Screen Producers Ireland Ltd.
Submission to Department of Finance Consultation
Review of Section 481 Film Relief
Date: August 31st 2012
Table of Contents
1. Table of Contents ……………………………………………………………………………………...………………….Page 1
2. About Screen Producers Ireland …………………………………………………………………...………………Page 2
3. Executive Summary…………………………………………………………………………………..……….………….Page 3
4. Q1. Is the exchequer’s support to the film and TV sector in Ireland through Section 481 relief an efficient use of scarce resources and if so why?...... ………………….…………………..…….Page 4
5. Q2. Is the current scheme maximising economic benefits to Ireland in terms of stimulating activity in the film and TV sector? If not, why not? ……………………………….……………………….Page 6
6. Q3. What are the economic arguments for restricting or terminating the scheme? ………Page 7
7. Q4. What possible changes to the existing scheme, if any, should be considered and why?...... Page 7
8. Q5. Do interested parties agree that there is merit in extending Section 481 Film Relief Tax incentive scheme beyond 2015? If yes,why? If no, why not?...... Page 8
9. Q6. How does the scheme interact with other enterprise tax incentives such as BES/EII?...... Page 9
10. Appendix 1 …………………………………………………………………………………………………………………….Page 10
11. Appendix 2…………………………………………………………………………………………………………………….Page 11
12. Appendix 3…………………………………………………………………………………………………………………….Page 12
13. Appendix 4…………………………………………………………………………………………………………………….Page 13
14. Appendix 5…………………………………………………………………………………………………………………….Page 14
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About Screen Producers Ireland
Screen Producers Ireland (SPI) is the representative organization for over 140 independent film, television and animation production companies in Ireland, active in all genres from feature film, documentary, TV drama and animation to factual, entertainment, lifestyle, sports, young people’s and children’s programming.
SPI promotes the commercial interests of its members with the relevant state, semi-state and private bodies negotiating a variety of issues that are key to the success of the sector. We also communicate the collective views of production companies to Government and industry bodies at national and European level.
On behalf of its members, SPI negotiates Terms of Trade with the national public service broadcasters, we negotiate collective agreements with the unions representing crew working in film and TV drama, we provide advocacy and information services to members and facilitate initiatives that will make a practical contribution to the development of members’ businesses.
SPI liaises with agencies such as Enterprise Ireland and the IFB to promote the Irish film and TV industry abroad. We have links to a network of international producer representative associations and are members of the European Co-ordination of Independent Producers (CEPI).
Programming made by SPI members remains a large portion of the primetime schedule of Irish broadcasters particularly RTE and TG4 and increasingly TV3. Content produced and co-produced by SPI members continues to gain international recognition and awards.
Screen Producers Ireland 77 Merrion Square Dublin 2 www.screenproducersireland.com
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Executive Summary
A fiscal incentive such as Section 481 is necessary if Ireland’s film and TV industry is to continue to thrive because those countries with which Ireland competes have similar or comparable incentives.
Ireland has a long history of supporting its film industry dating back to 1980. Section 481, in its current form, was first introduced in 1993. Since then the Irish film and TV sector has evolved into a vibrant industry with a sophisticated infrastructure of production companies, studios, service companies and personnel, all of which provide valuable employment in the Irish economy.
The UK, Hungary, Luxembourg, Germany, the Czech Republic, Canada, Australia, New Zealand and South Africa are some countries that now provide attractive incentives. In addition, within the US, individual states are introducing incentives in order to try and draw production activity away from the most dominant and traditional location of California.
Along with Ireland, these countries and states recognize the economic and ancillary benefits that film and television production activity brings to their territory.
Since it was first established, Section 481 has been analyzed, scrutinized, comprehensively commented on and revised. There were reviews in 1995, 1998, 1999, 2003 and 2007. It is acknowledged in all reports that the Section 481 incentive is critical to the continuation of the film and television industry in Ireland.
As early as 1980 it was recognized by the then Minister sponsoring the Film Board Act that the development of Irish producers was key to the development of the industry. It was also recognized by the then Chairman of the Film Board that an administrative and financial support system and the involvement of the private sector were critical.
The 1999 report entitled “The Strategic Development of the Irish Film and Television Industry 2000 - 2010” elaborated on the need for producers, in order to create a sustainable industry. A tax incentive such as Section 481 facilitates the development of entrepreneurial producers in a way that a state subsidy system does not as subsidy systems tends to weaken their negotiating power and limit their skill set.
There is no evidence to suggest that terminating or restricting the scheme would be beneficial to the Exchequer. On the contrary, such actions would result in significant job losses, both directly and indirectly and would have negative knock on effects to tourism potential and the image of Ireland abroad.
In addition, in the growth area of high-end television drama, broadcasters and financiers will not consider funding television series unless options for recurring series can be obtained up front. Financiers will not invest in a first series without the guarantee of being able to shoot future series which may span several years, on a pre-agreed production financing model. Therefore, given the nature of the business, providing certainty to 2020, through the extension of Section 481, is critical.
Considering the current economic climate, there has never been a more crucial time to maintain Section 481 in order to continue to support the entrepreneurs within the film, television and animation industries in Ireland who continue to attract inward investment and provide a net economic benefit to the State through the efficient use of Section 481.
