB and MBA degrees and is a Fellow of the Chartered Management Institute. Ms Rikki Lea Bestall, Director Development Appointed October 2011; Acting Chief Executive – Administered Legislation Development 1 July 2014 – 31 December 2014; Parental leave from January 2015, returning as Nil. Director Development January 2016 Other Key Legislation Impacting on Screenwest’s Prior to joining Screenwest, Ms Bestall was Vice Activities President - Features at Krasnoff/Foster Entertainment in Los Angeles. During her five In the performance of its functions, Screenwest years in Los Angeles, Ms Bestall co-produced two complies with the laws of Western Australia, studio feature films The Soloist (DreamWorks) and including: When in Rome (Disney) and developed numerous Associations Incorporation Act 1987 feature and television projects. Ms Bestall has also Auditor General Act 2006 spent several years working in various production Criminal Code, Crimes and Misconduct capacities in Australian film and television. Commissions Act 2001 Disability Services Act 1993 Ms Krista Carpenter, Acting Director Development Equal Opportunity Act 1984 Acting appointment January – September 2015 Financial Management Act 2006 Freedom of Information Act 1992 Ms Carpenter joined Screenwest as a Development Industrial Relations Act 1979 Manager in July 2012. She has 15-years experience Minimum Conditions of Employment Act working in the entertainment industry in Los 1993 Angeles including Vice President and Creative Occupational Safety and Health Act 1984 Executive at Krasnoff/Foster Entertainment; and Public Interest Disclosure Act 2003 assistant for producer Gary Foster on the films The Public Sector Management Act 1994 Soloist (DreamWorks) and When in Rome (Disney); Salaries and Allowances Act 1975 and she worked as an assistant to Stacey Snider State Records Act 2000 (CEO, DreamWorks) for several years. State Supply Commission Act 1991
Superannuation Guarantee Mr Adam Smith, Director Production Investment Appointed April 2015 (Administration) Act 1992 (Cth) Workers’ Compensation and Injury Mr Smith has extensive international experience in Management Act 1981. the screen industry. In 2011 he established Screen
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2.3 Performance Management Framework 2.3.2 Changes to Outcome Based Management Framework 2.3.1 Outcome Based Management Framework Screenwest’s new Department of Treasury Screenwest delivers services to achieve the agency approved, Outcome Based Management level desired outcome, which ultimately Framework (Framework) came into effect from 1 contributes to meeting the Government’s goals. July 2015. The agency operated under the new Framework throughout 2015-16. Screenwest’s key efficiency indicator monitors the relationship between the service delivered and the 2.3.3 Shared Responsibilities with Other resources used to produce the service. The key Agencies effectiveness indicators measure the extent of impact of the delivery of services on the Screenwest is solely responsible for delivering the achievement of desired outcomes. The table below service of screen production industry support. The sets out the relationship to the Government’s goal 2015-16 Government Desired Outcome is outcome based management framework. contributed to by the work of the Department of Culture and the Arts and its portfolio agencies - the Art Gallery of Western Australia, State Library of Western Australia, Perth Theatre Trust, State Records Office and the Western Australian Museum. Service: Screen Production Industry Development Support
Agency Level Outcome: Key Efficiency Indicators:
Delivery of strategic support and funding to advance the Grants operations expense as a percentage of development of the screen direct grants approved. production industry in Western Australia.
Government Desired Outcome: Key Effectiveness Indicators: Perceived value of the WA screen industry to the A sustainable screen industry that Western Australian community enhances cultural and economic wellbeing. The three year rolling average gross value of film, television and digital media production supported by Screenwest. The value of production generated for each dollar of Screenwest investment.
Government Goal: Results-based Service Delivery Greater focus on achieving results in key service delivery areas for the benefit of all Western Australians.
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3.0 AGENCY PERFORMANCE
Dolphin Dynasty (Dolphin Dynasty Pty Ltd), Photographer Andrew McKenzie
3.1 Report on Operations
3.1.1 Actual Results versus Budget Targets Screenwest actual performance results versus budget targets is detailed in the table below.
2015-16 2015-16 Variation Explanation Target Actual $000 $000 $000 Total cost of $13,277 14,501 -1,224 The increase can be attributed to the additional funding services received from the Great Southern Development (expense Commission for Breath. limit) Net cost of $3,810 11,617 -7,807 The Lotterywest grant due to a different classification in services the 2015-16 budget papers. Total equity -$916 -1,173 -257 The variance is due to a higher level of Revenue Received Free of Charge. Net increase / $41 -1,107 1,148 During the financial year a higher level of payments were (decrease) in made due to contractual obligations being fulfilled. cash held Approved $1,894 1,925 -31 The increase reflects the public sector agreement pay salary level increase. Working Cash $660 660 NA Limit (at budget) Working Cash $561 72 489 The variance can be attributed to a high number of Limit (at payments being made due to contractual obligations actuals) being fulfilled and a reduction in interest rates.
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3.2 Report on Screenwest Funding Program 2015-16
The Screenwest Strategic Plan 2011-2016 informs how the agency supports the Western Australian screen industry and guides Screenwest’s operations. Accordingly, the Screenwest Funding Program consists of programs and activities designed to realise the Strategic Plan’s objectives and initiatives.
3.2.1 Funding Application Assessments
Screenwest uses a combination of Screenwest and external industry experts to assess funding applications. At assessment meetings, recommendations are made with the final decision determined as follows: Less than $25,000: Approved by Screenwest management $25,001 - $50,000: Approved by Screenwest Board More than $50,001: Recommendation endorsed by Screenwest Board. Approved by Director General DCA under delegated authority from the Minister.
The following individuals participated in assessment meetings during the year:
Development Andrew Bovell, Charlie Carman, Martha Coleman, Nicole Dade, Michael Daley, Ilda Diffley, Garrick Dion, Victor Gentile, Sophie Hyde, Anna McLeish, Regina Lee, Natalie Lindwall, Marian Macgowan, Carlo Martinelli, Jo-Anne McGowan, Seph McKenna, Jessica Mitchell, Kristian Moliere, Sue Murray, Julia Overton, Ray Pedretti, Jan Sardi, Christopher Sharp, Sarah Shaw, Jason Stephens, Hugh Sullivan, Tom Vincent, Roslyn Walker, Screenwest Board members and Screenwest staff members.
Digital Kate Ayrton, Katy Morrison, Dan Brown, Lisa Gray, Anthony Mullins, Lucas Taylor, Screenwest staff members.
Indigenous Liz Kearney, Melissa Kelly, ABC and NITV Indigenous department representatives, Screenwest staff members.
Production Tait Brady, Kim Dalton, Lucy Maclaren, Ross Matthews, Julia Overton, Penny Robbins, Megan Simpson, Screenwest Board members and Screenwest staff members.
Screen Culture Rebecca Coakley and Screenwest staff members.
3.2.2 Funding Program Allocations
In 2015-16, Screenwest’s total expenditure was approximately $14.5 million, of which $12.80 million (88 per cent) was expended on the Funding Program to support Western Australian projects, productions, practitioners and companies. The Funding Program expenditure includes grants and investments, assessment costs and Funding Program staff costs.
The Funding Program’s $12.80 million was allocated as follows: 69% on Production (Production Investment, Business Development and Production Attraction). 29% on Development (Project Development, Digital, Indigenous Program and Practitioner Development). 2% on Industry and Screen Culture (Screen Culture Fund and WA Screen Awards).
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Chart: Screenwest Funding Program Expenditure 2015-16
Industry & Screen Culture Development $243,500 $3,767,936
Production & Business Development $8,784,331
For a list of all Funding Program commitments made in 2015-16, please see Appendix 1.
PRODUCTION
More than $8.78 million was expended through Production’s three core areas of Production Investment, Business Development and Production Attraction. This includes grants and investments, assessment costs and Screenwest funding program staff costs.
A summary of each program area is provided below.
Production Investment
Production Investment Funds The Documentary Production Investment Fund and the Drama Production Investment Fund provide production financing for feature films and television productions with strong market attachments, and cross-media projects with significant third party funding and broad audience reach.
The Production Investment Funds supported 19 productions totalling $5.88 million.
Business Development
Industry Enhancement Fund The Industry Enhancement Fund (IEF) provides financing to realise innovative activities that will generate significant Western Australian screen industry outcomes and help build the independent screen content production capacity of the State. IEF funding was award to one company.
Screen Business Development Fund The Screen Business Development Fund enables Western Australian production companies who have identified growth opportunities to develop and expand their business. Three companies were supported with this funding.
SuperDoc Fund SuperDoc provided Electric Pictures and Prospero Productions with funding to enable extensive production, develop sophisticated business plans and new partnerships, generate new market opportunities and develop new screen industry personnel on a long-term basis.
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Production Attraction
The Production Attraction funding of $2 million across four years began in 2014-15 ($500,000 per annum). The program promotes Western Australia to the screen industry locally, nationally and internationally, by way of branding and marketing, equity attraction and incentives management, network building, State and Federal government coordination, streamlining processes, infrastructure growth and personnel to manage this.
A major achievement this year was the commitment of $16 million through Royalties for Region for the establishment of the Western Australian Regional Film Fund, to be managed by Screenwest. The Western Australian Regional Film Fund is committed to making strategic investments that encourage regional film industry activity, build local capacity and contribute to the livability and vibrancy of regional Western Australian communities. This dedicated production fund will greatly enhance the marketability and viability of regional Western Australia as a filming destination nationally and overseas.
The Regional Film Fund was announced on 6 May 2016 by the Minister for Culture and the Arts, Hon John Day MLA and Minister for Regional Development, Hon Terry Redman MLA during a visit to the set of Breath in Denmark.
Production Attraction activities included: Further developed the Production Attraction Strategy incorporating the Regional Film Fund. Developed the Film in Western Australia product brand and an extensive section, www.filminwesternaustralia.com, of the new Screenwest website for use as multi-function marketing collateral. New Screenwest Production Directory launched to illustrate the depth of infrastructure and resources available in Western Australia, while marketing local crew to the industry. The directory includes Western Australia’s professional crews, producers, production equipment and facilities and is part of the Reel-Scout software database which is used in over 100 film offices around the world. CinefestOZ China Australia Film Collaboration Event 2015 - A new initiative was the CinefestOZ China Australia Film Collaboration Event held in conjunction with Screenwest, the Australia China Business Council and the China Film Producers’ Association. Representatives of China and Australia’s production and film financing companies participated in the two-day event in Bunbury. Key speakers and panel discussions explored knowledge of trends, networks, protocols, government policy, critical pathways, investment drivers and audience expectations for both Australian and China agencies, producers, investors and other film industry professionals.
Five hosted location scouts took place for interstate and international producers. Locations visited include the Pinnacles, Lancelin, Garden Island, The Abrolhos Islands, Augusta, Geographe Bay region and Perth. In addition, guest speakers and participants of the CinefestOZ China Australia Film Collaboration event were hosted for a tour of the South West. Commencement of an initiative to raise awareness and develop the marketing capability of the post-production and VFX sector in Western Australia. This included the PostWest Pitching Initiative where the Western Australia post-production sector was provided with the opportunity to pitch for post/VFX work on an international action period feature and get feedback from an established international producer. Facilitated the use of the ABC Perth Studio and production offices by the screen industry.
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DEVELOPMENT
Approximately $3.77 million was committed through Development in the areas of Project Development, Indigenous Program, Digital, and Practitioner Development. This includes grants and investments, assessment costs and Screenwest funding program staff costs.
Project Development
Development Funds More than $302,000 was invested in projects through development funding: Documentary and TV Development Fund – three projects received funding for script/treatment/research/trailer development and fees incurred for that process. Feature Film Track – four projects received development funding to Western Australian scripted features at various milestones for up to one consecutive year. Matched Development Investment Fund – eight applicants received matched funding for projects that have received a development investment from a nationally or internationally recognised broadcaster or distributor. Emergency Development Fund – three projects received emergency funding due to time critical development investment being required.
Factual and Drama Slate Development Fund The Slate Development Fund provides production companies with slate funding to support the sourcing, generation and creative development of drama and factual projects. Eleven production companies were supported with funds totalling $790,000.
Feature Navigator Development Program The Feature Navigator Program is a comprehensive, year-long filmmaker and project development initiative for Western Australian directors working toward a debut feature film. The program connects select directors with producers, expert consultants and the marketplace.
Applications opened in May 2016, with the successful recipients to be announced in 2016-17.
West Coast Visions West Coast Visions (WCV) is a development initiative designed to uncover, inspire and develop local talent and skills. The initiative supports talented and motivated writer/director/producer teams with distinctive visions to advance their professional potential by Screenwest investing in a low budget feature film intended for theatrical release.
Applications were received for WCV 2016 with the successful recipient to be announced in July 2016.
WCV 2014 project Hounds of Love from writer/director Ben Young and producer Melissa Kelly, Factor 30 Films, entered production. The cast included Emma Booth (Gods of Egypt, Parker, The Boys Are Back), Ashleigh Cummings (Tomorrow, When the War Began; Snowblind, Miss Fisher’s Murder Mysteries) and Stephen Curry (The King, Rogue, The Castle).
Bill Warnock Initiative The Bill Warnock Initiative is supported by Screenwest in association with the Australian Writers’ Guild (AWG) and with the assistance of Screen Australia. It aims to encourage the development of quality, creative, marketable feature screenplays by emerging writers that can be produced in Western Australia.
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The top 10 applicants participated in a high-level script development workshop run by AFTRS Allen Palmer’s ‘Crackin Yarns’ with continued activities following the two-day hothouse. Three finalists were then shortlisted and supported to attend CinefestOZ 2015.
Heather Wilson was selected as the Bill Warnock recipient and received $20,000 investment funding towards developing her comedy feature film script, Another Time.
Elevate Six short films were selected for the Elevate Initiative, a skills development program designed to create strong quality films for Western Australian filmmakers by providing production and development support for the screen projects chosen. FTI will act as Executive Producer on the Initiative. This round was funded in the 2014-15 budget, with the recipients announced in 2015-16.
The successful projects are: Shakespearean Back To The Land (writer/director Tyson Mowarin, producer Robyn Marais) Yulubidyi - Until The End (co-writers and co-directors Curtis Stone and Nathan Mewett, producer Glen Stasiuk) Adult School (writer Magda Wozniak, director Renee Rutgrink, producer Georgina Isles) Carmentis (writer/director Antony Webb, producer Jaclyn Hewer) Watchdog (writers Cody Cameron-Brown and Brett Dowson, director Cody Cameron- Brown, producers Jess Parker and Brett Dowson) Make It Romantic (writers Kaleb McKenna and Brett Dowson, producer Brett Dowson).
Screenwest Indigenous Screen Strategy 2015-2020
The Screenwest Indigenous Screen Strategy 2015-2020 was launched by the Minister for Culture and the Arts, Hon John Day MLA on 2 July 2015. The strategy aims to increase national and international awareness and exposure of Western Australian Indigenous stories and talent, and develop skills.
Screenwest’s support of Western Australian Indigenous Filmmakers (WAIFs) is enhanced through the provision of a full-time Indigenous Project Manager and an Indigenous representative on the Board.
The support provided to WAIFs included the development and implementation of initiatives and programs specifically for WAIFs, as well as guidance to enable WAIFs to access general programs offered by Screenwest, Screen Australia and other organisations.
In 2015-16, 10 per cent of productions supported with Screenwest funding had a Western Australian Indigenous Filmmaker (WAIF) in an above-the-line creative role, meeting the target sets by the screen strategy.
Indigenous Market Partner Initiatives Screenwest conducted two partnership initiatives: Screenwest / ABC Indigenous Web Series Initiative, Screenshot – the successful project was Shakara Walley’s, Aussie Rangers, to be series produced by Factor 30 Films. Screenwest / NITV Indigenous Documentary Initiative, From the Western Frontier Series 3 – two projects were selected, Owning Your History from writer/director Kimberley Benjamin and The Third Space from writer/director Casey Kickett. The series producer is Metamorflix.
Indigenous Project Development and Production Funding Funding provided to produce two Indigenous short films as part of the Screenwest Elevate program (see Elevate summary above).
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Production funding provided to PAKAM for Nimingarra and Ramu Productions for Marrimarrigun, as part of the Screen Australia NITV Songlines on Screen Initiative. Feature project Serpent Time (writer Dale Tilbrook, producer Shari Hutchison) by Filmscope Entertainment supported with development funding. 6 x 30-minute NITV documentary series Family Rules to be produced and directed by Karla Hart in partnership with Metamorflix. Supported through the Indigenous Project Development funding and the general Screenwest Production Investment Fund. Production Investment funding provided to Weerianna Street Media project Connection to Country for the landmark Screen Australia NITV Moment in History initiative.
Indigenous Practitioner Development Shakara Walley was selected for the Screenwest Emerging Producer Program 2016-17, which will provide her with a year-long development package valued at $100,000. Shari Hutchison spent 10 weeks as Kath Shelper’s producer attachment on the ABC television series Black Comedy Series 2. Three WAIFs undertook attachments on Jasper Jones - Shakara Walley was producer attachment to David Jowsey and Curtis Taylor was camera attachment to Director of Photography Mark Wareham. In addition, director Kelli Cross was selected as director’s attachment to Rachel Perkins through the Director’s Attachment Scheme, an industry incentive program funded by Screen Australia and managed by the ADG. Crackin Yarns feature film development workshop, funded by Screenwest and managed by AWG, was attended by several WAIF. Jodie Bell and Shakara Walley were selected to be a part of the Screen Australia Indigenous Producer Initiative.
Other achievements by Western Australian Indigenous practitioners included: Short documentary Shadows of Displacement from writer/director Perun Bonser selected to screen as part of the official program at HotDocs Canadian International Documentary Festival 2016. Whadjuk to Wadjemup screened on NITV. Whadjuk to Wadjemup follows a team of Aboriginal people from various regions around Western Australia, who unite in an attempt to become the first ‘All Aboriginal’ relay team to compete in the Rottnest Channel Swim. Produced by Sally Goldrick and written and directed by Dennis Simmons. Award winning documentary Prison Songs (Spear Point Productions) continued its success by being selected as a finalist for five categories of the AACTA Awards, a finalist in the 2015 Walkley Awards, the 2015 SPA Awards, and winning Best Indigenous Resource at the 2015 ATOM Awards. Short film Karroyul (Spear Point Productions) continued its successful run with selection for the Durban International Film Festival, Hawaii International Film Festival, Adelaide Film Festival, Canberra International Film Festival, PIAFs Lotterywest Festival Films 2016 and Flickerfest 2016. Karroyul won Best Short Drama at the 2015 ATOM Awards and was a finalist for Best Short Film at the 2015 SPA Awards. Dark Whispers (writer/director Ngaire Pigram) was selected for the World of Women Film Festival 2016 and High Tide (writer Dot West, director Kimberley West) was selected for PIAF 2016. Spear Point Productions produced both short films.