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Q1. Is the exchequer's support to the film and TV sector in Ireland through Section 481 relief an efficient use of scarce resources and if so why?
The exchequer’s support to the film and TV sector in Ireland through Section 481 relief is an efficient use of scarce resources for the following reasons:
1) The film, TV and animation industry in Ireland, supported by Section 481, yields a net gain to the Exchequer.
The cost to the Exchequer of Section 481 is the tax foregone on Section 481 investments. IBEC calculate the gross Section 481 finance for 2011 at €110 million1 and the tax foregone at €45.1 million.
Returns to the Exchequer are derived from incomes and expenditure generated directly and indirectly by the audiovisual industry. In 2011 direct tax receipts were €21.4 million, comprising of €10 million from PAYE/PRSI, €10 million from schedule D and €1.4 million from VAT and Corporation Tax. Indirect tax receipts are estimated to have amounted to €31.9 million, giving a total of €53.3 million in receipts.
Thus the net benefit to the Exchequer in 2011 was receipts of €53.3 million less the tax foregone of €45.1 million yielding a net gain of €8.2 million. The comparative figure for 2010 was €9.5m.
Appendix 1 shows the Calculation of Net Benefit to the Irish Exchequer from 2007 - 2011.
2) The film, TV and animation industry, supported by Section 481, provides significant employment in Ireland.
In 2011, IBEC calculate a total of 13,1682 people were directly employed on independent productions in Ireland. These jobs are high-quality jobs generally earning well in excess of the average industrial wage. This figure does not include direct employment generated through the expenditure of €80.8 million on Irish goods and services and indirect employment generated through the multiplier effects of the total expenditure in Ireland of €156 million.
The full time equivalent jobs provided by the industry in the year 2011 is 1,8593 and represents an increase of 164 on the 2010 full time equivalent jobs figure.
In the current economic climate, there are few industries that can show growth in job numbers. This clearly illustrates the potential for further growth in the sector which was set out in the Creative Capital Report 20114.
Appendix 2 which shows employment figures between 2007 and 2011 provides further analysis.
3) The film, TV and animation industry in Ireland, supported by Section 481, attracts significant mobile inward direct investment to Ireland.
Section 481 allows Irish producers to attract valuable inward direct investment to Ireland.
1IBEC Draft Audiovisual Federation Review 2012 2IBEC Draft Audiovisual Federation Review 2012 3IBEC Draft Audiovisual Federation Review 2012 4Creative Capital Building Ireland’s Audiovisual Creative Economy-A report prepared for the Minister for Arts, Heritage and the Gaeltacht by the Audiovisual Strategic Review Steering Group April 2011 4 | P a g e
Recognizing the value of audiovisual production and its mobility, most European countries and many other countries in the developed world, provide tax incentives for production. Without an incentive, it would prove practically impossible to attract productions to Ireland thereby losing this valuable source of revenue to the economy.
In addition, in the absence of an incentive many indigenous Irish productions would move to Northern Ireland or other overseas territories, in order to access available incentives. The likely effect is a dramatic contraction of the audiovisual industry in Ireland and in numbers employed in the sector.
Appendix 3 shows total and Irish expenditure figures between 2008 and 2011.
4) The sector significantly contributes to tourism influencing 20% of tourists who visit the country to choose Ireland as their destination.
Film and television productions made in or about Ireland are a valuable cultural export with the ability to reach substantial global audiences.
In 2010, over 6.1 million5 visitors came to the Republic of Ireland generating revenue inflows of €3,556 million6 and resulting in 178,0007 jobs in the tourism and hospitality industry.
In an exit survey, conducted in 20108, of tourists leaving the country, 20% of tourists indicated that films influenced their choice of Ireland as a destination.
While respondents can list multiple influences, the response to film is significant. Over the last 5 years the influence of film has increased from being the 6th, to the 4th most important factor influencing the tourist’s decision to visit Ireland.
Appendix 4 contains the Fáilte Ireland Survey and further information.
5) The continued support of the Irish film, TV and animation industry provides human capital, strategic and cultural benefits.
The last decade has seen a consolidation of the development of the Irish film and television industry and its personnel. The development of sustainable production companies, a second major film studio, top level post-production facilities and other industry service companies has ensured Irish film, TV and hi-tech animation companies can compete at a world class level and Irish crews are now highly regarded internationally. This is borne out by the amount of high-end foreign co-production activity currently taking place here.
Many actors, directors and production crews got their start on productions that would not otherwise have happened without the support of Section 481. Many have gone on to significant international success.
Appendix 5 contains a comprehensive list of awards and nominations, achieved by Irish companies and Irish talent between 2004 and 2012 and speaks for itself.
5 CSO 6 CSO 7 Fáilte Ireland Tourism Employment Survey 2010 8 Fáilte Ireland Visitor Attitudes Survey, Main Markets 2010, Millward Brown Lansdowne 5 | P a g e
The success of Irish creative achievements brings with it an intangible value for Ireland as a significant source of human capital for the creative industries.
6) The film, TV and animation sector is in keeping with other national strategies being pursued.
The existence of an active film, television and animation industry helps to position Ireland as a creative, innovative and technologically developed country in which to do business.