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Indigenous Community Stories (ICS) ICS is managed by FTI with funding support from Screenwest. The initiative records on high definition digital film, Indigenous creation stories, biographies, and recollections of events and aspects of social history. The aim of the initiative is to produce a hundred stories that will be available for more than a hundred years. The recordings are stored at FTI and archived at the Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS) ensuring their availability to future generations.
In 2015-16, the total number of stories filmed reached 83.
Digital
Digital Extension Production Fund This fund provides production funding for one project per year for a major digital extension of a film or television project that is fully-financed and moving forward into production.
In 2015-16, WBMC’s, Howard on Menzies: The Making of Modern Australia received $100,000 in funding. The project is an online, interactive, rich media extension across websites and social media platforms to accompany the ABC documentary series, Howard On Menzies.
Interactive Production Fund Provides once a year production funding for interactive, multi-platform projects designed to engage audiences on a digital platform and/or screen-based device.
The Buried VR (Frame Mixed Reality) is an interactive virtual reality experience based on dreamtime stories of the Ngarluma people of North Western Australia to be viewed on the HTC Vive Platform or the Oculus Rift CV1. The project received $40,000 through the Interactive Production Fund.
Digital Market Partner Initiative Screenwest partnered with the ABC and Screen Australia for the Art Bites Initiative, with two projects commissioned for ABC iView: Shock Art from Periscope Pictures and Ian Strange: Suburban Interventions from Transmedia for Change. Both received $25,000 in Screenwest funding.
Mad Kids satirical comedy series DAFUQ? received $150,000 in Digital funding and was commissioned by the ABC for ABC iView.
Digital Development Funding (Extension and Interactive) Funding through the Extension Development Fund encourages experienced WA digital producers to work with experienced production companies to develop the creative, technical and market potential of substantial digital outcomes associated with a feature film or television project in development that is intended for national/international broadcast or commercial distribution.
Through two rounds in the 2015-16 financial year, two projects were funded $10,000 each: Don’t Stop the Music (Artemis International) and Whiteley (Northern Pictures).
Interactive Development provides development funding for interactive, digital projects intended for a national and/or international audience. Two rounds were held, with The Buried VR (Frame Media) and Hunting with Super Predators VR - Episode 1 - Great White Sharks (Sea Dog TV International), being funded $10,000 each.
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Practitioner Development
Travel Funding Screenwest recognises that attendance at key industry markets, conferences and festivals is necessary for Western Australian practitioners for professional development and career advancement and to progress projects. Accordingly, more than $325,700 was expended in travel assistance as follows: 70 one-off travel grants totalling more than $148,200. Eight companies shared in approximately $177,500 through the Travel Assistance – Established Production Company fund.
International attendances included the Cannes Film Festival Market 2016, MIPCOM, MIPTV and Sunnyside of the Doc all held in France; Hot Docs 2016 and the Toronto International Film Festival in Canada; Ausfilm 2016 in Los Angeles, and the Venice International Film Festival 2015.
National events included SPA Screen Forever Conference 2015, AIDC Conference 2016, MIFF 37 South Market 2016 and the National Screenwriters Conference 2016, all held in Melbourne, as well as the AACTA Awards 2015 and various AFTRS courses in Sydney.
Skills and Professional Development Screenwest supported the career progression of 11 Western Australian practitioners through its Skills and Professional Development Program. Mentorships and attachment opportunities were supported on a range of productions including: Antony Webb, Director Attachment on the Warner Bros. produced US television series The 100. Verity Fitzgerald, Producer Attachment on Ali’s Wedding. Justin McArdle, Frame AR, undertook a Virtual Reality Professional Development and Attachment with Michael Breymann at Kaleidoscope VR, San Francisco, enabling him to visit high-level production companies, research institutes and market players. Julia Overton mentored the key creative team of feature documentary Hotel Coolgardie to navigate sales opportunities at Hot Docs 2016 Screenwest sponsored the 37 South Market MIFF Post Script & Direct and Accelerator 2016 programs to enable WA practitioners to attend.
See Appendix 1 for the full list of attachments, placements and internships.
Screenwest also organised or supported industry seminars and workshops held in Western Australia for local practitioners. These included: In Conversation with Hollywood producer Mark Johnson (Breath, Breaking Bad, The Notebook, Rainman). ASE Post Producer Supervisor Seminar. Johann Johannsson Q&A event with PIAF and ASSG 2016 FTI in consultation with Screenwest ran: o Specialised script development seminar for short filmmakers with internationally- renowned developer Stephen Cleary o Budgeting Workshop o How to Improve Your Application Workshop o Elevate Networking Event. Screenwest hosted a series of capability development events during the CinefestOZ 2015 week: o Screen Australia Roadshow
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o The Prism: SPA Event o The Acquisition Mindset: Seph McKenna, Roadshow Films o In Conversation with Screen Australia o Crackin Yarns Script workshop with the AWG.
Industry Conferences, Markets and Events Screenwest provided funding support to the following key conferences, markets and events: AIDC Conference 2016 (Melbourne) MIFF 37 South Market 2016 (Melbourne) SPA Screen Forever Conference 2015 (Melbourne) CinefestOZ All About Audience Industry Day 2015 (Busselton) CinefestOZ China Australia Film Collaboration Event (Bunbury) Emergence Creative Festival 2015 (Margaret River) ACS SA/WA Awards 2015 (Adelaide) WA Screen Awards (Perth).
CinefestOZ Industry Day 2015 - All About Audience Screen success requires a great idea, well executed and brilliantly sold. Under these banners this one-day event with industry experts looked at how today's audience is impacting the creation, production and marketing of screen stories, what's changing and how this world might look in a few years' time.
Moderated by film journalists Sandy George, the panellists were: Wayne Blair – Director, CinefestOZ Film Prize Jury member Sally Caplan - Head of Production, Screen Australia Rob Gibson - Head of Originals Development, Stan Nicolas Gonda - Co-founder and CEO Tugg David Jowsey - Producer and Co-founder, Bunya Productions Stephen Langsford - Managing Director, Quickflix Seph McKenna - Head of Australian Production, Roadshow Films Jan Sardi – President, Australian Writers’ Guild Vincent Sheehan - Producer and Co-Founder, Porchlight Films Greer Simpkin - Head of Television Production, Bunya Productions.
WA Screen Awards 2015 Presented by FTI, the 27th WA Screen Awards (WASAs) received 479 entries from 162 screen projects. 29 Awards were presented at the ceremony.
Lauren Brunswick won the prestigious McKenna Hampton Young Filmmaker of the Year Award.
The Screenwest Outstanding Contribution to the Industry Award was presented to costume designer Gail Pether, who was recognized for her service to the screen industry, working on countless television commercials, feature films, drama series, documentaries and short films.
Screenwest Outstanding Contribution to the Industry Award 2015 winner Gail Pether.
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SCREEN CULTURE
Screenwest aims to increase awareness of the local screen industry and create a vibrant screen culture in the State through the Screen Culture Fund, and by supporting premieres and other activities that celebrate Western Australian screen content.
Screen Culture Fund The Screen Culture Fund supports projects that encourage and facilitate dialogue and interaction between the screen industry and the Western Australian public. The Fund is supported by Screen Australia.
Three festivals were allocated Screen Culture funding totalling $218,500: Revelation Film Festival 2016 CinefestOZ 2016 Flickerfest WA Tour 2016.
Events held during 2015-16 (some of which were funded in the prior financial year) are summarised below. Each festival included screening Western Australian films.
Revelation Perth International Film Festival – 2-12 July 2015 Revelation Festival has also grown consistently each year. In 2015 the festival screened 119 films and 70 short films, of which 50 were Australian films, as well as three live performances. In addition to screenings, the festival includes seminars and workshops, and Revelation Academic which presents academic papers. In 2015 there were 11,000 attendees.
Screenwest once again organised and curated Get Yours Shorts On! as part of Revelation. The shorts screened were comedies Setting Them Straight and Love in a Disabled Toilet, coming-of-age story Karroyul, father-son drama Fish, deeply moving drama Dark Whispers and whimsical romance High Tide.
CinefestOZ Film Festival – 26-30 August 2015 In 2015, CinefestOZ screened 77 films, attracting more than 23,000 attendees across the five-day festival. This included 150 ticketed screenings, 160 free community screenings and 10 ticketed lunches or workshops.
The $100,000 CinefestOZ Film Prize, funded by Tourism Western Australia’s Regional Events Program through Royalties for Regions, was awarded to documentary Putuparri and the Rainmakers.
The Putuparri and the Rainmakers team celebrate winning the CinefestOZ Film Prize 2015.
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Flickerfest national tour of Western Australia – March to May 2016 Flickerfest returned for the 21st year of touring to Western Australia with screenings in Perth, Broome, Esperance, Narrogin, Jurien Bay, Bunbury, Kununurra and Kalgoorlie-Boulder.
Other activities (non-grant funding)
In 2015-16, Screenwest organised or provided funding support to the following:
Who Do You Think You Are? Series 7 launch event (July 2015) Looking for Grace WA premiere event (December 2015) Breath media conference (May 2016) Surfing the Menu: Next Generation launch (May 2016).
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4.0 SIGNIFICANT ISSUES IMPACTING THE AGENCY
Announcing the WA Government’s $16 million Western Australian Regional Film Fund on the set of Breath. L-R: Bruce Manning, CEO Great Southern Development Commission; Graeme Mason, CEO Screen Australia; Minister for Regional Development, Hon Terry Redman MLA; Minister for Culture & the Arts, Hon John Day MLA; Jamie Hilton, producer See Pictures; Tom Williams, Gran Via Productions; Janelle Marr, Chair Screenwest; Ian Booth, Chief Executive Screenwest
Screenwest and the screen industry face a range of difficult for production in Western significant current and emerging issues that are or Australia. Factual programming continues could have an impact on the achievement of to be popular with broadcasters, leading to Screenwest’s strategic outcomes, polices and lower budget levels and the commission of operational targets. series rather than one off programmes.
Screenwest’s Production Attraction Screenwest is guided by the Screenwest Strategic Program assists the sustainability of the Plan 2011-2016 in planning for and/or responding Western Australian screen industry by to issues. The agency also seeks to be innovative promoting the State as a national and and flexible in its operations and to work in international film and television production partnership with the screen industry, all levels of destination. Government and others to enable it to respond to a rapidly evolving industry. The level of feature films in production in 2015-16 was strong with seven features in Current and emerging issues and trends production during the financial year, and Screenwest anticipates that production There is strong volatility in the Australian levels in 2016-17 will be sustained despite feature film and television marketplace the volatility. with continuing changes in how consumers access content, and how content is Screenwest and the Western Australian financed. There is greater competition screen industry have developed strong within Australia for market share of business relationships with China resulting Australian and international drama in several production opportunities. productions. The fluctuation of the value of Screenwest anticipates continuing to the Australian Dollar continues to make further develop these relationships and also financing difficult, and if exchange rates new opportunities with Asia. continue to rise, it will make it more
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5.0 DISCLOSURES AND LEGAL COMPLIANCE
5.1 Financial Statements
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FINANCIAL STATEMENTS
ScreenWest Inc
Statement of Comprehensive Income For the year ended 30 June 2016
2016 2015 Note $000 $000 COST OF SERVICES
Expenses Employee benefits expense 5 2,128 2,223 Supplies and services 6 712 366 Depreciation expense 7 0 0 Accommodation expenses 8 180 175 Grants and loans expense 9 11,382 11,640 Other expenses 10 119 106 Total cost of services 14,521 14,510
Income
Revenue Returns on funding activities 11 433 566 Interest revenue 12 313 385 Lapsed commitments 13 326 1,925 Other revenue 14 332 434 Total Revenue 1,404 3,310
Total income other than income from State Government 1,404 3,310 NET COST OF SERVICES 13,117 11,200
Income from State Government 15 Service grant 2,500 2,500 Lotterywest grant 7,603 7,338 Income from other state government agencies 1,500 0 Services received free of charge 1,439 1,292 Total income from State Government 13,042 11,130 DEFICIT FOR THE PERIOD (75) (70)
OTHER COMPREHENSIVE INCOME Items not reclassified subsequently to profit or loss Changes in asset revaluation surplus 0 0 Total other comprehensive income 0 0 TOTAL COMPREHENSIVE INCOME FOR THE PERIOD (75) (70)
The Statement of Comprehensive Income should be read in conjunction with the accompanying notes.
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ScreenWest Inc Statement of Financial Position As at 30 June 2016
2016 2015 Note $000 $000 ASSETS Current Assets Cash and cash equivalents 25 8,672 9,780 Receivables 16 199 206 Other current assets 17 67 165 Total Current Assets 8,938 10,151
Non -Current Assets Amounts receivable for services 18 34 34 Furniture and equipment 19 0 0 Total Non-Current Assets 34 34 TOTAL ASSETS 8,972 10,185
LIABILITIES Current Liabilities Payables 21 72 155 Loans and grants payable 22 606 537 Provision for loans and grants payable 23 6,554 7,690 Total Current Liabilities 7,232 8,382
Non -Current Liabilities Provision for loans and grants payable 23 1,440 1,428 Total Non-Current Liabilities 1,440 1,428 TOTAL LIABILITIES 8,672 9,810 NET ASSETS 300 375
EQUITY 24 Contributed equity 150 150 Accumulated surplus 150 225 TOTAL EQUITY 300 375
The Statement of Financial Position should be read in conjunction with the accompanying notes.
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ScreenWest Inc Statement of Changes in Equity For the year ended 30 June 2016
Contributed Accumulated Total
equity surplus equity Note $000 $000 $000
Balance at 1 July 2014 24 150 296 446 Total comprehensive income for the year (71) (71) Total 0 (71) (71) Balance at 30 June 2015 150 225 375
Balance at 1 July 2015 150 225 375 Total comprehensive income for the year (75) (75) Total 0 (75) (75) Balance at 30 June 2016 150 150 300
The Statement of Changes in Equity should be read in conjunction with the accompanying notes.
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ScreenWest Inc Statement of Cash Flows For the year ended 30 June 2016
2016 2015 Note $000 $000 CASH FLOWS FROM STATE GOVERNMENT Service grant 2,500 2,500 Lotterywest grant 7,603 7,338 Income from Other state government agencies 1,500 0 Net cash provided by State Government 11,603 9,838
Utilised as follows: CASH FLOWS FROM OPERATING ACTIVITIES Payments Employee benefits (876) (964) Supplies and services (626) (460) Accommodation (176) (199) Grants and loans (12,118) (9,935) GST payments on purchases (1,239) (962) GST payments to taxation authority (628) (519) Other payments (114) (90)
Receipts Returns on funding activities 509 566 Interest received 331 380 GST receipts on sales 983 808 GST receipts from taxation authority 886 672 Other receipts 357 425 Net cash (used in) operating activities 25 (12,711) (10,278)
CASH FLOWS FROM INVESTING ACTIVITIES Net cash provided by/(used in) investing activities 0 0 Net increase in cash and cash equivalents (1,108) (440) Cash and cash equivalents at the beginning of the period 9,780 10,220 CASH AND CASH EQUIVALENTS AT THE END OF THE PERIOD 25 8,672 9,780
The Statement of Cash Flows should be read in conjunction with the accompanying notes.
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ScreenWest Inc Notes to the Financial Statements For the year ended 30 June 2016
Note 1. Australian Accounting Standards
General ScreenWest Inc's financial statements for the year ended 30 June 2016 have been prepared in accordance with Australian Accounting Standards. The term 'Australian Accounting Standards' includes Standards and Interpretations issued by the Australian Accounting Standard Board (AASB).
ScreenWest Inc has adopted any applicable, new and revised Australian Accounting Standards from their operative dates.
Early adoption of standards ScreenWest cannot early adopt an Australian Accounting Standard unless specifically permitted by TI 1101 Application of Australian Accounting Standards and Other Pronouncements. Partial exemption permitting early adoption of AASB 2015-7 Amendments to Australian Accounting Standards - Fair Value Disclosures of Not-For-Profit Public Sector Entities has been granted. Aside from AASB 2015-7, there has been no early adoption of Australian Accounting Standards that have been issued or amended (but not operative) by ScreenWest Inc for the annual reporting period ended 30 June 2016.
Note 2. Summary of significant accounting policies
(a) General statement ScreenWest Inc is a not-for-profit reporting entity that prepares general purpose financial statements in accordance with Australian Accounting Standards, the Framework, Statements of Accounting Concepts and other authoritative pronouncements of the AASB as applied by the Treasurer's instructions. Several of these are modified by the Treasurer's instructions to vary application, disclosure, format and wording.
The Financial Management Act 2006 and the Treasurer's instructions impose legislative provisions that govern the preparation of financial statements and take precedence over the Australian Accounting Standards, the Framework, Statements of Accounting Concepts and other authoritative pronouncements of the AASB.
Where modification is required and has had a material or significant financial effect upon the reported results, details of that modification and the resulting financial effect are disclosed in the notes to the financial statements.
(b) Basis of preparation The financial statements have been prepared on the accrual basis of accounting using the historical cost convention, except for land, buildings and infrastructure which have been measured at fair value.
The accounting policies adopted in the preparation of the financial statements have been consistently applied throughout all periods presented unless otherwise stated.
The financial statements are presented in Australian dollars and all values are rounded to the nearest thousand dollars ($'000).
Note 3 'Judgements made by management in applying accounting policies' discloses judgements that have been made in the process of applying ScreenWest Inc's accounting policies resulting in the most significant effects on amounts recognised in the financial statements.
(c) Reporting entity The reporting entity comprises ScreenWest Inc, it has no related bodies.
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Mission ScreenWest Inc exists to partner with the Western Australian screen industry to produce and promote quality storytelling that delivers multiple cultural and economic benefits to the Western Australian community.
Services ScreenWest Inc provides the following service:
Service: Screen Production Industry Development Support.
(d) Contributed equity AASB Interpretation 1038 Contributions by Owners Made to Wholly- Owned Public Sector Entities requires transfers in the nature of equity contributions, other than as a result of a restructure of administrative arrangements, to be designated by the Government (the owner) as contributions by owners (at the time of, or prior to transfer) before such transfers can be recognised as equity contributions. Capital grants have been designated as contributions by owners by TI 955 Contributions by Owners made to Wholly Owned Public Sector Entities and have been credited directly to Contributed equity.