The industry plays a key role in supporting the vision of Ireland as a global hub for digital content production and helps carry the message overseas that Ireland is open for business.
Animation in particular has a strong skills overlap with the developing digital games industry creating a critical mass of skills. In 2012 SPI conducted a survey of 18 Irish animation companies. Over 17% of companies surveyed reported losing staff to the computer gaming sector in the past 12 months, thereby illustrating how the sector is helping develop skills and knowledge for other areas of the economy identified by Government as having potential for growth.
7) Support is necessary in a highly competitive and mobile international market.
The global market for creative audiovisual content is growing and is estimated to reach $1.7 trillion9 by 2013. It is projected to grow at a rate of 30% over the next five years. If Ireland wishes to compete for a share of this market, an incentive is necessary.
Ireland was one of the first countries to provide incentives to the film and TV industry. This has since been followed by many other countries.
For example, the UK first introduced their Film Tax Relief in 2007 and earlier this year the UK Treasury announced their intention to extend their film relief to high-end television drama, animation production and video games thereby recognizing the need for such support. It is anticipated that this extension will take place during 2013.
Without Section 481 or a similar scheme, Ireland would not be in a position to compete in this most competitive and mobile international marketplace.
Q2. Is the current scheme maximizing the potential economic benefits to Ireland in terms of stimulating activity in the film and TV sector? If not, why not?
The current scheme is very effective at stimulating activity in the film and TV sector.
i) Section 481 provides a unique structure amongst tax incentive schemes that allows for the funds to be received by the production at the commencement of principal photography. This provides for a significant advantage of this scheme over other schemes where the budget must first be raised and spent before the economic benefit of the incentive can be realized.
ii) This benefits experienced and less experienced producers alike. Post-event subsidy schemes favour larger companies which are better placed to secure the credit required to cash flow productions that are dependent in part on post-event subsidies. Section 481 does not discriminate against the experience of the producer.
9 PWC, Global Entertainment and Media Outlook 2010 6 | P a g e
iii) Traditionally banks are wary of the audiovisual sector seeing it as a high risk business. This was the case prior to the current banking difficulties which will have added to the reluctance of banks to invest in production. Section 481 encourages investment from the private sector thereby providing the film and TV sector with a valuable source of finance which would not otherwise be available. In the absence of this private source of finance the industry in Ireland would find it extremely difficult, if not impossible, to finance production.
Q3. What are the economic arguments for restricting or terminating the scheme?
The economic, employment, strategic and tourism benefits already outlined would suggest that the scheme should be continued.
The industry would largely cease to exist if Section 481 was terminated. It would have the effect of turning off a switch. One moment we would have a vibrant industry and the next it will have been uprooted to other countries where incentives are available.
When other countries are implementing similar schemes or in the case of the UK, expanding their scheme, it would make no strategic or economic sense to consider restricting the scheme which could have the effect of limiting the amount of production that might take place in the State.
Savings that might be achieved by the State terminating or restricting the scheme, would need to be quantified and considered in the context of the cost to the State of unemployment benefit that would accrue to those who would lose their jobs as a result. Should the scheme be terminated, significant job losses would be likely in production companies, animation studios, post-production facilities as well as the ancillary service companies that service the industry such as lighting, catering and transport companies.
Q4. What possible changes to the existing scheme, if any, should be considered and why?
(i) We recognize the requirement of Section 481 to include the necessity for the investors to invest at their own risk. We do not advocate the elimination of this provision. However, we submit that the measurement of the risk can be problematic if it involves judgments that are not common to all productions.
The Revenue Commissioners’ Section 481 Guidance Note for Film Producers and Promoters published in March 2009 states that amounts raised under Section 481 should be invested and made available to the production company from the outset or at the latest before 25% of the total production budget has been incurred.
Because Section 481 investments are not confined to film production companies that carry out the entirety of a production, some qualifying companies produce only part of a film and that may be post-production only. The “25% rule” is not practical for those companies with whom a contract has concluded after production has commenced. If its purpose is related to risk, it is submitted that it is no longer relevant. 7 | P a g e
(ii) Section 481(2A)(c) and Regulation 3 of the Film Regulations 2008 are disadvantageous to part production where the Irish production work relates to the later stages of a production as a Section 481 application must be made at least 21 days before the commencement of principal photography, the first animation drawings or the first model movement. They involve criteria connected to activities that may have no connection to Ireland and their removal or modification may generate the possibilities for more work for the film and TV production here.
(iii) The Finance Act 2012 introduced a provision whereby investors can no longer receive a return on their investment until the Revenue Commissioners have notified the company in writing that a compliance report has been received by them. The compliance report must include verification by the appointed auditor of the total cost of production. This information, in so far as it concerns expenditure by other parties to the production, is outside of the control of the Irish production company and consequently can be difficult to obtain. We submit that for the purposes of the Finance Act 2012 amendment, the total cost of verification should be omitted.
Q5. Do interested parties agree that there is merit in extending Section 481 Film Relief Tax incentive scheme beyond 2015? If yes, why? If no, why not?
Yes.
i) Support of the sector is consistent with the objectives of The National Recovery Plan 2011 - 2014 (Page 41 - Attracting Foreign Direct Investment) and the 2012 Action Plan for Jobs (Section 7.14.1) and their focus on potential for growth within the creative industries.
ii) In 2011 the Creative Capital report was published. The objectives of the report include doubling the value of the Irish audiovisual industry to over €1 billion within the next five years, increasing direct employment in the industry and increasing exports of Irish audiovisual production.
The first recommendation and one of the cornerstones of the report is to “Extend Section 481 to 2020” (page 28).
This is a crucial recommendation in light of the long lead-time required for film, television and animation production. From inception of a project to the first day of principal photography typically takes years - rather than months. Therefore certainty in terms of available incentives in a territory is an important factor for any producer or studio intending to locate a project in a particular territory. If uncertainty exists, that location will not be considered during the development process.
In addition, in the growth area of high-end television drama, broadcasters and financiers will not consider funding recurring television series like the “The Tudors” and “Vikings” unless options for future series can be obtained up front.
In television drama, often as many as four series options are a condition of the first commission. Financiers will not invest in a first series without the guarantee of being able to shoot future series, which may span several years, for pre-agreed production financing models, in the same location.
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Given the nature of the business, providing certainty to 2020, through the extension of Section 481, is critical.
iii) It is relevant to note that The Strategic Development of the Irish Film and TV Industry 2000-2010 Report made the following recommendation which still holds true today. “Report on the Strategic Development of the Irish Film and TV Industry 2000-2010 Recommendation 12: Extension of the Section 481 Tax Incentive Legislation must be introduced to extend an amended Section 481 tax relief for a period of not less than seven years. Reasons: There are a number of reasons for why we think this is necessary. We deal first with the reasons for extending the time horizon and then with the reasons for retaining Section 481 rather than advocating an alternative such as a grant scheme: (a) Our major reason for recommending the continuation of Section 481 for not less than seven years is about strategic commitment and strategic market signaling. Strategy is about commitment, and such a move would send a powerful signal to both the Irish and international film and investment communities, that Ireland is committed in the long term to film production; that the Irish Government is determined to build the country’s presence and strength in this industry. The present practice of three-year reviews is indicative of an ‘ad hoc’ and ‘stop-go’ approach and sends precisely the opposite signal. In making this recommendation the Review Group is reflecting Ireland’s general experience in successful industrial development; that is to say, it has been attributed rightly to the long-sighted consistency of Government industrial policies. (b) At this particular stage of development, the withdrawal of Section 481 would seriously damage the growth, stability and development of film and television production in Ireland. It would eliminate significant amounts of foreign investment. (c) The introduction at this time of any new, untried alternative funding mechanisms as an addition to or substitute for Section 481 would not be conducive to the growth and stability of the industry.”
Q6. How does the scheme interact with other enterprise tax incentives such as the BES/EII?
The scheme does not interact with other enterprise tax incentives. The production of a film within the meaning of Section 481 does not qualify for BES/EII.
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Appendix 1
Calculation of Net Benefit to the Irish Exchequer from 2007 - 2011
Calculation of Net Benefit 2007 2008 2009 10 (€ million) 2010 2011 Tax Return to the Exchequer 49.1 58.5 55.5 71.2 53.3 Tax foregone to the Exchequer 31.1 32.8 43.7 61.7 45.1 Net Benefit to the Exchequer 18.0 25.7 11.8 9.5 8.2
Source: IBEC Draft Audiovisual Federation Review 2012
10 Revised 2010 Data by IBEC 10 | P a g e
Appendix 2
Total Employment Summary 2007 -2011:
11 2007 2008 2009 2010 2011 Total Irish Employment 12,727 12,660 14,198 18,506 13,168 Equivalent Full-time 1,735 1,631 1,368 1,721 1,859 jobs Source: IBEC Draft Audiovisual Federation Review 2012.
Impact on opportunity cost of labour, deadweight and displacement
The opportunity cost of labour adjusts gross employment estimates to reflect whether employees would have found employment elsewhere. As many of the occupations in the sector such as cameramen, costume designers and art directors are highly specialised it would not be possible for them to find alternative employment in the domestic market. There are some occupations such as electricians and construction workers that have skills relevant in the broader economy but they will likely struggle to find work in the current economic climate.
Looking at deadweight there is no evidence that activity would occur in the absence of Section 481. Productions would simply move to territories where tax incentives are available. The sector would largely disappear and there would be no soft landing as inward investment would cease if the incentive were to be restricted or withdrawn.
Similarly, on displacement activity whereby the state intervention could be seen to displace other economic activity. There is no evidence that other viable businesses are being displaced by Section 481. For this to happen Ireland would need to have intrinsic competitive differentiators that would allow the business to operate without incentives.