The transfer of net assets to/from other agencies, other than as a result of restructure of administrative arrangements, are designated as contributions by owners where the transfers are non-discretionary and non- reciprocal.
(e) Income Revenue recognition Revenue is recognised and measured at the fair value of consideration received or receivable. The following specific recognition criteria must also be met before revenue is recognised for the major business activities as follows:
Provision of services Revenue is recognised on delivery of the service to the client or by reference to the stage of completion of the transaction.
Interest Revenue is recognised as the interest accrues.
Service grants ScreenWest Inc receive a service grant from the Department of Culture and the Arts (DCA) and recognise it as revenues at fair value in the period in which ScreenWest Inc gains control of the appropriated funds. ScreenWest Inc gains control of the appropriated funds at the time those funds are deposited to the bank account or credited to the 'Amounts receivable for services' (holding account) held at Treasury.
Grants, donations, gifts and other non-reciprocal contributions Revenue is recognised at fair value when ScreenWest Inc obtains control over the assets comprising the contributions, usually when cash is received.
Other non-reciprocal contributions that are not contributions by owners are recognised at their fair value. Contributions of services are only recognised when a fair value can be reliably determined and the services would be purchased if not donated.
Royalties for Regions funds are recognised as revenue at fair value in the period in which ScreenWest Inc obtains control over the funds. ScreenWest Inc obtains control of the funds at the time the funds are deposited into ScreenWest Inc's bank account.
Gains Realised or unrealised gains are usually recognised on a net basis. These include gains arising on the disposal of non- current assets and some revaluations of non-current assets.
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(f) Furniture and equipment Capitalisation/expensing of assets Items of furniture and equipment costing $5,000 or more are recognised as assets and the cost of utilising assets is expensed (depreciated) over their useful lives. Items of furniture and equipment costing less than $5,000 are immediately expensed direct to the Statement of Comprehensive Income (other than where they form part of a group of similar expensed items which are significant in total).
Initial recognition and measurement All items of furniture and equipment are initially recognised at cost.
For items of furniture and equipment acquired at no cost or for nominal cost, the cost is the fair value at the date of acquisition.
Subsequent measurement Furniture and equipment are stated at historical cost less accumulated depreciation and accumulated impairment losses.
Depreciation All non-current assets having a limited useful life are systematically depreciated over their estimated useful lives in a manner that reflects the consumption of their future economic benefits.
Depreciation is calculated using the straight line method, using rates which are reviewed annually. Estimated useful lives for each class of depreciable asset are:
Office equipment 5 years
(g) Impairment of assets Furniture and equipment are tested for any indication of impairment at the end of each reporting period. Where there is an indication of impairment, the recoverable amount is estimated. Where the recoverable amount is less than the carrying amount, the asset is considered impaired and written down to the recoverable amount and an impairment loss is recognised. Where an asset measured at cost is written down to a recoverable amount, an impairment loss is recognised in profit or loss. Where a previously revalued asset is written down to a recoverable amount, the loss is recognised as a revaluation decrement in other comprehensive income. As ScreenWest Inc is a not-for-profit entity, unless a specialised asset has been identified as a surplus asset, the recoverable amount is the higher of an asset's fair value less costs to sell and depreciated replacement cost.
The risk of impairment is generally limited to circumstances where an asset's depreciation is materially understated, where the replacement cost is falling or where there is a significant change in useful life. Each relevant class of assets is reviewed annually to verify that the accumulated depreciation reflects the level of consumption or expiration of asset's future economic benefits and to evaluate any impairment risk from falling replacement costs.
Intangible assets with an indefinite useful life and intangible assets not yet available for use are tested for impairment at the end of each reporting period irrespective of whether there is any indication of impairment.
The recoverable amount of assets identified as surplus assets is the higher of fair value less costs to sell and the present value of future cash flows expected to be derived from the asset. Surplus assets carried at fair value have no risk of material impairment where fair value is determined by reference to market-based evidence. Where fair value is determined by reference to depreciated replacement cost, surplus assets are at risk of impairment and the recoverable amount is measured. Surplus assets at cost are tested for indications of impairment at each reporting period.
(h) Leases ScreenWest Inc holds operating leases for a motor vehicle. Lease payments are expensed on a straight line basis over the lease term as this represents the pattern of benefits derived from the leased property.
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(i) Financial instruments In addition to cash, ScreenWest Inc has two categories of financial instrument: * Receivables; and * Financial liabilities measured at amortised cost.
Financial Instruments have been disaggregated into the following classes: Financial Assets: * Cash and cash equivalents * Receivables * Amounts receivable for services
Financial Liabilities: * Payables * Loans and grants payable
Initial recognition and measurement of financial instruments is at fair value which normally equates to the transaction cost or the face value. Subsequent measurement is at amortised cost using the effective interest method.
The fair value of short -term receivables and payables is the transaction cost or the face value because there is no interest rate applicable and subsequent measurement is not required as the effect of discounting is not material.
(j) Cash and cash equivalents For the purpose of the Statement of Cash Flows, cash and cash equivalent (and restricted cash and cash equivalent) assets comprise cash on hand and short-term deposits with original maturities of three months or less that are readily convertible to a known amount of cash and which are subject to insignificant risk of changes in value, and bank overdrafts.
(k) Accrued salaries Accrued salaries represent the amount due to staff but unpaid at the end of the financial year, as the pay date for the last pay period for that financial year does not coincide with the end of the financial year. Accrued salaries are recognised by the DCA. The expense is recognised in the Statement of Comprehensive Income of ScreenWest Inc with a corresponding resource received free of charge.
(l) Amounts receivable for services (holding account) ScreenWest Inc receives grants from the DCA partly in cash and partly as asset (holding account receivable). The accrued amount appropriated is accessible on the emergence of the cash funding requirement to cover leave entitlements and asset replacement.
(m) Receivables Receivables are recognised and carried at original invoice amount less an allowance for any uncollectible amounts (i.e. impairment). The collectability of receivables is reviewed on an ongoing basis and any receivables identified as uncollectible are written-off against the allowance account. The allowance for uncollectible amounts (doubtful debts) is raised when there is objective evidence that ScreenWest Inc will not be able to collect the debts. The carrying amount is equivalent to fair value as it is due for settlement within 30 days.
(n) Payables Payables are recognised at the amounts payable when ScreenWest Inc becomes obliged to make future payments as a result of a purchase of assets or services. The carrying amount is equivalent to fair value, as settlement is generally within 30 days.
(o) Provisions Provisions are liabilities of uncertain timing or amount and are recognised where there is a present legal or constructive obligation as a result of a past event and when the outflow of resources embodying economic benefits is probable and a reliable estimate can be made of the amount of the obligation. Provisions are reviewed at the end of each reporting period.
36 SCREENWEST ANNUAL REPORT 2015-16
Provisions for Loans and grants payable Provisions for Loans and grants payable is recognised and measured at the present value of amounts expected to be paid when the liabilities are settled. Loans and grants payable expected to be settled between 1 month and 12 months are recognised as a current provision while loans and grants payable expected to be settled after 12 months is recognised as a non-current provision.
(p) Superannuation Expense Superannuation expense is recognised in the profit or loss of the Statement of Comprehensive Income and comprises employer contributions paid to the GESBS, or other superannuation funds.
(q) Assets and services received free of charge or for nominal cost Assets or services received free of charge or for nominal cost are recognised as income at the fair value of the assets and/or the fair value of those services that can be reliably measured and that ScreenWest Inc would otherwise pay for. A corresponding expense is recognised for services received. Receipts of assets are recognised in the Statement of Financial Position.
Assets or services received from other State Government agencies are separately disclosed under Income from State Government in the Statement of Comprehensive Income.
(r) Comparative figures Comparative figures are, where appropriate, reclassified to be comparable with the figures presented in the current financial year.
(s) Department of Culture and the Arts (DCA) The DCA provides staff and other support to agencies in the Culture and the Arts portfolio. The DCA receives an appropriation for salary costs, superannuation, fringe benefits tax and minor equipment as part of the PC replacement program. These resources, provided to ScreenWest Inc, but paid for by the DCA, have been treated as 'Resources received free of charge' in the Statement of Comprehensive Income under the item 'Income from State Government'.
In addition the DCA also provides shared corporate services to ScreenWest Inc which are not recognised in the Statement of Comprehensive Income.
Note 3. Judgements made by management in applying accounting policies The preparation of financial statements requires management to make judgements about the application of accounting policies that have a significant effect on the amounts recognised in the financial statements. ScreenWest Inc evaluates these judgements regularly.
Operating lease commitments ScreenWest Inc has entered into a commercial lease for a motor vehicle and has determined that the lessor retains substantially all the significant risks and rewards of ownership of the property. Accordingly, this lease has been classified as an operating lease.
Note 4. Disclosure of changes in accounting policy and estimates
Initial application of an Australian Accounting Standard ScreenWest Inc has applied the following Australian Accounting Standard effective for annual reporting periods beginning on or after 1 July 2015 that impacted on ScreenWest Inc.
AASB 2013-9 Amendments to Australian Accounting Standards - Conceptual framework, Materiality and Financial Instruments Part C of this Standard defers the application of AASB 9 to on or after 1 January 2017. The application date of AASB 9 was subsequently deferred to 1 January 2018 by AASB 2014-1. ScreenWest has not yet determined the application or the potential impact of AASB 9.
SCREENWEST ANNUAL REPORT 2015-16 37
AASB 2014-8 Amendments to Australian Accounting Standards arising from AASB 9 (December 2014) - Application of AASB 9 (December 2009) and AASB 9 (December 2010) [AASB 9 (2009 & 2010)] This Standard makes amendments to AASB 9 Financial Instruments (December 2009) and AASB 9 Financial Instruments (December 2010), arising from the issuance of AASB 9 Financial Instruments in December 2014. ScreenWest has not yet determined the application or the potential impact of AASB 9.
AASB 2015-3 Amendments to Australian Accounting Standards arising from the withdrawal of AASB 1031 Materiality This Standard completes the withdrawal of references to AASB 1031 in all Australian Accounting Standards and Interpretations, allowing that Standard to effectively be withdrawn. There is no financial impact.
Future impact of Australian Accounting Standards not yet operative ScreenWest Inc cannot early adopt an Australian Accounting Standard unless specifically permitted by TI 1101 Application of Australian Accounting Standards and Other Pronouncements or by an exemption from TI 1101. By virtue of a limited exemption, ScreenWest has early adopted AASB 2015-7 Amendments to Australian Accounting Standards - Fair Value Disclosures of Not-for-Profit Public Sector entities. Where applicable, ScreenWest plans to apply the following Australian Accounting Standards from their application date.
Operative for reporting periods beginning on/after
AASB 9 Financial Instruments 1 Jan 2018 This Standard supersedes AASB 139 Financial Instruments: Recognition and Measurement, introducing a number of changes to accounting treatments.
The mandatory application date of this Standard was amended to 1 January 2018 by AASB 2014-1 Amendments to Australian Accounting Standards. ScreenWest has not yet determined the application of the potential impact of the Standard.
AASB 15 Revenue from Contracts with Customers 1 Jan 2018 This Standard establishes the principles that ScreenWest shall apply to report useful information to users of financial statements about the nature, amount, timing and uncertainty of revenue and cash flows arising from a contract with a customer. ScreenWest has not yet determined the application or the potential impact of the Standard.
AASB 16 Leases 1 Jan 2019 This Standard introduces a single lessee accounting model and requires a lessee to recognise assets and liabilities for all leases with a term of more than 12 months, unless the underlying asset is of low value. ScreenWest has not yet determined the application or the potential impact of the Standard.
AASB 1057 Application of Australian Accounting Standards 1 Jan 2016 This Standard lists the application paragraphs for each other Standard (and Interpretation), grouped where they are the same. There is no financial impact.
AASB 2010-7 Amendments to Australian Accounting Standards arising from 1 Jan 2018 AASB 9 (December 2010) [AASB 1, 3, 4, 5, 7, 101, 102, 108, 112,
38 SCREENWEST ANNUAL REPORT 2015-16
118, 120, 121, 127, 128, 131, 132, 136, 137, 139, 1023 & 1038 and Int 2, 5, 10, 12, 19 & 127] This Standard makes consequential amendments to other Australian Accounting Standards and Interpretations as a result of issuing AASB 9 in December 2010.
The mandatory application date of this Standard has been amended by AASB 1012-6 and AASB 2014-1 to 1 January 2018. ScreenWest Inc has not yet determined the application or the potential impact of the Standard.
AASB 2014-1 Amendments to Australian Accounting Standards 1 Jul 2018 Part E of this Standard makes amendments to AASB 9 and consequential amendments to other Standards. It has not yet been
assessed by ScreenWest to determine the application or potential impact of the Standard
AASB 2014-3 Amendments to Australian Accounting Standards - Accounting for 1 Jan 2016 Acquisitions of Interests in Joint Operations [AASB 1 & 11] ScreenWest Inc establishes Joint Operations in pursuit of its objectives and does not routinely acquire interests in Joint Operations. Therefore, there is no financial impact on application of the Standard.
AASB 2014-4 Amendments to Australian Accounting Standards - Clarification of 1 Jan 2016 Acceptable Methods of Depreciation and Amortisation [AASB 116 & 138] The adoption of this Standard has no financial impact for ScreenWest Inc as depreciation and amortisation is not determined by reference to revenue generation, but by reference to consumption of future economic benefits.
AASB 2014-5 Amendments to Australian Accounting Standards arising from 1 Jan 2018 AASB 15 This Standard gives effect to the consequential amendments to Australian Accounting Standards (including Interpretations) arising from the issuance of AASB 15. The mandatory application date of this Standard has been amended by AASB 2015-8 to 1 January 2018. ScreenWest has not yet determined the application or the potential impact of the Standard.
AASB 2014-7 Amendments to Australian Accounting Standards arising from 1 Jan 2018 AASB 9 (December 2014) This Standard gives effect to the consequential amendments to Australian Accounting Standards (including Interpretations) arising from the issuance of AASB 9 (December 2014). ScreenWest Inc has not yet determined the application or the potential impact of the Standard.
AASB 2014-9 Amendments to Australian Accounting Standards - Equity Method 1 Jan 2016 in Separate Financial Statements [AASB 1, 127 & 128] This Standard amends AASB 127, and consequentially amends AASB1 and AASB 128, to allow entities to use the equity method of accounting for investments in subsidiaries, joint ventures and associates in their separate financial statements. ScreenWest Inc has not yet determined the application of the potential impact of the Standard.
SCREENWEST ANNUAL REPORT 2015-16 39
AASB 2014-10 Amendments to Australian Accounting Standards - Sale of 1 Jan 2016 Contribution of Assets between an Investor and its Associate or Joint Venture [AASB 10 & 128] This Standard amends AASB 10 and AASB 128 to address an inconsistency between the requirements in AASB 10 and those in AASB 128 (August 2011), in dealing with the sale or contribution of assets between an investor and its associate or joint venture. ScreenWest Inc has not yet determined the application or the potential impact of the Standard.
AASB 2015-1 Amendments to Australian Accounting Standards - Annual 1 Jan 2016 Improvements to Australian Accounting Standards 2012-2014 Cycle [AASB 1, 2, 3, 5, 7, 11, 110, 119, 121, 133, 134, 137 & 140] These amendments arise from the issuance of International Financial Reporting Standard Annual Improvements to IFRSs 2012- 2014 Cycle in September 2014, and editorial corrections. ScreenWest Inc has not yet determined the application or the potential impact of the Standard.
AASB 2015-2 Amendments to Australian Accounting Standards - Disclosure 1 Jan 2016 Initiative: Amendments to AASB 101 [AASB 7, 101, 134 & 1049] This Standard amends AASB 101 to provide clarification regarding the disclosure requirements in AASB 101. Specifically, the Standard proposes narrow-focus amendments to address some of the concerns expressed about existing presentation and disclosure requirements and to ensure entities are able to use judgement when applying a Standard in determining what information to disclose in their financial statements. There is no financial impact.
AASB 2015-6 Amendments to Australian Accounting Standards - Extending 1 Jul 2016 Related Party Disclosures to Not-for-Profit Public Sector Entities [AASB 10, 124 & 1049] The amendments extend the scope of AASB 124 to include application by not-for-profit public sector entities. Implementation guidance is included to assist application of the Standard by not- for-profit public sector entities. There is no financial impact.
AASB 2015-8 Amendments to Australian Accounting standards - Effective Date 1 Jan 2017 of AASB 15 This Standard amends the mandatory effective date (application date) of AASB Revenue from Contracts with Customers so that AASB 15 is required to be applied for annual reporting periods beginning on or after 1 January 2018 instead of 1 January 2017. ScreenWest has not yet determined the application or the potential impact of AASB 15.
AASB 2015-10 Amendments to Australian Accounting Standards - Effective Date 1 Jan 2016 of Amendments to AASB 10 & 128. This Standard defers the mandatory effective date (application date) of amendments to AASB 10 & 128 that were originally made in AASB 2014-10 so that the amendments are required to be applied for annual reporting periods beginning on or after 1
January 2018 instead of 1 January 2016. ScreenWest has not yet determined the application or the potential impact of AASB 2014- 10.
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AASB 2016-2 Amendments to Australian Accounting Standards - Disclosure 1 Jan 2017 Initiative: Amendments to AASB 107 This Standard amends AASB 107 Statement of Cash Flows (August 2015) to require disclosures that enable users of financial statements to evaluate changes in liabilities arising from financing
activities, including both changes arising from cash flows and non- cash changes. There is no financial impact
AASB 2016-3 Amendments to Australian Accounting Standards - Clarifications to 1 Jan 2018 AASB 15 This Standard clarifies identifying performance obligations, principal versus agent considerations, timing of recognising revenue from granting a licence, and, provides further transitional
provisions to AASB 15. ScreenWest has not yet determined the application or the potential impact.
AASB 2016-4 Amendments to Australian Accounting Standards - Recoverable 1 Jan 2017 Amount of Non-Cash-Generating Specialised Assets of Not-for- Profit Entities
This standard clarifies that the recoverable amount of primarily non-cash-generating assets of not-for-profit entities, which are typically specialised in nature and held for continuing use of their service capacity, is expected to be materially the same as fair value determined under AASB 13 Fair Value Measurement. ScreenWest has not yet determined the application or the potential impact.