11 Revised 2010 Data by IBEC 11 | P a g e
Appendix 3
Expenditure
Of the €326.8million combined budgets, 48% (€156million) was spent in the Irish Economy
Total Of Which: Irish Expenditure €m Type of Production €m Expenditure 2008 2009 2010 2011 2008 2009 2010 2011 Feature Films 71.9 58.6 116.7 107.0 35.4 27.8 35.3 30.3 Independent Productions & Major TV Drama 12 136.0 127.1 243.8 109.8 114.6 104.3 150.52 77.6
RTE (70.7) (49.8) (49.6) (43.2) (64.3) (104.3) (44.3) (39.4)
TG4 (22.1) (25.7) (23.9) (22.2) (19.0) (44.5) (20.5) (18.7)
TV3 (0) (1.7) (0.3) (0) (0) (22.8) (0.3) (0)
Other TV Productions (43.2) (49.9) (170.0) (44.4) (31.3) (1.4) (85.42) (19.5) Animation 38.9 57.6 29.7 110.0 17.8 35.7 20.0 48.1 Total 246.8 243.3 390.213 326.8 167.8 25.1 205.82 156.0
Source: IBEC Draft Audiovisual Federation Review 2012.
12 These Independent TV Productions are classified by the organisation which was primarily involved with the various productions. Therefore, although for example TG4 is shown to have a total expenditure of €22.2 million, some of this expenditure arose from other sources of funding for TG4 productions e.g. private finance. Similarly for RTE – other sources of funding contributed to this expenditure of €43.2million. 13 Revised 2010 data by IBEC
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Appendix 4
Table 8| Fáilte Ireland Visitor Attitudes Survey - Information Sources that Influenced Choice of Ireland
2006 (%) 2007 (%) 2008 (%) 2009 (%) 2010 (%) Friends/relatives/business 42 47 50 51 52 associates Internet 32 47 48 48 48 Guide books 18 29 28 24 28 Films 10 15 18 18 20
Other brochures/promotional 18 20 19 17 20 literature on Ireland Articles in 13 17 16 17 17 newspapers/magazines Travel Agent/Tour Operator 7 11 15 13 15 Travel programme on TV/radio 8 12 14 12 14 Irish Tourist Board literature 10 14 14 14 13 Advertising for Ireland 8 11 11 10 11 Source: Fáilte Ireland
Tourism Ireland has long recognised the value that production provides in marketing Ireland as a tourism destination.
Joint marketing strategies between tourism agencies and films are common both in Ireland and other countries.
By way of example, in August 2011, a major Bollywood movie “Ek Tha Tiger" chose Dublin as one of four key filming locations. The six week shoot centred around Trinity College, Dublin. Tourism Ireland liaised with the Indian and Irish producers prior to and during the production in order to maximise the marketing opportunity it offers. The film was released in India on August 15th 2012 and had a record breaking opening weekend box office. It is expected to reach an audience of over 90 million people in India alone. Tourism Ireland launched an advertising campaign across India to coincide with its release. This film would not have shot in Ireland without Section 481.
Switzerland has successfully extended its reach to new markets such as India on the basis of film induced tourism. Over 200 Bollywood films14 feature sequences shot in the Swiss Alpine meadows, lakes and towns In 2010 over 470,000 bed-nights’ accommodation15 were booked by Indian tourists staying in Switzerland.
In June 2012, Visit Scotland, the Scottish tourist agency, launched its biggest ever global marketing campaign working with the animated feature film “Brave” in order to promote the brand of Scotland as a family holiday destination. Working alongside Disney Pixar, Visit Scotland invested £7M in the “Brave” marketing campaign in anticipation of a 20:1 return of £140M in tourism revenue16.
14 Source: NY Times 12th July 2010 15 Source: Switzerland Tourism 16 Source: Visit Scotland
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Appendix 5 INTERNATIONAL NOMINATIONS AND AWARDS FOR IRISH COMPANIES AND IRISH TALENT
Year Award / Festival Category Production Title Irish Link
2012 Academy Awards, USA Best Live Action Short Film* Pentecost Directed by Peter MacDonald
Produced by Eimear O'Kane
Best Live Action Short Film The Shore Directed by Terry George
Best Make- Up Albert Nobbs Lynn Johnson
Produced by Parallel Films
Best Actress in a Leading Role: Glenn Close* Albert Nobbs Produced by Parallel Films
Best Actress in a Supporting Role : Janet McTeer* Albert Nobbs Produced by Parallel Films
Annecy Animation Film Festival Official Selection A Different Perspective Directed by Chris O Hara
The Last Train Produced by Giant Animation
Annie Awards, USA Best Animated Television Production for Children The Amazing World of Gumball Produced by Boulder Media
Berlin International Film Festival Official Selection Panorama Dollhouse Produced by Blacksheep Productions
Official Selection Shadow Dancer Produced by Element Pictures
Brooklyn Film Festival Spirit Award for Animation We The Masses Produced by Still Films
Emmy Awards, USA Outstanding Costumes for a Miniseries * Treasure Island Lorna Marie Mugan
Produced by Parallel Films
Outstanding Supporting Actor in a Drama Series* Downton Abbey Brendan Coyle
Outstanding Costumes for a Series The Borgias Produced by Octagon Films
Outstanding Special Visual Effects in a Supporting Role* The Borgias Produced by Octagon Films
Outstanding Music Composition for a Series* The Borgias Produced by Octagon Films
Outstanding Hairstyling for a Single-Camera Series The Borgias Produced by Octagon Films
Outstanding Nature Programming* Broken Tail Produced by Crossing the Line Films
Outstanding Cinematography* Broken Tail Produced by Crossing the Line Films
Golden Globes, USA Best Performance by an Actress in a Motion Picture- Drama: Glenn Close* Abert Nobbs Produced by Parallel Films
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Best Performance by an Actor in a Motion Picture- Drama* Shame Michael Fassbender
Best Performance by an Actor in a Motion Picture- Comedy and Musical* The Guard Brendan Gleeson
Produced by Element Pictures
Best Performance by an Actress in a Supporting Role : Janet McTeer* Albert Nobbs Produced by Parallel Films
Best Original Song: 'Lay Your Head Down'* Albert Nobbs Produced by Parallel Films
Best Performance by an Actor on a TV Series- Drama : Jeremy Irons* The Borgias Produced by Octagon Films Palm Springs International Shortfest, USA Audience Award for Favourite Animation Short The Boy in the Bubble Directed by Kealan O'Rourke
Sundance Film Festival, USA Official Selection Shadow Dancer Produced by Element Pictures
Official Selection Grabbers Produced by Samson Films
Official Selection This Must Be The Place Produced by Element Pictures Toronto International Film Festival Official Selection What Richard Did Produced by Element Pictures
Official Selection Byzantium Directed by Neil Jordan
Official Selection Call Girl Produced by Newgrange Pictures
Official Selection Jump Produced by Blinder Films
Official Selection Men At Lunch Produced by Sónta
Official Selection A Pervert's Guide to Ideology Produced by Blinder Films
2011 Academy Awards, USA Best Live Action Short Film * The Crush Produced by Damon Quinn
Annecy Animation Film Festival UNICEF Award Santa's Apprentice Produced by Cartoon Saloon
Best TV Production The Amazing World of Gumball Produced by Boulder Media
BAFTA Best Animation The Amazing World of Gumball Produced by Boulder Media
Best Script The Amazing World of Gumball Produced by Boulder Media
Best Animation for Pre-School * Octonauts Produced by Brown Bag Films
Berlin International Film Festival Official Selection The Guard Produced by Element Pictures
Cannes Film Festival Official Selection Directors Fortnight The Other Side of Sleep Produced by Fastnet Films
Official Competition This Must be the Place Produced by Element Pictures
Cartoon Tributes European Producer of the Year Monster Animation
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Emmy Awards, USA Outstanding Original Main Title Theme Music * Camelot Produced by World 2000
Best Actor in a Mini Series or Movie* Mildred Pierce Brian F. O'Byrne
Outstanding Directing Drama Series* The Borgias Directed by Neil Jordan
The Borgias Produced by Octagon Films
Outstanding Art Direction for a Single-Camera Series* The Borgias Produced by Octagon Films
Outstanding Costumes for a Series The Borgias Produced by Octagon Films
Outstanding Cinematography for a Drama Series* The Borgias Produced by Octagon Films
Outstanding Special Visual Effects for a Series* The Borgias Produced by Octagon Films
Gemini Awards Best Dramatic Series The Borgias Produced by Octagon Films
Best Visual Effects* The Borgias Produced by Octagon Films
Best Picture Editing in a Dramatic Program or Series* The Borgias Produced by Octagon Films
Best Original Music Score for a Program or Series* The Borgias Produced by Octagon Films
Best Original Music Score for a Program or Series The Tudors Produced by World 2000
Best Visual Effects The Tudors Produced by World 2000
Best Dramatic Series* The Tudors Produced by World 2000
Best Writing in a Dramatic Series* The Tudors Produced by World 2000
Best Photography in a Drama Program or Series* The Tudors Produced by World 2000
Best Sound in a Drama Series* The Tudors Produced by World 2000 Jackson Hole Wildlife Film Festival, USA Grand Teton Award Broken Tail Produced by Crossing the Line Films
Jussi Awards, Helsinki Best Original Screen Play Lapland Odyssey Produced by Ripple World Pictures
Best Director Lapland Odyssey Produced by Ripple World Pictures
Best Feature Lapland Odyssey Produced by Ripple World Pictures Palm Springs International Shortfest, USA Best Documentary Short Collaboration Horizontale Produced by Fastnet Films
Polish Film Awards Best Editing Essential Killing Produced by Element Pictures
Best Music Essential Killing Produced by Element Pictures
Best Director Essential Killing Produced by Element Pictures
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Best Film Essential Killing Produced by Element Pictures
Sarajevo Film Festival Audience Award The Guard Produced by Element Pictures
Sundance Film Festival, USA Official Selection The Guard Produced by Element Pictures Toronto International Film Festival Official Selection Albert Nobbs Produced by Parallel Films
Official Selection Death of a Superhero Produced by Grand Pictures
Official Selection The Other Side of Sleep Produced by Fastnet Films
Official Selection The Moth Diaries Produced by Samson Films
Venice Film Festival Best Cinematographer Wuthering Heights Robbie Ryan
Best Actor Shame Michael Fassbender
2010 Academy Awards, USA Best Animated Feature Film * The Secret of Kells Produced by Cartoon Saloon