Note 5. Employee benefits expense 2016 2015 $000 $000 Wages and salaries (a) 1,925 2,008 Superannuation - defined contribution plans (b) 181 186 Other related expenses 22 29 2,128 2,223
(a) Includes the value of the fringe benefit to the employee plus the fringe benefits tax component, leave entitlements including superannuation contribution component. (b) Defined contribution plans includes West State, Gold State and GESB Super Scheme (contributions paid by DCA).
Employment on-costs such as workers compensation insurance are included at note 10 'Other Expenses'.
SCREENWEST ANNUAL REPORT 2015-16 41
Note 6. Supplies and services 2016 2015 $000 $000 Communications 8 12 Consultants 150 49 Board fees 55 44 Travel 63 62 Printing and advertising 40 4 Lease - equipment and vehicles 16 17 Entertainment 18 21 Legal fees 194 54 Consumables 11 8 Insurance 12 10 Membership subscriptions 4 3 Human Resource Services 0 31 Portable & Attractive Minor Equipment 48 14 Website 45 0 Other 48 37 712 366
Note 7. Depreciation expense 2016 2015 $000 $000 Depreciation Furniture and equipment 0 0 Total depreciation 0 0
Note 8. Accommodation expenses 2016 2015 $000 $000 Rent 150 142 Car Bay Rent 13 19 Other 17 14 180 175
Note 9. Grants and loans expense 2016 2015 $000 $000 Project Assistance 7,464 9,426 Production Company Support 3,021 851 Practitioner Development 357 699 Industry & Screen Culture 540 664 11,382 11,640
42 SCREENWEST ANNUAL REPORT 2015-16
Note 10. Other expenses 2016 2015 $000 $000 Panels and assessment costs 90 79 Sponsorship 0 0 Employment on-costs 4 4 Refund of previous years' revenue 1 0 Audit fees 24 23 119 106
Note 11. Returns on funding activities 2016 2015 $000 $000 Funding program 433 566 433 566
Note 12. Interest revenue 2016 2015 $000 $000 Commonwealth Bank (CBA) operating account 5 6 Bankwest term deposits 308 379 313 385
Note 13. Lapsed commitments 2016 2015 $000 $000 Project Assistance 167 1,864 Production Company Support 78 59 Practitioner Development 1 1 Industry & Screen Culture 80 1 326 1,925
Lapsed Commitments represent the withdrawal of funds by ScreenWest Inc. The majority of lapsed commitments result when the recipients of funding offers are unable to secure the balance of funds needed to produce the project.
Note 14. Other revenue 2016 2015 $000 $000 Management fees 83 70 Funding Contributions from 3rd Party 217 333 Other 32 31 332 434
SCREENWEST ANNUAL REPORT 2015-16 43
Note 15. Income from State Government 2016 2015 $000 $000 Grants received during the year: Service grant (a) 2,500 2,500 Lotterywest grant 7,603 7,338 Income from Other state government agencies 1,500 0 11,603 9,838
Resources received free of charge (b) Determined on the basis of the following actuals provided by DCA: (i) Payroll expenditure 1,391 1,282 (ii) Minor equipment 48 10 1,439 1,292
13,042 11,130
(a) Service grants fund the net cost of services delivered. Grant revenue comprises a cash component and a receivable (asset). The receivable (holding account held by the DCA) comprises the depreciation expense for the year and any agreed increase in leave liability during the year. (b) Assets or services received free of charge or for nominal cost are recognised as revenue at fair value of the assets and/or services that can be reliably measured and which would have been purchased if they were not donated. Contribution of assets or services in the nature of contributions by owners are recognised direct to equity.
Note 16. Receivables 2016 2015 $000 $000 Current Receivables 115 112 Interest 19 36 GST receivable 65 58 199 206
Note 17. Other current assets 2016 2015 $000 $000 Current Prepayments 67 165 Total current 67 165
Note 18. Amounts receivable for services (Holding Account) 2016 2015 $000 $000 Non -current 34 34 34 34
Represents the non-cash component of service grants. It is restricted in that it can only be used for asset replacement or payment of leave liability.
Note 19. Furniture and equipment 2016 2015
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$000 $000 Furniture and equipment At cost 12 12 Accumulated depreciation (12) (12) 0 0
Reconciliations of the carrying amounts of furniture and equipment at the beginning and end of the reporting period are set out below.
2016 2015 $000 $000
Furniture Furniture and and Equipment Equipment Reconciliations: Carrying amount at start of year 0 0 Additions 0 0 Depreciation 0 0 Carrying amount at end of year 0 0
Note 20. Impairment of assets
The were no indications of impairment of furniture and equipment at 30 June 2016. ScreenWest held no goodwill or intangible assets with an indefinite useful life during the reporting period.
Note 21. Payables 2016 2015 $000 $000 Current Trade payables 5 26 Accrued expenses 67 129 72 155
Note 22. Loans and grants payable Restated 2016 2015 $000 $000 Current Project Assistance 379 407 Production Company Support 188 82 Practitioner Development 36 48 Industry & Screen Culture 3 0 Total current 606 537
SCREENWEST ANNUAL REPORT 2015-16 45
Note 23. Provision for Loans and grants payable Restated 2016 2015 $000 $000 Current Project Assistance 5,530 6,694 Production Company Support 946 423 Practitioner Development 54 232 Industry & Screen Culture 24 341 Total current 6,554 7,690
Non -current Project Assistance 1,432 1,326 Production Company Support 8 102 Total non-current 1,440 1,428
Reclassification of Prior Years Loans and grants payable
In accordance with AASB 137, Provision, Contingent Liabilities and Contingent Assets;
A liability is a present obligation of the entity arising from past events, the settlement of which is expected to result in an outflow from the entity of resources embodying economic benefits.
A provision is a liability of uncertain timing or amount. A provision shall be recognised when: a) an entity has a present obligation (legal or constructive) as a result of a past event; b) it is probable that an outflow of resources embodying economic benefits will be required to settle the obligation; and c) a reliable estimate can be made of the amount of the obligation. Provisions can be distinguished from other liabilities such as trade payables and accruals because there is uncertainty about the timing or amount of the future expenditure required in settlement.
As a result Screenwest has reclassified the Loan and grants payable liability as follows: • Loans and grants payable – relevant milestones have been achieved and amounts due and payable are certain as at year end. • Provision for loans and grants payable – uncertainty exists regarding attainment of milestones and the timing of the outflow of the grant payment cannot be reliably measured at year end.
Statement of Financial Position Previously Reported Adjustment Restated 30-Jun-15 30-Jun-15 $000 $000 $000 Liabilities: Current Liabilities
Loan and grants payable 8,227 (7,690) 537
Provision for Loans and grants payable - 7,690 7,690 Non-Current Liabilities
Loan and grants payable 1,428 (1,428) -
Provision for Loans and grants payable - 1,428 1,428
46 SCREENWEST ANNUAL REPORT 2015-16
Note 24. Equity
The Government holds the equity interest in ScreenWest Inc on behalf of the community. Equity represents the residual interest in the net assets of ScreenWest Inc.
Contributed equity 2016 2015 $000 $000
Balance at start of period 150 150
Contributions by owners Capital grant 0 0 Total contributions by owners 0 0
Balance at end of period 150 150
Accumulated surplus 2016 2015 $000 $000 Balance at start of period 225 296 Result for the period (75) (71) Balance at end of period 150 225
Total Equity at end of period 300 375
SCREENWEST ANNUAL REPORT 2015-16 47
Note 25. Notes to the Statement of Cash Flows
Reconciliation of cash Cash at the end of the financial year as shown in the Statement of Cash Flows is reconciled to the related items in the Statement of Financial Position as follows: 2016 2015 $000 $000 Commonwealth Bank operating account 30 191 Bankwest term deposits 8,642 9,589 8,672 9,780
Reconciliation of net cost of services to net cash flows used in operating activities
2016 2015 $000 $000 Net cost of services (13,117) (11,200)
Non -cash items: Depreciation expense (note 7) 0 0 Resources received free of charge (note 15) 1,439 1,292
(Increase)/decrease in assets: Current receivables (a) 14 (11) Other current assets 98 (141)
Increase/(decrease) in liabilities: Current payables (a) (83) 6 Loans and grants payable (1,055) (220)
Net GST receipts / (payments) (b) 2 (1) Change in GST in receivables / payables (c) (9) (3) Net cash (used in) operating activities (12,711) (10,278)
(a) Note that the Australian Taxation Office (ATO) receivable/payable in respect of GST and the receivable/payable in respect of the sale/purchase of non-current assets are not included in these items as they do not form part of the reconciling items. (b) This is the net GST paid/received, ie. cash transactions.
(c) This reverses out the GST in receivables and payables.
At the end of the reporting period, ScreenWest Inc had fully drawn down on all financial facilities, details of which are disclosed in the financial statements.
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Note 26. Commitments
The commitments below are inclusive of GST where relevant.
Non -cancellable operating leases 2016 2015 $000 $000 Commitments in relation to leases contracted for at the end of the reporting period but not recognised in the financial statements are payable as follows: Within 1 year 1 6 Later than 1 year and not later than 5 years 0 1 1 7 Representing: Non-cancellable operating leases 1 7 1 7
The motor vehicle lease is non-cancellable with payments made monthly in advance.
Grant commitments 2016 2015 $000 $000 Grant commitments contracted for at the end of the reporting period but not recognised as liabilities, are payable as follows: Within 1 year 3,859 83 Later than 1 year and not later than 5 years 100 43 3,959 126
Note 27. Events occurring after the end of the reporting period
There were no subsequent events brought to account.
Note 28. Explanatory statement
Significant variations between actual results for 2015 and 2016 are shown below. Significant variations are considered to be those greater than 10% or $100,000.
Significant variances between actual results for 2015 and 2016
2016 2015 Variance $000 $000 $ 000 Income Return of funding activities 433 566 (133) Interest revenue 313 385 (72) Lapsed commitments 326 1,925 (1,599) Other revenue 332 434 (102) Lotterywest grant 7,603 7,338 265 Income from Other state government agencies 1,500 0 1,500 Services received free of charge 1,439 1,292 147 Expenses Supplies and services 712 366 346 Grants and loans expense 11,382 11,640 (258)
SCREENWEST ANNUAL REPORT 2015-16 49
Return of funding activities The reduction in returns is due to some profitable major film projects coming to the end of their life cycle.
Interest revenue Interest revenue was lower due to decreased interest rates.
Lapsed commitments ScreenWest is a minority investor, production investment decisions made by ScreenWest rely on funding commitments from third parties. From time to time projects lapse before full finance is achieved. In a difficult global screen environment in 2015-16 more projects were able to achieve full finance than originally anticipated. Therefore there is no commitment to return the funding back to Screenwest.
Other revenue The decrease is due to funding received 2014- 15 year for the production of Jasper Jones, which did not reoccur in 2015-16 year.
Lotterywest grant Under the Lotteries Commission Act 1990 ScreenWest receives a share of the net subscriptions received by the Lotteries Commission for the purpose of funding incentives to undertake, or projects to facilitate the undertaking of, commercial film production in the State. The amount of funding received by ScreenWest varies in line with the amount of net subscriptions received by the Lotteries Commission.
Income from other state government agencies The increase in revenue is due to funding received from the Great Southern Development Commission for the production of the film Breath.
Services received free of charge The increase is related to additional funding received by the Department of Culture and the Arts for the 27th Pay.
Supplies and services Expenses in this area were higher in 2015-16 as ScreenWest carried out and completed a number of key projects including the development of the new five year Strategic Plan, a new branding strategy and logo and a new website.
Grants and loan expense The variance reflects the financial environment that the screen industry is operating in and the amount of funding commitments that were made by ScreenWest during the year. Less funding was committed in 2015-16 financial year.
Note 29. Financial instruments
(a) Financial risk management objectives and policies Financial Instruments held by ScreenWest Inc are cash and cash equivalents, receivables, payables and loans and grants payable. ScreenWest Inc has limited exposure to financial risks. ScreenWest Inc's overall risk management program focuses on managing the risks identified below.
Credit risk Credit risk arises when there is the possibility of ScreenWest Inc's receivables defaulting on their contractual obligations resulting in financial loss to ScreenWest Inc.
The maximum exposure to credit risk at end of the reporting period in relation to each class of recognised financial assets is the gross carrying amount of those assets inclusive of any provisions for impairment as shown in the table at Note 29(c) 'Financial Instruments Disclosures' and Note 16 'Receivables'.
Credit risk associated with ScreenWest Inc's financial assets is minimal. For receivables other than Government ScreenWest Inc trades only with recognised, creditworthy third parties. ScreenWest Inc has policies in place to
50 SCREENWEST ANNUAL REPORT 2015-16 ensure that sales of products and services are made to customers with an appropriate credit history. In addition, receivable balances are monitored on an ongoing basis with the result that ScreenWest Inc's exposure to bad debts is minimal. At the end of the reporting period there were no significant concentrations of credit risk.
Liquidity risk Liquidity risk arises when ScreenWest Inc is unable to meet its financial obligations as they fall due.
ScreenWest Inc is exposed to liquidity risk through its trading in the normal course of business.
ScreenWest Inc has appropriate procedures to manage cash flows including drawdowns of grants by monitoring forecast cash flows to ensure that sufficient funds are available to meet its commitments.
Market risk Market risk is the risk that changes in market prices such as foreign exchange rates and interest rates will affect ScreenWest Inc income or value of its holdings of financial instruments. ScreenWest Inc does not trade in foreign currency and is not materially exposed to other price risks. ScreenWest Inc does not have any exposure to market risk for changes in interest rates.
(b) Categories of financial instruments In addition to cash and bank overdraft, the carrying amounts of each of the following categories of financial assets and financial liabilities at the end of the reporting period are: 2016 2015 $000 $000 Financial Assets Cash and cash equivalents 8,672 9,780 Loans and receivables (a) 168 182
Financial Liabilities Financial liabilities measured at amortised cost 8,672 9,810
(a) The amount of loans and receivables excludes GST recoverable from the ATO (statutory receivable).
SCREENWEST ANNUAL REPORT 2015-16 51
(c) Financial Instrument Disclosures
Credit Risk The following table discloses ScreenWest Inc's maximum exposure to credit risk and the ageing analysis of financial assets. ScreenWest Inc's maximum exposure to credit risk at the end of the reporting period is the carrying amount of the financial assets as shown below. The table discloses the ageing of financial assets that are past due but not impaired and impaired financial assets. The table is based on information provided to senior management of the ScreenWest Inc. ScreenWest Inc does not hold any collateral as security or other credit enhancements relating to the financial assets it holds. Ageing analysis of financial assets
(a) The amount of receivables excludes GST recoverable from the ATO (statutory receivable).
Liquidity Risk and interest rate exposure The following table details ScreenWest Inc's interest rate exposure and contractual maturity analysis of financial assets and financial liabilities. The maturity analysis section includes interest and principal cash flows. The interest rate exposure section analyses only the carrying amounts of each item.
Interest rate exposures and maturity analysis of financial assets and financial liabilities (a)
(a) The amounts of receivables excludes GST recoverable from the ATO (statutory receivable).
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Interest rate sensitivity analysis The following table represents a summary of the interest rate sensitivity of ScreenWest Inc's financial assets and liabilities at the end of the reporting period on the surplus for the period and equity for a 1% change in interest rates. It is assumed that the interest rates are held constant throughout the reporting period.
-100 basis points +100 basis points
Carrying amount Surplus Equity Surplus Equity 2016 $ 000 $ 000 $ 000 $ 000 $ 000
Financial Assets Cash and cash equivalents 1,572 (16) (16) 16 16 (16) (16) 0 16 16
-100 basis points +100 basis points
Carrying amount Surplus Equity Surplus Equity 2015 $ 000 $ 000 $ 000 $ 000 $ 000
Financial Assets Cash and cash equivalents 191 (2) (2) 2 2 (2) (2) 2 2
Fair Values All financial assets and liabilities recognised in the Statement of Financial Position, whether they are carried at cost or fair value, are recognised at amounts that represent a reasonable approximation of fair value unless otherwise stated in the applicable notes.
Note 30. Remuneration of members of ScreenWest Inc and senior officers
Remuneration of members of ScreenWest Inc The number of board members of ScreenWest Inc whose total of fees, salaries, superannuation, non -monetary benefits and other benefits for the financial year, fall within the following bands are:
Remuneration Band ($) 2016 2015 0 - 10,000 10 7 10,001 - 20,000 0 1 20,001- 30,000 1 1 $000 $000 Base remuneration and superannuation 56 66 Annual leave and long service leave accruals Other benefits The total remuneration of all members of ScreenWest Inc 56 66
The total remuneration includes the superannuation expense incurred by ScreenWest Inc in respect of board members of ScreenWest Inc.
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Remuneration of senior officers The number of senior officers, other than senior officers reported as members of ScreenWest Inc, whose total of fees, salaries, superannuation, non-monetary benefits and other benefits for the financial year, fall within the following bands are:
$ 2016 2015 10,001 - 20,000 3 0 20,001 - 30,000 1 1 30,001 - 40,000 0 1 40,001 - 50,000 0 2 50,001 - 60,000 0 3 70,001 - 80,000 1 1 100,001 - 110,000 0 1 130,001 - 140,000 0 1 150,001 - 160,000 1 0 210,001 - 220,000 1 0
$000 $000 Base remuneration and superannuation 518 569 Annual leave and long service leave accruals (6) 38 Other benefits 6 6 The total remuneration of senior officers 518 613
The total remuneration includes the superannuation expense incurred by ScreenWest Inc in respect of senior officers other than senior officers reported as board members of ScreenWest Inc.
Note 31. Remuneration of auditor
Remuneration paid or payable to the Auditor General in respect to the audit for the current financial year is as follows:
2016 2015 $000 $000 Auditing the accounts, financial statements and key performance indicators 22 24
Note 32. Related bodies
At the reporting date, ScreenWest Inc had no related bodies as defined by TI 951 Related and Affiliated Bodies.
Note 33. Contingent liabilities
At the reporting date, ScreenWest Inc had no contingent liabilities.
Note 34. Affiliated bodies
Australian Writers Guild (WA) is a government affiliated body that received administrative support and a grant of $63,906 (2015: $125,321) from ScreenWest Inc. Australian Writer's Guild (WA) is not subject to operational control by ScreenWest Inc.
54 SCREENWEST ANNUAL REPORT 2015-16
Note 35. Supplementary financial information
(a) Write-offs There was no public property written off during the financial year.