Best Animated Short Film * Granny O Grimm Produced by Brown Bag Films
Best Live Action Short Film * The Door Produced by Octagon Films
Annecy Animation Film Festival Fipresci Award Miss Remarkable and Her Career Produced by A Man and Ink
Annie Awards, USA Best Animated Feature Film * The Secret of Kells Produced by Cartoon Saloon The Rooster, the Crocodile and Best Animated Short * the Night Sky Produced by Barley Films
BAFTA, UK Best Childrens Drama * Roy Produced by Jam Media
Best Writer * Roy Produced by Jam Media
Berlin International Film Festival Official Selection Corduroy Produced by EMU Productions
British Animation Awards Best European Feature The Secret of Kells Produced by Cartoon Saloon
Cannes Film Festival Official Selection Directors Fortnight All Good Children Produced by Element Pictures
Cartoon's on the Bay, Italy Best Short Film Granny O Grimm Produced by Brown Bag Films
Cinema Tous Ecrans (CTE) Best Series Award Love/Hate Produced by Octagon Films Clermont Ferrand International Short Film Festival Official Selection A File from my Parish- 6 Farms Produced by Mayfly Films
The Polish Language Produced by Cel' Division
Emmy Awards, USA Outstanding Costumes Awards The Tudors Joan Bergin
Produced by World 2000
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Outstanding Art Direction Award The Tudors Tom Conroy
Produced by World 2000
Outstanding Cinematography* The Tudors Produced by World 2000
Outstanding Hair Styling * The Tudors Produced by World 2000
Gemini Awards Best Dramatic Series The Tudors Produced by World 2000
Best Original Music Score for a Program or Series The Tudors Produced by World 2000
Best Production Design or Art Direction in a Drama Program or Series The Tudors Tom Conroy
Best Direction in A Dramatic Series * The Tudors Produced by World 2000
Best Visual Effects* The Tudors Produced by World 2000
Golden Globes, USA Best Performance by an Actor in a Series or Motion Picture for TV* Into The Storm Brendan Gleeson
Royal Television Society, UK Best Chidlren's Drama Roy Produced by Jam Media
Sundance Film Festival, USA World Cinematography His & Hers Produced by Venom Films
Official Selection Old Fangs Produced by Cartoon Saloon Toronto International Film Festival Official Selection As If Am Not There Produced by Octagon Films
Official Selection The Pipe Produced by Underground Films
Official Selection Sensation Produced by Blinder Films
Official Selection Lapland Odyssey Produced by Ripple World Pictures
Official Selection Essential Killing Produced by Element Pictures
2009 Academy Awards, USA Best Short Film * New Boy Produced by Zanzibar Films Annecy International Animation Film Festival Audience Award The Secret of Kells Produced by Cartoon Saloon
Berlin International Film Festival Official Selection Generation 14 Plus The Secret of Kells Produced by Cartoon Saloon
Cherrybomb Produced by Octagon Films
Cartoon Forum Producers of The Year Brown Bag Films
Cartoon Movie Director of The Year Tom Moore, Cartoon Saloon
Producers of The Year Cartoon Saloon
Chicago Irish Film Festival Audience Award (Runner Award) Granny O Gimm Produced by Brown Bag Films
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Cinegael Montreal Audience Award Granny O Gimm Produced by Brown Bag Films Edinburgh International Film Festival Audience Award The Secret of Kells Produced by Cartoon Saloon
Emmy Awards, USA Outstanding Costumes Awards The Tudors Joan Bergin
Produced by World 2000
Outstanding Art Direction Award * The Tudors Tom Conroy
Produced by World 2000
Outstanding Cinematography The Tudors Produced by World 2000
Outstanding Hair Styling * The Tudors Dee Corcoran
Produced by World 2000
Outstanding Casting * The Tudors Frank and Nuala Moiselle
Produced by World 2000
Outstanding Directing for A Mini-Series, Movie or Dramatic Special* Little Dorrit Directed by Dearbhla Walsh
Outstanding Directing for A Mini-Series, Movie or Dramatic Special* Into the Storm Directed by Thaddeus O'Sullivan
Outstanding Costumes for a Mini-Series, Movie or a Special Into The Storm Consolata Boyle
Outstanding Lead Actor in a Miniseries or a Movie Into the Storm Brendan Gleeson
European Film Awards Best Animated Feature * Niko and the Way to the Stars Produced by Magma Productions
Gemini Awards Best Picture Editing The Tudors Produced by World 2000
Best Photography in a Dramatic Program or Series * The Tudors Produced by World 2000 Best Performance by an actress in a continuing leading role- Natalie Dormer * The Tudors Produced by World 2000
Best Visual Effects* The Tudors Produced by World 2000
Golden Globes, USA Best Performance in a TV Series In Treatment Gabriel Byrne
Best Performance in a TV Series * The Tudors Jonathan Rhys Meyers
Produced by World 2000
Best Performance by an Actor in a Motion Picture- Comedy and Musical In Bruges Colin Farrell
Best Performance by an Actor in a Motion Picture- Comedy and Musical* In Bruges Brendan Gleeson
Sundance Film Festival, USA World Cinema Directing Award Five Minutes of Heaven Produced by Element Pictures
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World Cinema Screenwriting Award Five Minutes of Heaven Produced by Element Pictures