(b) Losses through theft, defaults and there causes There were no losses of public moneys and public and other property through theft or default during the financial year.
(c) Gift of public property There were no gifts of public property provided by ScreenWest Inc.
Note 36. Schedule of income and expenses by service
ScreenWest Inc operates under one service called Screen Production Industry Development Support.
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5.2 Detailed Key Performance Indicators Information
Certification of Key Performance Indicators
The Independent Auditor’s Opinion is located under Section 5.1.
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Antonio Carluccio’s Six Seasons (Seaflower Holdings)
KEY EFFICIENCY AND EFFECTIVENESS INDICATORS Government Goal
Screenwest Inc contributes to the achievement of the Government Goal: Greater focus on achieving results in key service delivery areas for the benefit of all Western Australians.
And the Government Desired Outcome: A sustainable screen industry that enhances cultural and economic wellbeing.
Screenwest’s new Outcome Based Management Framework (Framework) and key performance indicators came into effect from 1 July 2015.
In light of the updated Framework, four of the indicators that Screenwest has historically reported on were abolished effective 1 July 2015 as they are no longer an appropriate means of measuring Screenwest’s performance.
The key efficiency and effectiveness indicators set out below were developed in accordance with Treasurer’s Instruction 904 and have been used in 2015-16 to evaluate Screenwest’s performance in achieving the Government Desired Outcome.
Key Efficiency Indicator 1. Grants operations expense as a percentage of direct grants approved.
Key Effectiveness Indicators 1. Perceived value of the Western Australian screen industry to the Western Australian community. 2. The three-year rolling average gross value of film, television and digital media production supported by Screenwest ($M). 3. The value of production generated for each dollar of Screenwest investment ($ ratio).
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Report on Screenwest’s Key Efficiency Indicator 2015-16
Key Efficiency Indicator 1: Grants Operations Expense as a Percentage of Direct Grants Approved
This indicator shows the ratio of expenditure associated with the distribution of grant funding support managed directly by Screenwest to eligible production companies and screen practitioners.
The 2015-16 actual grants operation expense percentage is lower than the target as during the year a higher level of funding commitments were approved. This increase reflects the quality of grant applications that were received and were able to be supported. In addition savings were made in overall grants operations related expenses.
2014-15 2015-16 2015-16 2016-17 Actual Target Actual Target (%) (%) (%) (%) Grants operations expense as a percentage of direct 11.62 14.69 13.28 14.82 grants approved
Base data
2014-15 2015-16 2015-16 2016-17 Actual Target Actual Target ($M) ($M) ($M) ($M) Expenses associated with grant operations1 1.353 1.566 1.512 1.039
Direct grants approved2 11.640 10.668 11.382 10.066
1. ‘Expenses associated with grant operations’ shows the total operating expenses in delivering grant funding support to eligible production companies and practitioners.
2. ‘Direct grants approved’ shows the total of direct grant funding committed to eligible production companies and practitioners.
Report on Screenwest’s Key Effectiveness Indicators 2015-16
Key Effectiveness Indicator 1: Perceived value of the WA screen industry to the Western Australian community.
This indicator is measured by a community survey instrument applied by Patterson Research Group. In consultation with the Department of Culture and the Arts the decision was made to migrate from the traditionally used Computer Assisted Telephone Interviewing (CATI) methodology to an online panel survey methodology in 2015-16. The main reasons for this change were the gradually dropping cooperation rates and data reliability in CATI community surveying and the increasing reliability of community survey results collected through an online panel approach.
Following an online methodology, respondents are slightly more likely to opt for a ‘don’t know’ answer i.e. opt not to answer the question. To optimise the purity of the data and to improve comparability with results reported in previous years (when relatively low proportions of don’t know answers were found), the ‘don’t know’ answers have been excluded from the results in the 2015-16 report. In cooperation with the team at DCA it has been decided to leave the historic data unchanged i.e. data reported in 2015 and earlier.
The indicator provides an assessment of the extent to which the community values the screen industry sector, a key element in the sustainability of the wider culture and arts sector. Compared to 2014-15, the 2015-16 result there has been a slight drop on how valuable the respondents think the Western Australian film and television industry is to the general community. This drop is not statistically significant.
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2014-15 2015-16 2015-16 2016-17
Actual Target Actual Target Perceived value of the WA screen industry to the 76% 75% 74% 77% Western Australian community
Key Effectiveness Indicator 2: Three Year Rolling Average Gross Value of Film, Television and Digital Media Production Supported by Screenwest
This indicator measures the instrumental impact/contribution that the screen industry makes to the economy. It is also an indicator of how effective a State/Territory/country has been in facilitating, supporting and attracting production opportunities.
It is not appropriate to draw conclusions about trends in movements in the 'value of production' in a single financial year as there is often a substantial time lapse between a grant funding commitment and the start of a production filming (principal photography). A more useful picture is obtained by considering the average ‘production value’ over three financial years as it ‘normalises’ the fluctuations in data within a given financial year.
The 2015-16 actual rolling average value of film, television and digital media production is lower than the 2015-16 target due to changes in the timing of when productions start principal photography (filming). During the year 31 productions with Screenwest funding support entered principal photography.
2014-15 2015-16 2015-16 2016-17 Actual Target Actual Target (M) (M) (M) (M) Three year average value of 44.95 43.73 40.99 42.81 production1
Base Data
2012-13 2013-14 2014-15 2015-16 2015-16 2016-17 Actual Actual Actual Target Actual Target ($M) ($M) ($M) ($M) ($M) ($M) Value of Production1 59.88 34.57 40.39 45.09 48.02 38.42
Value of Screenwest Investment2 7.35 5.01 5.11 8.12 7.80 7.23
1. ‘Value of Production’ refers to the total contracted production budgets of feature films, television drama and documentaries, web series, short films and interactive projects produced in Western Australia that have received Screenwest funding and have commenced principal photography within the given financial year. Short films include those produced through FTI short film initiatives that FTI currently manages on Screenwest’s behalf.
Where a ‘traditional’ principal photography date is not obvious, such as for interactive projects (websites/apps) or projects using predominantly archival footage, the principal photography start date is determined by the date that the contract was fully executed. For animated productions, the principal photography date is determined by the date production begins.
2. ‘Value of Screenwest Investment’ refers to the total amount of State Treasury and Lotterywest funding that is invested by Screenwest into projects that have commenced principal photography within a given financial year.
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Key Effectiveness Indicator 3: Value of Production Generated for Each Dollar of Screenwest Investment
The 'value of production generated for each dollar of Screenwest investment’ compares the value of Screenwest investment to the total value of contracted production budgets. The ratio is an indication of the leverage of State Government funding.
The 2015-16 actual is higher than the 2015-16 target as overall Screenwest investment levered a higher value of production per Screenwest dollar invested.
2014-15 2015-16 2015-16 2016-17 Actual Target Actual Target ($ ratio) ($ ratio) ($ ratio) ($ ratio) Ratio of Screenwest Investment to the Total 1:7.91 1:5.56 1:6.16 1:5.31 Value of Production ($) For base data refer to ‘Base Data’ table under the ‘Three year rolling average gross value of production’
5.3 Ministerial Directives
Screenwest received no Ministerial directives in 2015-16.
5.4 Other Financial Disclosures
5.4.1 Pricing Policies of Services Provided
Not applicable to Screenwest Inc.
5.4.2 Capital Works
No capital projects were completed during 2015-16.
5.4.3 Employment and Industrial Relations
Screenwest staff are employed through the employing authority of DCA. Employment conditions are governed by the Public Sector Management Act 1994 (WA), the Public Service Award 1992 (WA), and the Public Service and Government Officers General Agreement 2011 (WA).
The following table summarises Screenwest’s employee count at 30 June 2016. Figures include staff on paid and unpaid leave.
2014-15 2015-16 Employment Type Women Men Women Men Permanent Full-time 6 0 4 0 Permanent Part-time 2 0 3 0 Fixed Term Full-time 12 5 7 6 Fixed Term Part-time 1 0 0 0 Casual paid in previous 12 months 0 0 0 0 Other paid in previous 12 months 0 0 0 0 Total 21 5 14 6
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Managing Our People The DCA Human Resources directorate provides services across the Culture and the Arts portfolio to support agencies’ specific workplace issues and needs, including the development and implementation of human resource policy, industrial relations support and the provision of payroll services.
Staff Development Screenwest is committed to the development of its employees. During the year employees attended a number of industry markets, conferences and events that included training and professional development opportunities relevant to the person’s role including: Director Production Investment, Indigenous Project Manager and Digital Manager attended MIFF 37 South Market (Melbourne) Indigenous Project Manager attended Good Pitch (Sydney) Development Manager and Indigenous Project Manager attended AWG National Writers Conference (Melbourne) Chief Executive and Indigenous Project Manager attended AIDC (Melbourne) Chief Executive, Director Production Investment and Production Investment Manager attended SPA Several staff attended the CinefestOZ Industry Day Staff attended talks by senior executives from Screen Australia, ABC, NITV, Roadshow and SPA.
Occupational Safety, Health and Injury Management Screenwest is committed to providing a safe and healthy workplace for all its employees by developing and implementing safe systems of work and identifying hazards and controlling risks as far as practicable.
The Culture and Arts Portfolio Occupational Safety and Health (OSH) Framework sets out the policies, work practices and procedures that have been prepared to address hazards and hazardous work processes. Information on these policies, practises and procedures is made available to Screenwest staff through the DCA intranet.
The formal mechanisms for consultation with employees on OSH and injury management matters are primarily via line management and the Agency’s employee safety and health representative. Screenwest has both an employee and a management safety and health representative on the DCA OSH Committee. The OSH Committee meets each quarter.
Screenwest is committed to adhering to the requirements of the Workers’ Compensation and Injury Management Act 1981 (WA) and the Workers’ Compensation Code of Practice (Injury Management) 2005 (WA) in the event of a work-related injury. Specified policies, work practices and procedures are available for staff on the DCA intranet.
In 2013-14 all Screenwest line managers were trained in occupational safety, health and injury management responsibilities. Refresher training is provided every three years.
Screenwest is committed to a healthy office environment and employees and has developed an ongoing Wellness Strategy to encourage employees to be more active, which reduces stress, improves fitness and general well-being. The Screenwest Wellness Committee arranged activities throughout the year including Influenza inoculations, ergonomic assessments for participating staff members, weekly healthy snack baskets and a three-week long walking challenge to encourage more movement in an office environment. The Committee also arranged hosted non-compulsory, casual wellness and team building activities throughout the year.
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OSH Performance Indicator Table
Indicator Target 2013-14 2014-15 2015-16 Number of fatalities 0 0 0 0 Lost time injury/disease (LTI/D) 0 or 10% reduction on the 0 0 0 incidence rate previous three years Lost time injury severity rate 0 or 10% reduction on the 0 0 0 previous three years Percentage of injured workers Actual percentage result to be (i) NA (i) NA 0 returned to work: reported greater than or equal to (ii) NA (ii) NA i. within 13 weeks 80% ii. within 26 weeks Percentage of line managers trained in Greater than or equal to 80% 100% 83.3% 50% occupational safety, health and injury management responsibilities (1)
(1) Data is for a rolling three year period.
5.4.4 Unauthorised use of credits cards
There was no unauthorised use of credit cards during the required reporting period.
5.4.5 Governance Disclosures
Contracts with Senior Officers
At the date of reporting, other than normal contracts of employment of service, no senior officers, or firms of which senior officers are members, or entities in which senior officers have substantial any interests in existing or proposed contracts with Screenwest and senior officers.
Screenwest adheres to the Culture and the Arts portfolio Code of Conduct that clearly outlines how perceived and actual conflicts of interest need to be managed. Screenwest Board members and staff strictly adhere to Code of Conduct protocols should an actual conflict of interest or perceived conflict of interest arise.
Board and Finance and Audit Sub-Committee remuneration
The table below outlines Screenwest’s 2015-16 Board and committee members and the remuneration they have received for fulfilling their membership role. The remuneration figures reflect members’ attendance at Board/committee meetings, grant funding assessment meetings, events, strategic planning days and participation on steering and working committees. The figures exclude travel expenses.
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Gross/actual Type of Position Name Period of membership 2015-16 remuneration remuneration 2015-16 (1)
Screenwest Board Chair Janelle Marr per meeting 1 July 2015 - 30 June 2016 5,432.50 Member Sue Taylor per meeting 1 July 2015 - 30 June 2016 2,580 Member Amanda Higgs per meeting 1 July 2015 - 30 June 2016 740 Member Aidan O'Bryan per meeting 1 July 2015 - 30 June 2016 3,100 Member Stephen Langsford per meeting 1 July 2015 - 30 June 2016 1,640 Member Carol Innes per meeting 1 July 2015 - 30 June 2016 740 Member Catherine Ferrari per meeting 1 January 2016 - 30 June 2016 1,980 Member Chris Holman per meeting 1 January 2016 - 30 June 2016 1,040 Member Alan Lindsay per meeting 1 July 2015 - 31 December 2015 1,040 Member Bryce Menzies per meeting 23 May 2016 - 30 June 2016 440 Member Dax Calder per meeting 1 July 2015 - 31 December 2015 900 Screenwest Finance and Audit Sub-Committee Chair Catherine Ferrari per meeting Member 8 February 2016 – 20 April 2016 1,000 Chair 20 April 2016 - 30 June 2016 Member Stephen Langsford per meeting 1 July 2015 - 30 June 2016 1,000 Member Chris Holman per meeting 20 April 2016 - 30 June 2016 400 Chair Janelle Marr per meeting 1 July 2015 - 17 March 2016 1,500 Member Alan Lindsay per meeting 1 July 2015 - 31 December 2015 1,000 Other (includes grant funding assessment meetings, representing agency at key events and participation on steering and working committees) Chair Janelle Marr per meeting 1 July 2015 - 30 June 2016 28,268 Member Sue Taylor per meeting 1 July 2015 - 30 June 2016 7,215 Member Amanda Higgs per meeting 1 July 2015 - 30 June 2016 3,900 Member Aidan O'Bryan per meeting 1 July 2015 - 30 June 2016 9,900 Member Stephen Langsford per meeting 1 July 2015 - 30 June 2016 1,480 Member Carol Innes per meeting 1 July 2015 - 30 June 2016 515 Member Catherine Ferrari per meeting 1 January 2016 - 30 June 2016 950 Member Chris Holman per meeting 1 January 2016 - 30 June 2016 965 Member Alan Lindsay per meeting 1 July 2015 - 31 December 2015 600 Member Dax Calder per meeting 1 July 2015 - 31 December 2015 0 Total: $78,325.50
(1) Figure excludes travel expenses
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5.5 Other Legal Requirements
5.5.1 Expenditure on Advertising, Market Research, Polling and Direct Mail
In accordance with Section 175ZE of the Electoral Act 1907, Screenwest reports that the expenditure on advertising, market research, polling, direct mail and media advertising was $5,775. This was the Arts Monitor 2016 used to measure Screenwest’s Key Effectiveness Indicator 1: Perceived value of the WA screen industry to the Western Australian community.
Expenditure Area Total Amount ($) Supplier Sub Total ($)
Advertising agencies 0 0 Market research organisations 5,775 Patterson Research 5,775 Group Polling organisations 0 0 Direct mail organisations 0 0 Media advertising organisations Job vacancies 0 0 Advertising 0 0
5.5.2 Disability Access and Inclusion Plan Outcomes
Culture and arts are fundamental to our history, identity, creativity and desire for play and enjoyment. Screenwest recognises participation in arts and cultural experience, as a right for all people, has the potential to improve all areas of human endeavour.
Screenwest has adopted the Culture and the Arts portfolio agencies (the Portfolio) Disability Access and Inclusion Plan 2013–2017 (DAIP) to ensure that Screenwest’s services, information and facilities are accessible for people with a disability.
The DAIP’s strategies Screenwest implemented and/or principles adhered to are as follows:
Outcome 1 People with a disability have the same opportunities as other people to access the services of, and any events organised by, the Portfolio. 1.1 Build awareness, capacity and sustainability within the Portfolio’s funded arts and cultural organisations to enhance access for people with disability. 1.2 Encourage the Portfolio’s funded arts and cultural organisations to develop strategies to improve access for people with disability to mainstream programs and services. 1.3 Improve access for people with disability to arts funding programs, processes and timelines. 1.4 Ensure Portfolio funded events are accessible. 1.5 Ensure individuals and organisations contracted by the Portfolio to provide services comply with DAIP requirements.
Outcome 2 People with a disability have the same opportunities as other people to access the buildings and other facilities of the Portfolio. 2.1 Ensure the Portfolio’s buildings and facilities meet access standards. 2.2 Ensure access is monitored and maintained to ensure our buildings and facilities continue to meet the needs of people with disability and their families and carers. 2.3 Ensure community consultation on access standards is a requirement in the design, planning, and construction of any buildings and facilities.
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Screenwest events, screenings, seminars and briefing sessions were held at fully accessible public venue spaces and several events were free to attend. Activities in 2015-16 included: Who Do You Think You Are? Series 7 launch held at the WA Maritime Museum on 29 July 2015 Mark Johnson In Discussion event held at the ABC Studio on 23 March 2016 Screenwest Strategic Plan consultation workshops – held in Bunbury, Broome and Perth during February 2016.
Outcome 3 People with a disability receive information from the Portfolio in a format that will enable them to access the information, as readily as other people are able to access it. 3.1 Ensure information provided for people with disability complies with State Government Access Guidelines for Information, Services and Facilities. 3.2 Make available upon request alternative format versions of public documents. 3.3 Make available Plain English versions of key public documents relevant to people with disability. 3.4 Ensure staff are aware of accessible information needs and how to obtain information in other formats.
DCA, Screenwest and State Records Office documents and publications are available in alternative formats upon request.
Outcome 4 People with a disability receive the same level and quality of service from the staff of the Portfolio as other people receive from the staff of the Portfolio. 4.1 Ensure staff have the knowledge and skills to provide an equal level and quality of service to people with disability and their families and carers.
New Screenwest staff attend the DCA staff induction seminar that includes information relevant to the DAIP.
Outcome 5 People with a disability have the same opportunities as other people to make complaints to the Portfolio. 5.1 Review the complaints process to ensure it meets the needs of people with disability. 5.2 Ensure people with disability are aware of the complaints process. 5.3 Ensure staff handling complaints have sufficient knowledge and understanding of people with disability to adequately respond to complaints.