Official Selection A File from my Parish- 6 Farms Produced by Mayfly Films Toronto International Film Festival Official Selection- Special Presentation Ondine Produced by Octagon Films
Official Selection Perrier's Bounty Produced by Parallel Films
Official Selection Colony Produced by Fastnet Films
Official Selection Triage Produced by Parallel Films
Official Selection Cracks Produced by Element Pictures
Tribeca Film Festival, USA Best Actor The Eclipse Produced by Treasure Entertainment
Zagreb Animation Festival Special Mention The Secret of Kells Produced by Cartoon Saloon
2008 Academy Awards, USA Best Original Song Once Written by Glen Hansard
Produced by Samson Films
Berlin International Film Festival Best Short Film Frankie Directed by Darren Thornton
Cartoon Forum Producer of The Year The Tudors Cartoon Saloon
Emmy Awards, USA Outstanding Costumes Awards The Tudors Joan Bergin
Produced by World 2000
Outstanding Casting * The Tudors Produced by World 2000
European Film Awards Best European Short Film Frankie Directed by Darren Thornton
Gemini Awards Best Performance by an Actress in a Featured Supporting Role The Tudors Maria Doyle Kennedy
Best Photography in a Dramatic Program or Series The Tudors Produced by World 2000
Best Production Design or Art Direction in a Drama Program or Series The Tudors Tom Conroy
Best Visual Effects The Tudors Produced by World 2000
Best Costume Design* The Tudors Joan Bergin
Best Direction in a Dramatic Series* The Tudors Produced by World 2000
Best Dramatic Series* The Tudors Morgan O’Sullivan
Best Performance by an Actor in a Featured Supporting Role* Sam Neill The Tudors Produced by World 2000 Best Performance by an actress in a continuing leading role- Natalie Dormer * The Tudors Produced by World 2000
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Best Performance by an Actress in a Guest Role* The Tudors Produced by World 2000
Best Picture Editing in a Dramatic Program or Series The Tudors Produced by World 2000
Best Writing in a Dramatic Series The Tudors Produced by World 2000
Golden Globes, USA Best Actor in a Motion Picture Musical or Comedy In Bruges Colin Farrell
Best TV Series Drama * The Tudors Produced by World 2000
Best Performance by an Actor in a TV Series The Tudors Jonathan Rhys Meyers Palm Springs International Film Festival Audience Award for Best Animated Short (Runner Up) Granny O Gimm Produced by Brown Bag Films Toronto International Film Festival Official Selection Kisses Produced by Fastnet Films
Official Selection A Film With Me In It Produced by Parallel Films
Tribeca Film Festival, USA Best Actress Eden Produced by Samson Films
Best Short Film New Boy Produced by Zanzibar Films
2007 Cannes Film Festival CICAE Art and Essai Cinema Prize Garage Produced by Hells Kitchen
Emmy Awards, USA Outstanding Costumes Awards The Tudors Joan Bergin
Produced by World 2000
Outstanding Original Music Main Title Theme The Tudors Produced by World 2000 Tom Conroy Outstanding Art Direction Award * The Tudors Produced by World 2000
Outstanding Casting * The Tudors Frank and Nuala Moiselle
Produced by World 2000
Sundance Film Festival, USA Audience Award for World Cinema Once Produced by Samson Films Toronto International Film Festival Official Selection Garage Produced by Element Pictures
Official Selection Kings Produced by Newgrange Pictures
2006 Cannes Film Festival, France Palme D'Or The Wind that Shakes the Barley Produced by Element Pictures Toronto International Film Festival Official Selection Ugly Duckilng and Me Produced by Magma Productions
Official Selection The Wind that Shakes the Barley Produced by Element Pictures
Official Selection True North Produced by Samson Films
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Golden Globes Best Performance by an Actor in a Mussical or Comedy * Breakfast on Pluto Cillian Murphy
2005 European Film Academy Awards Best European Short Film Undressing My Mother Produced by Venom Films
Golden Globes Best Actor in a Miniseries or TV Film Elvis Jonathan Rhys Meyers Edinburgh International Film 2004 Festival Audience Award, Best Feature Film Inside I'm Dancing Produced by Octagon Films Toronto International Film Festival Discovery Award Omagh Produced by Hells Kitchen
Tribeca Film Festival, USA Best Actor - Ian Hart Blind Flight Produced by Samson Films 2003 Edinburgh International PRE- Film Festival Best Short Film Pullin the Devil by the Tail Directed by Stephen McCollum
2004 2002 Academy Awards, USA Best Short Animation * 50 Percent Grey Produced by Zanita Films
Best Short Animation * Give Up Yer Aul Sins Produced by Brown Bag Films 2000 Berlin International Film Festival Film Festival, Germany CICAE Prize Saltwater Produced by Treasure Films
Golden Bear (Best Film) Bloody Sunday Produced by Hells Kitchen 2002 Toronto International Film Festival Discovery Award The Magdalene Sisters Produced by Element Pictures
2002 Venice Film Festival The Golden Lion (Best Film) The Magdalene Sisters Produced by Element Pictures 1998 Berlin International Film Festival Film Festival, Germany Silver Bear, Best Director The Butcher Boy Produced by Four Province Films
Directed by Neil Jordan
* = Nomination
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