Members of the public may make a complaint about Screenwest services or processes.
Outcome 6 People with a disability have the same opportunities as other people to participate in any public consultation by the Portfolio. 6.1 Ensure public consultation processes are inclusive. 6.2 Increase opportunities for people with disability, their family, and carers to be involved in public consultation.
In 2015-16, Screenwest undertook a series of workshops to receive input from the screen industry and wider community to develop the Screenwest Strategic Plan 2016-2021. The workshops were open to anyone to attend, and all were held in buildings that meet the needs of people with a disability.
Workshops were held in Bunbury, Broome and Perth. In addition an on-line survey was available for people who may not have been able to attend one of the workshops.
Free parking was arranged at 140 William Street for a person with a disability who registered to attend a Perth workshop.
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Outcome 7 People with a disability have the same opportunities as other people to seek employment with the Portfolio. 7.1 Ensure recruitment policies and practices are inclusive. 7.2 Develop strategies to improve attraction, recruitment and retention of employees with disability. 7.3 Ensure Portfolio staff with a disability are supported to undertake their employment responsibilities.
Screenwest is an equal opportunity employer.
5.5.3 Compliance with Public Sector Standards and Ethical Codes
In accordance with Section 31 of the Public Sector Management Act 1994 (WA), the following is a report of the extent to which the Screenwest has complied with Public Sector Standards, the Western Australian Public Sector Code of Ethics and the Culture and the Arts Portfolio Code of Conduct. The Public Sector Commission investigates and determines the outcome of breach claims, should they occur.
Compliance Issue Significant action taken to monitor and ensure compliance Code of Conduct A copy of the Culture and Arts Portfolio Code of Conduct policy is provided to Nil breaches all new Culture and Arts portfolio staff. New staff are required to read and acknowledge the policy booklet as well as to undertake online Accountable and Ethical Decision Making training. Public Sector Information about Public Sector Standards is included on the DCA intranet Standards and incorporated into the Culture and Arts Portfolio induction program. Nil breaches The DCA Human Resources directorate continually reviews Culture and Arts Portfolio human resources policies and guidelines to ensure ongoing compliance with the Public Sector Standards. Western Australian 97% of Screenwest staff completed online Accountable and Ethical Decision Public Sector Code of Making training in 2015-16. Ethics Nil breaches
5.5.4 Recordkeeping Plans
As required under the State Records Act 2000 (WA), Screenwest’s Recordkeeping Plan (the Plan) was reviewed and registered with the State Records Office in 2011. The Plan is scheduled to be reviewed and submitted to the State Records Office on 30 June 2017.
Screenwest continues to implement strategies to ensure that employees are aware of their compliance responsibilities established in the State Records Act. DCA Information Management and Screenwest staff continually monitor, review and update practices to maintain and increase the efficiency and effectiveness of Screenwest’s recordkeeping system as more staff use Screenwest’s electronic records and document management system, TRIM (Total Records Information Management).
Recordkeeping training program Recordkeeping training is provided to staff to raise awareness of recordkeeping responsibilities and to provide instruction in the use of TRIM. All new staff are trained and refresher training is provided to existing staff as required. Policies, procedures and ‘how to’ information is available to staff via the DCA intranet.
The Culture and the Arts’ portfolio induction program addresses employee roles and responsibilities in regard to their compliance with their organisation’s Recordkeeping Plan.
TRIM usage is increasingly embedded into Screenwest’s operations.
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Freedom of Information Under Schedule 2 of the Regulations of the Freedom of Information Act 1992 (WA), DCA coordinates freedom of information requests for the Culture and Arts portfolio agencies including Screenwest. As prescribed in Section 96 of the Act, the DCA publishes an up-to-date information page confirming the DCA’s commitment to the right of all Western Australians to have access to government information for whatever reason they wish. The information page is available on the DCA’s website and gives details on how a person can apply for access to Culture and Arts portfolio documents. Information is also included on Screenwest’s website.
5.6 Government Policy Requirements
5.6.1 Substantive Equality
In 2015-16, DCA committed to a two-year implementation plan that incorporates substantive equality into all portfolio agencies in order to ensure needs of the whole community are being met and that no one group is unfairly impacted by the Portfolio’s services. This commitment and plan is intended to build on Screenwest’s successes and respond to the needs of a growing and diverse community. Substantive equality is an integral part of Screenwest’s strategic focus and day-to-day operations.
During the year Screenwest management undertook research into the diversity of Western Australia and its screen practitioners. A summary report of key findings and recommendations was submitted to the Screenwest Board in June 2016. The Board resolved that in 2016-17 Screenwest would engage a consultant to assist with the research and development of a diversity program and would amend its funding program guidelines to include “Screenwest seeks to reflect the diversity of Western Australia’s community on screen and behind the camera, through projects funded and practitioners supported. The funding panel will take into consideration diversity elements of a submission during the assessment process.” This is only the first stage of Screenwest’s commitment to developing a WA Screen Industry Diversity Plan.
The Screenwest Indigenous Screen Strategy 2016-2020 guides Screenwest in its undertaking to take the Indigenous screen sector to the next level in a sustainable manner. Launched on 2 July 2015, Screenwest has successfully undertaken several initiatives and activities as part of the Strategy’s implementation (see 3.1 Report on Operations). Screenwest has an ongoing commitment to an Indigenous position on the Screenwest Board and the employment of a full-time Screenwest Indigenous Manager.
5.6.2 Government Building Training Policy
Screenwest has a commitment to the Government Building Training Policy, having altered prospective tender documentation and developed a monitoring plan for building and construction or maintenance projects with a duration of greater than 3 months, a value of greater than $2 million and tendered after 1 October 2015. At the balance date, no contracts subject to this Policy had been awarded.
Building and Maintenance Construction projects Project 2016 2016 Active contracts within the scope of the policy in the reporting period - - Contracts granted a variation to the target training rate in the reporting - - period Head contractors involved in the contracts - - Construction apprentices/trainees required to meet target training rate - - across all contracts Construction apprentices/trainees employed by head contractors; and the - - subcontractors they are using for the contracts Contracts which met or exceeded the target training rate - -
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APPENDIX 1 SCREENWEST FUNDING COMMITMENTS 2015-16
Amounts listed are approved commitments as at 30 June 2016 and may not be the final amounts contracted or paid. Monetary amounts are rounded to the nearest dollar. Project names are as at 30 June 2016 and may be working titles.
PRODUCTION INVESTMENT FUND Recipient Project Format Amount ($) Screentime & VAM Media Testing Teachers Documentary series 65,649 Vue DC Harmony Documentary feature 145,886 CM Film Productions Antonio Carluccio's Six Seasons Documentary series 114,698 Periscope Pictures Candidate Games Documentary single 21,090 Good Dog The Koko Story Feature film 200,000 Lingo Pictures Heatwave Drama series 670,000 Metamorflix Family Rules Documentary series 375,000 Sea Dog TV International Wildlife Rescue and Forensics Documentary single 92,156 VAM Media Roger Swainston: Drawn to Water Documentary single 15,173 Joined Up Films Hidden History of Our Suburbs Documentary series 521,120 Invisible Republic & Taylor Media Three Summers Feature film 560,000 Weerianna Street Media Connection To Country Documentary single 180,000 Mago Films On Country Kitchen Documentary series 66,133 George Nille & Co & Hedone The Renovator's Dream Feature film 527,777 Productions Mad Kids The Shapes Animated series 75,000 ABC / Screenwest Sir John TBC Documentary series 600,000 Monash Documentary Initiative Bucktin Holding Jasper Jones Feature film 100,000 (1) Breath Production Breath Feature film 1,500,000 (2) Beyond West A Team of Champions Documentary series 50,000 (3) TOTAL 5,879,682
1. $100,000 South West Development Commission contribution. 2. $1,500,000 Great Southern Development Commission contribution. 3. $50,000 Department of Culture and the Arts contribution.
SUPERDOC Recipient Project Amount ($) Electric Pictures SuperDoc (2015-16) 680,000 (1) Prospero Productions SuperDoc (2015-16) 760,000 (2) TOTAL 1,440,000 1. A further $120,000 in Superdoc funding forward committed in the 2016-17 budget to Electric Pictures. 2. A further $40,000 in Superdoc funding forward committed in the 2016-17 budget to Prospero Productions.
INDUSTRY ENHANCEMENT FUND Recipient Project Amount ($) See Pictures Ticket to Ride 67,500 TOTAL 67,500
SCREEN BUSINESS DEVELOPMENT FUND Recipient Project Amount ($) Joined Up Films Screen Business Development (2015-16) 50,000 Mad Kids Screen Business Development (2015-16) 40,000 Sea Dog TV International Screen Business Development (2015-16) 50,000 TOTAL 140,000
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PRODUCTION ATTRACTION STRATEGY INITIATIVES Recipient Project Amount ($) Various Industry Production Office support 3,410 Various WA Locations advertising promotional costs 17,937 Location image database and Production Directory Reel-Scout 25,472 annual subscription Various Ausfilm related representation, scouts and hosting 21,379 Location scouting services and hosting Various 34,106 interstate/international producers Humaan Film in Western Australia website 35,000 Various Postwest Pitching Initiative 5,217 How Film and Television Drama Production Grows the Olsberg SPI Creative Industries Economy Co-funded International 11,000 Consultancy Report The Anderson Family Trust Regional Development Consultancy 5,500 West Australian Philharmonic Score recording for Michael Apted feature film, Unlocked 17,000 Orchestra TOTAL 176,021
SLATE DEVELOPMENT Recipient Project Amount ($) Good Dog Slate Development 2015-16 115,000 See Pictures Slate Development 2015-16 100,000 Factor 30 Films Slate Development 2015-16 75,000 WBMC Slate Development 2015-16 100,000 Joined Up Films Slate Development 2015-16 75,000 Artemis International Slate Development 2015-16 75,000 Metamorflix Slate Development 2015-16 50,000 Showrunner Productions Slate Development 2015-16 50,000 Sea Dog TV International Slate Development 2015-16 50,000 Filmscope Entertainment Slate Development 2015-16 50,000 Beyond West Slate Development 2015-16 50,000 TOTAL 790,000
PROJECT DEVELOPMENT (TV, DOCUMENTARY, FEATURE) Recipient Project Format Amount ($) Peter Templeman The Killer in Mason Brannigan Feature film 15,000 The Penguin Empire Mother Feature film 12,500 Invisible Republic & Taylor Media Three Summers Feature film 22,500 Aquarius Productions Dying to Live Documentary feature 24,050 Nicholas Wrathall Kimberley Project Documentary feature 25,000 Zinc Finger Films Honey Trap Mine Feature film 21,000 Mago Films Australian Walkabout Revisited Documentary series 15,000 TOTAL 135,050
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MATCHED DEVELOPMENT INVESTMENT Recipient Project Format Amount ($) Joined Up Films Culture Swap Documentary series 7,500 Sandpiper Entertainment MODO Feature film 14,375 Sandpiper Entertainment The Empire Strikes Out Documentary series 25,000 Artemis International Don't Stop the Music Documentary series 5,000 Pictures in Paradise Productions Batavia Feature film 17,500 Sandpiper Entertainment Turning Point Documentary series 9,450 VAM Media Roger Swainston: Drawn to Water Documentary single 5,000 Taylor Media Harbour Town Drama TV series 25,000 TOTAL 108,825
EMERGENCY DEVELOPMENT Recipient Project Format Amount ($) Vue DC Harmony Feature film 25,000 J For Adventure aka The Jake Transmedia For Change Animated series 9,000 Project Invisible Republic Three Summers Feature film 25,000 TOTAL 59,000
WEST COAST VISIONS DEVELOPMENT Recipient Project Format Amount ($) Archangel Pictures The Last Drop Feature film 3,000 Ben Young Producer Mentorship Taylor Media with Sue Taylor on Hounds of Mentorship 2,500 Love TOTAL 5,500
BILL WARNOCK INITIATIVE Recipient Project Amount ($) Heather Wilson Another Time 20,000(1) TOTAL 20,000 1. $20,000 Screen Australia contribution to successful Bill Warnock Award recipient.
INDIGENOUS PROJECT DEVELOPMENT Recipient Project Format Amount ($) Karla Hart Enterprises Family Rules Documentary series 15,000 Filmscope Entertainment Serpent Time Feature film 15,000 TOTAL 30,000
INDIGENOUS PRACTITIONER DEVELOPMENT Recipient Project Amount ($) Producer Internship with Kath Shelper at Scarlett Pictures Shari Hutchison 15,000 on Black Comedy Season 2 Shakara Walley Producer Attachment with David Jowsey on Jasper Jones 10,000 Camera Attachment with Director of Photography Mark Curtis Taylor 10,000 Wareham on Jasper Jones Shakara Walley Emerging Producers Program 2016-17 100,000 Katrina Russell AFTRS Production Budgeting & Accounting Course, NSW 1,500 Feature Navigator Development Program 2016-17 TBC 60,000 (Indigenous practitioner's opportunity) TOTAL 196,500
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INDIGENOUS PRODUCTION Recipient Project Format Amount ($) Indigenous Elevate 2015-16 (2 x Film & Television Institute short films and Executive Short film 170,000 Producer contribution) Marrimarrigun, Screen Australia/ Ramu Productions NITV Songlines on Screen Documentary 20,000 Initiative 2016 TOTAL 190,000
INDIGENOUS MARKET PARTNER INITIATIVE Recipient Project Format Amount ($) Aussie Rangers (Screenwest/ABC Factor 30 Films (Series Producer) Indigenous Web Series Initiative, Web series 300,000 Shakara Walley (Producer) Screenshot, 2015-16) Screenwest/NITV Indigenous Metamorflix (Series Producer) Documentary Initiative, From the Kimberley Benjamin Short Documentary Western Frontier Series 3 250,000 (Writer/Director) series Owning Your History Casey Kickett (Writer/Director) The Third Space TOTAL 550,000
INDIGENOUS INDUSTRY SUPPORT Recipient Project Amount ($) Indigenous Screen Strategy 2016-20 trailer (additional Siamese 60 costs) Indigenous Screenshot Development Workshop 2016, Various 1,018 Perth Tyson Mowarin attendance at Screenwest/NITV Indigenous Various 1,144 From the Western Frontier Workshop 2016, Perth Organisational contribution to the Media RING Media RING 3,000 (Reconciliation Industry Network Group) 2016 Michelle Torres appearance at the ICS screening at Various 1,039 Revelation International Film Festival 2016, Perth TOTAL 6,261
DIGITAL EXTENSION PRODUCTION FUND Recipient Project Amount ($) Frame AR The Buried 40,000 TOTAL 40,000
INTERACTIVE PRODUCTION FUND Recipient Project Amount ($) WBMC Howard On Menzies: The Making of Modern Australia 100,000 TOTAL 100,000
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DIGITAL MARKET PARTNER INITIATIVE Recipient Project Format Amount ($) Mad Kids DAFUQ? Online series 150,000 Shock Art (Art Bites initiative with Periscope Pictures Online series 25,000 ABC iView and Screen Australia) Ian Strange: Suburban interventions (Art Bites initiative Transmedia For Change Online series 25,000 with ABC iView and Screen Australia) TOTAL 200,000
DIGITAL PROJECT AND PRACTITIONER DEVELOPMENT Recipient Project Format Amount ($) James Bogle Whiteley Digital extension 10,000 Frame Media The Buried Interactive 10,000 Hunting with Super Predators Sea Dog TV International Virtual reality 10,000 Virtual Reality Artemis International Don't Stop the Music Digital extension 10,000 TOTAL 40,000
TRAVEL ASSISTANCE - ESTABLISHED PRODUCTION COMPANIES Recipient Project Amount ($) Showrunner Productions Established Production Company Travel Assistance 16,300 WBMC Established Production Company Travel Assistance 25,000 Sea Dog TV International Established Production Company Travel Assistance 25,000 Mago Films Established Production Company Travel Assistance 14,030 Filmscope Entertainment Established Production Company Travel Assistance 25,000 Vue DC Established Production Company Travel Assistance 24,960 Sandpiper Entertainment Established Production Company Travel Assistance 25,000 Artemis International Established Production Company Travel Assistance 22,200 TOTAL 177,490
TRAVEL ASSISTANCE Beneficiary Project Amount ($) 37 South Market MIFF 2015, Melbourne (additional Peta Astbury 500 commitment) Chris Veerhuis 37 South Market MIFF 2016, Melbourne 1,500 Brooke Silcox 37 South Market MIFF 2016, Melbourne 1,000 Maziar Lahooti 37 South Market MIFF Post Script & Direct 2016, Melbourne 1,000 Alex Von Hofmann 37 South Market MIFF Post Script & Direct 2016, Melbourne 1,000 Kelli Cross 37 South Market MIFF Post Script & Direct 2016, Melbourne 1,000 Alison James 37 South Market MIFF Post Script & Direct 2016, Melbourne 1,000 Kim Lord AACTA Awards 2015, Sydney 787 Glenn Martin AACTA Awards 2015, Sydney 571 Jaclyn Hewer AACTA Awards 2015, Sydney 974 Torstein Dyrting AACTA Awards 2015, Sydney 1,128 AFTRS Production Budgeting & Accounting Short Course 2015, Rose Grandile-Pizzi 1,000 Sydney Anthea Smyth AFTRS Shooter Producer Workshop 2016, Sydney 1,000 Carmelo Musca AIDC 2016, Melbourne 1,500 Ella Wright AIDC 2016, Melbourne 1,000
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Harry Bardwell AIDC 2016, Melbourne 1,500 Alexis Tyson AIDC 2016, Melbourne 1,000 Shireen Narayanan AIDC 2016, Melbourne 1,000 Alice Ross AIDC 2016, Melbourne 1,000 Renee Kennedy AIDC 2016, Melbourne 1,500 Michael Tucak AIDC 2016, Melbourne 884 Richard Todd AIDC 2016, Melbourne 1,307 Allen Palmer's Cracking Yarns & Story Coaching Workshop Alison James 1,000 2016, Sydney APRA AMCOS/Australian Guild of Screen Composers (AGSC) Tim Count 800 Screen Music Awards 2015, Melbourne APRA AMCOS/Australian Guild of Screen Composers (AGSC) Ash Gibson Greig 169 Screen Music Awards 2015, Melbourne Amanda Morrison Asian Animation Summit 2015, Jeju, South Korea 800 Perun Bonser ATOM Awards 2015, Melbourne 708 Lauren Elliott Ausfilm 2016, Los Angeles 5,000(1) Renee Kennedy ATOM Awards 2015, Melbourne 769 Michael Facey Cannes Film Festival Market 2016, France 4,000 Tania Chambers Cannes Film Festival Market 2016, France 5,100 George Nille & Co Cannes Film Festival Market 2016, France 4,000 Richard Todd DOC NYC International Film Festival 2015, New York 6,068 Fall 2015 Voluntary Placement Program at Arclight Films, Joshua Gilbert 4,000 Ausfilm Week & American Film Market, Los Angeles Brooke Silcox Felix Media Masterclass 2016, Sydney 1,000 Ella Wright Felix Media Masterclass 2016, Sydney 1,000 Zoe Pepper Felix Media Masterclass 2016, Sydney 1,000 Kate Neylon HOT DOCS 2016, Toronto 5,000 Renee Kennedy HOT DOCS 2016, Toronto 4,019 Harry Bardwell Input 2016, Calgary 4,131 Liz Kearney Jakarta Film Festival 2016, Jakarta 3,697 Cody Cameron-Brown Judith Weston Directors' Studio 2015, Toronto 3,860 Amanda Morrison Kidscreen Summit 2016, USA 6,130 Robert Livings Melbourne Web Fest 2015, Melbourne 1,000 Ray Pedretti MIPCOM 2015, Cannes 5,757 John Petricevic MIPTV & MIPDOC 2016, Cannes 4,000 Torstein Dyrting National ACS Awards 2016, Adelaide 1,189 Henry Inglis National Screenwriters Conference 2016, Victoria 2,045 Miley Tunnecliffe National Screenwriters Conference 2016, Victoria 2,045 Karen Farmer National Screenwriters Conference 2016, Victoria 1,845 Antony Webb National Screenwriters Conference 2016, Victoria 2,045 Ben Croker National Screenwriters Conference 2016, Victoria 1,845 Aaron Robert Moss National Screenwriters Conference 2016, Victoria 1,725 Zoe Pepper National Screenwriters Conference 2016, Victoria 1,845 Jules Duncan National Screenwriters Conference 2016, Victoria 1,845 Eva Di Blasio National Screenwriters Conference 2016, Victoria 1,000 Eva Di Blasio Screen Australia Skip Ahead Workshop 2016, Sydney 1,000 Screen Australia/David White Distribution Workshop: Exploiting Kelvin Munro 1,000 Your Content Online 2015, Sydney Ella Wright Screen Forever SPA Conference 2015, Melbourne 1,000 Jaclyn Hewer Screen Forever SPA Conference 2015, Melbourne 1,000 Melissa Kelly Screen Forever SPA Conference 2015, Melbourne 1,500
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Peta Astbury Screen Forever SPA Conference 2015, Melbourne 1,500 Lauren Brunswick Screen Forever SPA Conference 2015, Melbourne 1,000 Renee Kennedy Screen Forever SPA Conference 2015, Melbourne 1,500 Harry Bardwell Screen Forever SPA Conference 2015, Melbourne 1,500 Tania Chambers Screen Forever SPA Conference 2015, Melbourne 1,333 Ray Pedretti Sunnyside of the Doc 2016, France 6,100 Reginald Cribb Toronto International Film Festival 2015, Canada 5,384 Sue Taylor Venice International Film Festival 2015, Venice 6,250 Carmelo Musca WCSFP 2015, Austria 4,577 TOTAL 148,232
1. $5,000 contribution from Screen Australia.
ATTACHMENTS, PLACEMENTS & INTERNSHIPS Beneficiary Project Amount ($) Producer Mentorship with Aidan O'Bryan on Top Knot Lauren Brunswick 10,000 Detective Antony Webb Director’s Attachment with Dean White on The 100 10,000 Producer Attachment with Sheila Jayadev at Matchbox Pictures Verity Fitzgerald 6,000 on Ali's Wedding David Vincent Smith & Lauren Editing Mentorship with Simon Price for Mamani aka Amay 1,500 Brunswick Jaimie Manners Colorist Mentorship with Olivier Fontenay on Bad Girl 9,920 Virtual Reality Professional Development and Attachment with Justin McArdle 5,040 Michael Breymann at Kaleidoscope VR, San Francisco Kate Neylon & Melissa Producer Mentorship with Julia Overton at Hot Docs 2016 5,000 Haywood Producer Mentorship with Ray Pedretti at Blizzard Road Matthew Knight 5,000 Productions Filmfest Ltd 37 South Market MIFF Post Script & Direct and Accelerator 3,675 2016, Melbourne Breath Films Sahra Miller Attachment to John Fairhead on Breath 1,554 TOTAL 57,689
COURSES/WORKSHOPS Project Recipient Amount ($) Australian Writers' Guild Cracking Yarns Story Coaching Workshop, 2015 2,376 (AWG) Johann Johannsson Q&A event with Perth International Arts Various Festival and Australian Screen Sound Guild 2016 1,100
Australian Screen Editors' Post Production Supervisor Seminar Australian Screen Editors 2016 1,028 Guild
Virtual Reality demonstration for Screenwest Board members Frame AR 1,000
TOTAL 5,504
RESOURCE ORGANISATIONS Recipient Project Amount ($) AWG Resource Organisations (2015-16) 43,000 Film & Television Institute Core Funding (2016) 250,000 TOTAL 293,000
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POST PRODUCTION AND PROMOTION Recipient Project Format Amount ($) One Shot: An Image and An Attitude Documentary Farmhouse Films 50,000 (Finishing costs) feature Documentary PVI Collective Hotel Coolgardie (Finishing costs) 50,000 feature Looking for Grace (International Taylor Media Feature film 50,000 marketing campaign contribution) Looking for Grace (French subtitling Cinema Des Antipodes Feature film 3,967 costs) An Accidental Solider (French subtitling Cinema Des Antipodes Feature film 4,054 costs) TOTAL 158,021
SCREEN CULTURE Recipient Project Amount ($) Revelation Perth Revelation Perth International Film Festival 2016 95,000 (1) International Film Festival Inc Geographe French Australian CinefestOZ 2016 95,000 (2) Festivals Geographe French Australian CinefestOZ 2016 National Publicist 20,000 (3) Festivals Flickerfest Flickerfest 2016, WA Tour 8,500 TOTAL 218,500 1. Includes $25,000 contribution from Screen Australia. 2. Includes $25,000 contribution from Screen Australia. 3. Includes $10,000 contribution from the South West Development Commission.
INDUSTRY EVENTS Recipient Project Amount ($) Screen Producers Australia Screen Forever Conference 2015, Melbourne 15,000 AIDC AIDC 2016, Melbourne 10,000 Creative Corner Emergence Creative Festival 2015, Margaret River 10,000 Australian Cinematographers Australian Cinematographers Society (WA) Awards 1,100 Society (WA) sponsorship, 2015 Melbourne International Film Festival - MIFF 37 South MIFF 37 South 2016 6,495 Market Film & Television Institute WA Screen Awards 2016 (28th WASA) 25,000 Various CinefestOZ 2015 China Australia Film Collaboration 65,095 Various CinefestOZ 2015 Industry day 5,856 Geographe French Australian CinefestOZ 2016 Industry day Festivals 10,750 TOTAL 149,296
TOTAL 2015-16 FUNDING COMMITMENTS 11,382,071
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APPENDIX 2 PRODUCTIONS WITH SCREENWEST FUNDING 2015-16
The following projects commenced Principal Photography (filming) in 2015-16. For animated productions, it is projects that began production during the financial year. Where a ‘traditional’ Principal Photography date is not obvious, such as for interactive projects (websites/apps) or projects using predominantly archival footage, the Principal Photography start date is taken as the date that the contract was fully executed.
Disclaimer: All information was provided to Screenwest by a representative of the production company.
DOCUMENTARY
Title of Project: Candidate Games (formerly Our Turn to Rule) Duration: 1 x 29 mins Production Company: Periscope Pictures Producers: Alice Ross, Ella Wright Director: Sam Bodhi Field Writer: Sam Bodhi Field DoP: Dave LeMay Editor: Nicholas Dunlop Broadcaster: ABC Screenwest Initiative: Documentary Production Investment Fund Synopsis: Come behind the scenes on the campaign trail, as three very different candidates battle it out for the seat of ultimate power: the comfortable chair and river views of the Lord Mayor of the City of Perth.
Title of Project: Dolphin Dynasty Duration: 1 x 48 mins, 2 x 43 mins Production Company: Sea Dog TV International, WildBear Entertainment Executive Producers: Jodie De Barros, Peter Moers, Michael Tear, Edwina Thring Producers: Jodie De Barros, Bettina Dalton Directors: Leighton De Barros, Jonathan Rowdon, Peter Moers Writers: Leighton De Barros, Jonathan Rowdon, Peter Moers DoP: Leighton De Barros, Peter Moers Editor: Jonathan Rowdon Broadcaster: National Geographic Channel, SWR Fernsehen (Germany), Arte (France) Screenwest Initiative: Documentary Production Investment Fund Synopsis: Filmed over a year, Dolphin Dynasty gives a unique insight into the complex social hierarchy, family ties and incredible maternal bonds of one small group of dolphins in Western Australia’s Shark Bay.
Title of Project: Is Australia Racist? Duration: 1 x 52 mins Production Company: Joined Up Films Producers: Jacqueline Willinge, Anthony Willinge, Dan Brown Directors: Dan Brown, Darren Hutchinson DoP: Nigel Tomkinson Editor: Simon Hill Broadcaster: SBS Screenwest Initiative: Documentary Production Investment Fund Synopsis: In this ground-breaking show, using a number of incredibly revealing methods, we’ll finally get to the bottom of this highly controversial issue… Is Australia Racist?
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Title of Project: Roger Swainston – Drawn to Water Duration: 1 x 27 mins Production Company: VAM Media Producers: Brendan Hutchens, Sharron Ashworth, Ella Wright Director: Brendan Hutchens Writer: Brendan Hutchens DoP: Jim Frater ACS with additional from Brendan Hutchens, Torstein Dyrting, Gavin Johns, Ed Cardwell Editor: Noah Norton Broadcaster: ABC Screenwest Initiative: Documentary Production Investment Fund Synopsis: Drawn to Water follows Fremantle based marine artist Roger Swainston to the picturesque town of Coral Bay, 1,200 kms north of Perth, as he embarks on his 15th year of a project that uniquely captures important underwater scenes at Ningaloo Reef.
Title of Project: Who Flew First; Challenging the Wright Brothers Duration: 1 x 48 mins Production Company: Artemis International Producers: Brian Beaton, Celia Tait Director: Tilman Remme Writers: Rob McGlynn, Tilman Remme DoP: Jason Thomas Editor: Nick Dunlop Broadcaster: ABC TV, ZDF Screenwest Initiative: Documentary Production Investment Fund Synopsis: Who was the first to fly? The Wrights, right? Wrong. Aviation historian John Brown has uncovered new evidence that will rewrite the history books.
Title of Project: Who Do You Think You Are? Retrospective Duration: 1 x 52 mins Production Company: Artemis International, Serendipity Productions Producers: Brian Beaton, Celia Tait, Robin Eastwood Director: Claire Forster Writer: Claire Forster DoP: Steven Peddie, Greg Knight Editor: Teresa Ashton-Graham, Nicholas Dunlop Broadcaster: SBS Screenwest Initiative: Documentary Production Investment Fund Synopsis: High profile Australians reflect on their Who Do You Think You Are experiences unlocking the myriad strands of Australia’s history through their personal stories.
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DOCUMENTARY SERIES
Title of Project: Antonio Carluccio’s Six Seasons Duration: 6 x 23 mins Production Company: Seaflower Holdings Producers: Marian Bartsch, Carmelo Musca Series Producers: Carmelo Musca, Richard Walley Series Directors: Richard Walley, Carmelo Musca DoP: Torstein Dyrting ACS Editor: Peter Pritchard Broadcaster: SBS Screenwest Initiative: Documentary Production Investment Fund Synopsis: A journey into the outback, into culture, into country and a modern take on Indigenous foods.
Title of Project: Aussie Gold Hunters Duration: 8 x 47 mins Production Company: Electric Pictures Producer: Andrew Ogilvie Directors: Roger Power Writers: Roger Power, Diana Pepper, Greg Colgan DoP: Riaan Laubscher, Geoff McKell, Jason Thomas Editors: Simon Hill, David Fosdick, Robin Lloyd Broadcaster: Discovery Screenwest Initiative: SuperDoc Synopsis: They’re the hard-core gold prospectors of Outback Australia and they’re on a mission to strike it rich!
Title of Project: Characters of Broome (Series 2) Duration: 3 x 25 mins Production Company: Ramu Productions Producer: Jodie Bell Director: Kimberly West Writers: Dorothy West DoP: Michael Torres Editors: Nigel Abbott, Mark Cochrane Broadcaster: NITV Screenwest Initiative: Indigenous Low Budget TV Production Synopsis: Broome locals share their stories and give an intimate look at this famous multicultural pearling town.
Title of Project: Family Rules Duration: 6 x 26 mins Production Company: Metamorflix Series Producer: Gillian Moody Co-executive Producer: Karla Hart Producer: Renee Kennedy Field Directors: Karla Hart, Claire Leeman Writers: Dena Curtis, Renee Kennedy DoP: Murray Lui Editors: David Fosdick, Meredith Watson-Jeffrey, Roland Smith Broadcaster: NITV
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Screenwest Initiative: Documentary Production Investment Fund Synopsis: A deep access documentary series about what it takes to raise nine daughters in a modern world – in their household Family Rules!
Title of Project: Islands of Australia Duration: 3 x 46 mins Production Company: Prospero Productions Producer: Julia Redwood, Ed Punchard Directors: Ian Leese Writers: Ian Leese DoP: Uli Krafzik Editors: Laurie Silvestrin, David Langlands Broadcaster: Seven Networks, ITV UK Screenwest Initiative: SuperDoc Synopsis: On a stunning odyssey around Australia, acclaimed actor and comedian Martin Clunes embarks on a spectacular exploration of the islands that make up Australia's floating necklace. Circumnavigating the continent's coastal waters, Martin's journey will take him from pristine wilderness, through the myths of its oldest peoples, to time of colonisation exploitation and profound change. From palm-shaded paradise to penal wilderness, these are the Islands of Oz.
Title of Project: On the Tracks Duration: 1 x 44 mins Production Company: Prospero Productions Producer: Julia Redwood, Ed Punchard Series Producer: Chris Blackburn Directors: Alison James Writers: Chris Blackburn Editors: David Langlands, John Carozzi, Meredith Watson-Jeffrey Broadcaster: Discovery Australia, Discovery UK, Discovery Europe Screenwest Initiative: SuperDoc Synopsis: On The Tracks explores just what it takes to transport ever-growing numbers of passengers and crucial resources across one of the most extreme and hostile places on the planet. In a wild frontier world of blistering heat and vast distances, an army of workers toil day and night to keep the nation’s lifeblood flowing. On the Tracks gives an unmatched insight to Australia's rail operators, showing them to be global leaders in heavy haul rail freight.
Title of Project: Outback Truckers (Series 4) Duration: 13 x 44 mins Production Company: Prospero Productions Producer: Julia Redwood, Ed Punchard Series Producer: Eliot Buchan Writers: Eliot Buchan Editors: Meredith Watson-Jeffrey, Roland Smith, Alan Iverson Broadcaster: Seven Network, Discovery UK, Discovery Europe Screenwest Initiative: SuperDoc Synopsis: Outback Truckers 4 presents a fascinating insight into the lives of Australian men and women in the trucking industry. These truckers battle the odds to deliver vital materials to the four corners of this vast, harsh and unforgiving continent.
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Title of Project: Outback Pilots Duration: 8 x 44 mins Production Company: Prospero Productions Producer: Julia Redwood, Ed Punchard Directors: Russell Vines Writers: Russell Vines Editors: Andre Petret, John Carozzi Broadcaster: Seven Networks, Discovery UK Screenwest Initiative: SuperDoc Synopsis: Outback Pilots enters the extreme world of the “bush pilots” who risk their lives to help remote farmers, industries and communities spread across the vast wilderness of the Outback. An 8 x 1 hour observational documentary, this character driven film captures the daily dramas of a wide variety of outback pilot jobs and provides an insight into the vital role they play in the survival of rural Australia.
Title of Project: Shaun Micallef's Stairway To Heaven Duration: 3 x 52 mins Production Company: Artemis International Producers: Brian Beaton, Celia Tait, Russell Vines, Shaun Micallef Director: Russell Vines Writers: Russell Vines, Shaun Micallef DoP: Torstein Dyrting Editor: John Carozzi Broadcaster: SBS Screenwest Initiative: Documentary Production Investment Fund Synopsis: Comedian Shaun Micallef adventures into worlds of extreme faith exploring spirit healing psychic surgery, Mormon prophets and polygamists, and Born Again doomsday preppers convinced that the end is nigh, on a quest to find the meaning of life itself.
Title of Project: Surfing the Menu: The Next Generation Duration: 13 x 26 mins Production Company: Noma Films Executive Producers: Marian Bartsch, Lance Reynolds Producers: Marian Bartsch, Lance Reynolds Directors: Mick de Montignie Writers: Alun Bartsch DoP: Jim Frater ACS Editors: Noah Norton Broadcaster: ABC, Discovery Asia Screenwest Initiative: Documentary Production Investment Fund Synopsis: Surfing the Menu: The Next Generation explores narratives of sustainability, passion, pollution, and indigenous cultural beyond stereotypes, taking viewers on a healthy living journey with two presenters: marine biologist Haydon Quinn and health science consultant Dan Churchill who together will bring the viewer a new understanding and fresh perspective on how we can live a greener, cleaner, healthier life while exploring the richness of places and people that Australia uniquely offers.
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Title of Project: Testing Teachers (working title) Duration: 3 x 52 mins Production Company: Screentime with VAM Media Executive Producer: Jennifer Collins Producers: Anita Jorgensen, Brendan Hutchens Director: Brendan Hutchens Writer: Brendan Hutchens DoP: Jim Frater ACS and shooter/producers Brendan Hutchens and Chad Peacock (WA Content) Editor: Nick Dunlop Broadcaster: SBS Screenwest Initiative: Documentary Production Investment Fund Synopsis: Testing Teachers (working title) follows six first-time teachers, over twelve months and across three schools, as they confront Australia's education gap head on, in what could be the most challenging year of their lives.
TV DRAMA
Title of Project: The Legend of Gavin Tanner Duration: 1 x 30 mins television pilot Production Company: Mad Kids Producer: Lauren Elliott Director: Henry Inglis, Matt Lovkis Writers: Henry Inglis, Matt Lovkis DoP: Dave Le May Editors: Gabe Dowrick Broadcaster: ABC Screenwest Initiative: Drama Production Investment Fund Synopsis: The misadventures of Gavin Tanner, a small-time criminal, footy fanatic and wannabe hero who thinks he’s the biggest legend in Balladeen. He is sorely mistaken.
Title of Project: Top Knot Detective Duration: 5 x 5-7 mins web series, 1 x 75 mins tele-feature Production Company: Blue Forest Media Producer: Lauren Brunswick Directors: Aaron McCann, Dominic Pearce Writers: Aaron McCann, Dominic Pearce DoP: AJ Coultier Editors: Steven Hughes, Dominic Pearce Broadcaster: SBS2, SBS on Demand Screenwest Initiative: Digital Market Partner Initiative Synopsis: The greatest 90s Japanese samurai series you’ve never seen.
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DOCUMENTARY - ONLINE BROADCAST
Title of Project: Ian Strange: Home – Suburban Interventions Duration: 6 x 5 mins Production Company: Transmedia For Change Producers: Amanda Morrison, Brooke Silcox Director: Ian Strange Writer: Ian Strange DoP: Dominic Pearce, Pete Maiden, Cale Boys, Sam Winzar, AJ Coultier Editor: Dominic Pearce Broadcaster: Online Screenwest Initiative: Digital Market Partner Initiative Synopsis: Artist Ian Strange reflects on his upbringing in the suburbs of Perth, Western Australia and how it has informed his international practice on the iconography of suburbia and home.
DRAMA – ONLINE BROADCAST
Title of Project: DAFUQ? Duration: 6 x 15 mins Production Company: Mad Kids Producer: Lauren Elliott Directors: Matt Lovkis, Henry Inglis Writers: Matt Lovkis, Henry Inglis DoP: Ben Berkhout Editor: Antony Webb Broadcaster: ABC iView Screenwest Initiative: Digital Market Partner Initiative Synopsis: DAFUQ? is a satirical mockumentary series following three smug and earnest young reporters, as they investigate contemporary issues not covered by the mainstream media.
SHORT FILM
Title of Project: Nobody’s Child Duration: 1 x 10-12 mins Production Company: Factor 30 Films Executive Producer: Melissa Kelly Producer: Jaclyn Hewer Director: Celeste Franklin Writer: Celeste Franklin DoP: Patrick O'Sullivan Editors: Beckett Broda, Brett Hamilton, Dustin Henning Screenwest Initiative: Indigenous Short Drama Development and Production Synopsis: A young girl finally finds a path to her estranged father only to discover she already has all the family she needs.
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FEATURE FILM
Title of Project: Hounds of Love Duration: 1 x 105 mins Production Company: Factor 30 Films Producer: Melissa Kelly Director: Ben Young Writer: Ben Young DoP: Mick McDermott Editor: Merlin Eden Screenwest Initiative: West Coast Visions Synopsis: In the Perth summer of 1987 Vicki Maloney is randomly abducted from a suburban street by a disturbed couple. As she observes the dynamics between her captors she realises she must drive a wedge between them if she is to survive.
Title of Project: A Few Less Men Duration: 1 x 90-100 mins Production Company: AFLM Gorean Productions Producers: Tania Chambers, Laurence Malkin, Share Stallings Co-Producer: Daniel Findlay Director: Mark Lamprell Writer: Dean Craig DoP: Steve Arnold Editor: Marc van Buuren Screenwest Initiative: Drama Production Investment Fund Synopsis: In the sequel to the worldwide hit A Few Best Men, David, Tom and Graham must transport their mate’s coffin to a relative in Perth after a forced plane landing strands them in the middle of Western Australia.
Title of Project: Bad Girl Duration: 1 x 86 mins Production Company: George Nille & Co Producer: Tenille Kennedy, Steve Kearney, Bruno Charlesworth Director: Fin Edquist Writer: Fin Edquist DoP: Gavin Head Editor: Simon Njoo Screenwest Initiative: Drama Production Investment Fund Synopsis: Bad girl Amy must fight to save her adoptive parents from their estranged and vengeful blood daughter Chloe.
Title of Project: Breath Duration: 1 x 100 mins Production Company: Breath Films (Gran Via Productions, See Pictures, Windalong Films) Producers: Jamie Hilton, Mark Johnson, Simon Baker Director: Simon Baker Writers: Tim Winton, Peter Duncan, Gerard Lee, Simon Baker DoP: Marden Dean Editor: Dany Cooper Screenwest Initiative: Drama Production Investment Fund Synopsis: Breath is a story about youthful recklessness and the lengths to which we will go, against our better judgment, to avoid feeling ordinary. Bruce ‘Pikelet’ Pike is a boy growing up in Sawyer, a small, charmless
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coastal town. Together with his unlikely friend Loonie, a shameless daredevil, the boys discover the adrenaline rush of surfing and fall under the spell of an enigmatic big-wave surfer named Sando, who takes the boys under his wing and challenges them to take on bigger risks and ride waves beyond their control. As the boys mature into adolescence, each discovers his own longings and limits, and the rift that develops between them threatens to push each toward self- destruction. Breath stars Simon Baker (The Mentalist, The Devil Wears Prada) as Sando, and marks his feature directing debut.
Title of Project: Jasper Jones Duration: 1 x 101 mins Production Company: Bunya Productions, Porchlight Films Executive Producer: Rebecca O’ Brien, Paul Wiegard, Liz Watts, Anita Sheehan, Greer Simpkin, Craig Deeker Producer: Vincent Sheehan, David Jowsey Co-Producer: Colin McCumstie Director: Rachael Perkins Writers: Shaun Grant, Craig Silvey DoP: Mark Wareham Editor: Veronika Jenet Synopsis: Based on the best-selling novel, Jasper Jones is the story of Charlie Bucktin, a young bookish boy living in a small town. One night, local mixed-race outcast Jasper Jones appears at Charlie’s window and the pair embark on a journey to solve a mystery that will consume the entire community.
Title of Project: OtherLife Duration: 1 x 95 mins Production Company: Other Life Films Producers: Jamie Hilton, Michael Pontin, Aidan O' Bryan, Janelle Landers Director: Ben C Lucas Writers: Ben C Lucas, Kelley Eskridge, Gregory Widen DoP: Dan Freene Editor: Leanne Cole Synopsis: Drama Production Investment Fund Ren Amari lost her brother during an accident on holidays. Since then she has devoted her genius to creating a drug that will heal your emotional wounds by replacing your bad memories with good ones. As new players become involved in the real world business of developing such a substance, she watches her best intentions being turned into cheap thrills for a mass market. She is forced to test its ultimate application; a virtual prison program which gives criminals the memory of hard time. Ren must escape the clutches of these subversive forces and escape her own virtual prison to stop the drug before it is released to a world that doesn’t need another opiate.
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FEATURE DOCUMENTARY
Title of Project: Whiteley Duration: 1 x 90 mins Production Company: Northern Pictures in association with El Goblin Producer: Sue Clothier Executive Producers: Sue Clothier, Andrew Mackie, Richard Payten, Megan Young Co-Producers: Peta Ayers, James Bogle Director: James Bogle Writers: James Bogle, Victor Gentile DoP: Jim Frater ACS Editor: Lawrie Silvestrin ASE Screenwest Initiative: Documentary Production Investment Fund Synopsis: Despite some small inroads into the British Pop scene by such Australian bands as The Easybeats in the mid-60s, in truth our first genuine international rock star was a contemporary artist who by 1962 was already making headlines in the magazines of swinging London. Nearly a quarter century after his squalid death, there has never been anyone like Brett Whiteley in the history of Australian art. His brief dazzling life was as erratic, combustible and preposterous as it was tragic.
Title of Project: Harmony Duration: 1 x 90 mins Production Company: Vue DC, Vue Anima, Vue Producers: Alan Lindsay, Helen Clucas Director: Alan Lindsay Writer: Alan Lindsay DoP: Alan Lindsay Screenwest Initiative: Documentary Production Investment Fund Synopsis: A 20 month saga of negotiation, obsession and passionate protagonists revealed through the West Australian Symphony’s pairing with the internationally famous China Philharmonic Orchestra as they work together to keep the giant cost-engines of the orchestras fed and to perform a combined 300 strong work recognised as both a ‘defining human statement for its century’ and a curse for conductors and orchestras that fail to live up to its expectations.
INDIGENOUS COMMUNITY STORIES (ICS)
Name of Story: Walking Tracks Back Home - The Journey of Bigali Hanlon Coordinator: Phil Davies Director: Mitch Torres Camera: Simon Akkerman Sound: Richard Hubbard Location: Pilbara, Perth metro, Mulga Downs, Roebourne Screenwest Initiative: Indigenous Community Stories Synopsis: In 1947, when Bigali Hanlon was six years old, she was bundled into a car and taken away from her Aboriginal family who lived at Lang Hancock’s station, Mulga Downs, purchased soon after by Lang Hancock. She was ‘stolen’ as part of the Australian Government’s racist policy that justified it by saying it was ‘for her own good’. Nowadays Bigali is a respected Elder in her community of Roebourne (Leramugadu), and oversees her family’s participation in the annual Yindjibarndi law ceremonies and Native Title
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negotiations. She strongly advocates for Indigenous economic, social and environmental independence and self-sustainability. This story details her remarkable journey.
Name of Story: Kira Kiro Art Centre - Kalumburu Artists Coordinator: Phillipa Jahn Director: Jub Clerc Camera: Jason Thomas Sound: Owen Hughes Location: Kulumburu, North West Kimberley Screenwest Initiative: Indigenous Community Stories Synopsis: The community of Kalumburu is one of the most remote communities in the Kimberley. The Art Gallery of WA, as part of its ‘Desert River Sea- Kimberley artists Then and Now’ program, profiles the Kira Kiro Kalumburu Art Centre and five senior women artists. These include Lily Keredada, Mary Theresa Tailor, Mary Punchi Clement, Gwen Clarke and Betty Bundamurra. The Art Centre provides a strong cultural centre for the community and coordinates exhibitions, art awards and public art projects in which the artists translate their traditional skills and knowledge into contemporary artworks.
Name of Story: Gunada Band Coordinator: Cath Borthwick Director: Mitch Torres Camera: Mark Jones Sound: Petris Torres Location: Broome, West Kimberley Screenwest Initiative: Indigenous Community Stories Synopsis: In the late 1980s, two Broome-based musicians broke new ground and formed an original music band with non-Indigenous musicians from England, Malaysia, Germany and Australia. The Gunada Band promoted Broome’s cultural diversity and strengthened its cultural identity. It developed a strong following. This story sits alongside that of other Broome bands such as Scrapmetal Band and the Broome Beats. The Gunada Band story is told by surviving band members including Arnhem Hunter, Wayne Barker, Bob Wright, Ben Raja and Guy Ghouse.
Name of Story: Laurel Nannup Coordinator: Leanne Woods, Brett Nannup Director: Mitch Torres Camera: Simon Akkerman Sound: Alex Wilson Location: South West Screenwest Initiative: Indigenous Community Stories Synopsis: Laurel was born at the Carrolup Native Settlement, WA in 1943. Her Aboriginal Clan group is Binjareb. She grew up on the Pinjarra Reserve and then at Wandering Mission where she stayed until she was 16, and where she worked as a domestic servant. Laurel also worked as a House Mother at the Pallotine Mission at Riverton. Laurel studied printmaking at Curtin University and has become a highly regarded artist. She recalls childhood experiences and events through her art and illustrations. Her work is represented at the Art Gallery of WA, the Australian National Gallery and the Berndt Museum. She has also written a book called ‘A Story to Tell’ (published by UWA Publishing).
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Name of Story: Moola Bulla Stories Coordinator: Mark Bin Barker Director: Paul Roberts Camera: Rodney Stratton Sound: Petris Torres Location: East Kimberley Screenwest Initiative: Indigenous Community Stories Synopsis: Moola Bulla was gazetted as an Aboriginal Reserve in 1920 and run as a cattle station and developed by Aboriginal people, including those who chose to live there and those from the 1930s who were rounded up and interned there. In 1955 the state government de-gazetted Moola Bulla and sold it to a NSW pastoralist for $200,000. By then it had fencing, windmills and other infrastructure and 20,000 head of cattle. Currently it is owned by a South African company, which bought it for $18 million ten years ago, and runs 60,000 head. Gina Reinhart is now negotiating to purchase the station. Jack Trust, Sam Lovell and Ernie Sarah and Biddy Trust tell this story from their own experiences and the effects of when the station was shut down in 1955.
Name of Story: Vernon Gerrard Coordinator: Clare Wood Director: Jub Clerc Camera: Jason Thomas Sound: Owen Hughes Location: North West and East Kimberley Screenwest Initiative: Indigenous Community Stories Synopsis: This is the life story of 93 year old Mirriwoong Elder Vernon Gerrard, born in Wyndam - a story of ‘survival, hard work and resistance’. Vernon was an unfortunate witness to what is known as the ‘Forrest River Massacre’ near Oombulgarri when he was a young boy. Vernon will also tell his story of work on pastoral stations and in building the townships of Kununurra and Wyndham - his bush and hunting skills and horsemanship.
Name of Story: Paul Hansen – Legendary Noongar Warrior Coordinator: Tina Pickett Director: Mitch Torres Camera: Alex Wilson Sound: Simon Akkerman Location: Perth metro Screenwest Initiative: Indigenous Community Stories Synopsis: Paul Hansen joined the Australian Royal Army Service in 1970. His story is about survival, and his personal journey of pain, trauma, and healing once he returned home. As a young man in the 1970s he coped with post- traumatic stress disorder and many other challenges. It was with the support of his family, that he pushed through his pain to achieve recognition and to live a rewarding life.
Name of Story: The Dabb Family Coordinator: Julie Dabb Director: Dennis Simmons Camera: Simon Akkerman Sound: Richard Hubbard Location: Great Southern Screenwest Initiative: Indigenous Community Stories
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Synopsis: The ancestors of Joe Dabb (Dabungool), who met the first settlers at Lucky Bay, tell their family history of first contact, and retell his meeting with John Dempster, who he saved from drowning. The Dabb family will travel to significant sites and explain the bush tucker and bush medicine of the area. They will also tell important Dreaming stories of the region including Marndoo Boornup-the Eagle who flew from the desert and is the protector of the Shell People.
Name of Story: Cedric Jacobs Coordinator: Jane Davies Director: Karla Hart Camera: Simon Akkerman Sound: Andy Parnell Location: South West, Perth Screenwest Initiative: Indigenous Community Stories Synopsis: Cedric and his two brothers were stolen generation and taken to Mogumber mission. Cedric has gone onto become a strong leader and gained University qualifications. This story reflects on his vision and many achievements, told by him and those he has influenced, including his family members.
Name of Story: Shirley Thorne Coordinator: Michelle White Director: Jub Clerc Camera: Jason Thomas Sound: Richard Hubbard Location: Cue, Murchison Screenwest Initiative: Indigenous Community Stories Synopsis: The story of the sacred women’s birthing sites in Wajarri country. It spans five generations, from the great, great grandmothers who were bush midwives delivering babies on country, to modern day births. The stories will preserve important historical and cultural information for future generations and demonstrate how birthing culture has survived the introduction of western birthing ideologies and practices.
Name of Story: Bruce Thomas Coordinator: Lesley Woods Director: Lincoln MacKinnon Camera: Simon Akkerman Sound: Owen Hughes Location: Pilbara, Yarrie Station, Strelie Community, South Hedland Screenwest Initiative: Indigenous Community Stories Synopsis: Bruce Thomas is a respected Ngangumarta Elder who has played a key role in the recording and documentation of traditional languages of the Pilbara. He is the Chairperson of the Wangka Mya Language Centre in South Hedland. Bruce is a singer and dancer with a passion for passing on knowledge. He will record traditional songs and the stories and dances that accompany them, for future generations.
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Name of Story: Goreng People Coordinator: Gemma Gaze Director: Karla Hart Camera: Simon Akkerman Sound: Richard Hubbard Location: Southwest, Gnowangarup Screenwest Initiative: Indigenous Community Stories Synopsis: This story captures the experiences of the Goreng people living on the Gnowangerup Reserve (1926-1935), the transition to life in the Mission (1935-1964), and the transition back to town into the 1960s. It includes the relationship with the townspeople, farmers and other Noongar people; the challenges and the good times.
Name of Story: Betty Lockyer Coordinator: Skye Richmond, Michelle Broun Director: Jub Clerc Camera: Jason Thomas Sound: Petris Torres Location: Broome, Beagle Bay Screenwest Initiative: Indigenous Community Stories Synopsis: Betty Lockyer (nee Wright) was born in Beagle Bay at the time of the WWII Japanese air bombings on the Kimberley coast in 1942. Betty will share her childhood stories and experiences of growing up in the mission and in Broome. Stories include being sent away to boarding school at St Brigid’s; the first Aboriginal child from the Kimberley - which opened the door for many others to follow.
Name of Story: Alf Taylor Coordinator: Professor Dennis Haskell Director: Irma Woods Camera: Simon Akkerman, Riann Laubscher Sound: Richard Hubbard, Owen Hughes Location: Perth, Guildford, Fraser Ranges, New Norcia Screenwest Initiative: Indigenous Community Stories Synopsis: Alfred Taylor is a member of the Stolen Generation. Removed from his family and placed at New Norcia. His father died whist he was interned there. As a teenager, he escaped to find his mother. Alf overcame alcoholism mainly through writing. He has many tales to tell, and is now an accomplished published poet and writer, finding strength in creative expression.
Name of Story: Teresa Walley Coordinator: Jonothan Ford Director: Mitch Torres Camera: Pete Gleeson Sound: Richard Hubbard Location: Kwinana Screenwest Initiative: Indigenous Community Stories Synopsis: Teresa Walley is a well-known and respected Noongar Elder. She was born in Kellerberrin in 1937. However, she was removed from her parents at a young age and sent to Carrolup Native Settlement near Katanning. Several years later she was shifted to New Norcia and from there to East Perth Girls home. Teresa tried to maintain contact with her family and culture and after training as a domestic eventually found her
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family and settled in the Peel region where she met her husband and raised her family. Teresa has strong cultural knowledge and stories of many significant sites in Noongar country. Theresa has maintained her culture through oral history and has published four books in Noongar language and is a recognised painter.
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