Drama Report Production of Feature Films and TV Drama in Australia 2012/13 $752 Million Total Production Expenditure up 9 Per Cent on Last Year

Drama Report Production of feature films and TV drama in Australia 2012/13 $752 million total production expenditure Up 9 per cent on last year

27 Australian features $250 million

56 Australian TV dramas $372 million

14 foreign projects $130 million

Producer Offset total value $140 million

The text in this report is released subject to a Creative Commons BY licence (Licence). This means, in summary, that you may reproduce, transmit and distribute the text, provided that you do not do so for commercial purposes, and provided that you attribute the text as extracted from Screen Australia’s Drama Report 2012/13. You must not alter, transform or build upon the text in this report. Your rights under the Licence are in addition to any fair dealing rights which you have under the Copyright Act 1968 (Cwlth). For further terms of the Licence, please see http:// creativecommons.org/licenses/by-nc- nd/3.0/ Screen Australia is grateful to all those who contributed data to the compilation of this report. The data provided has been drawn from a number of sources. While Screen Australia has undertaken all reasonable measures to ensure its accuracy, we cannot accept responsibility for inaccuracies and omissions. Cover image: Redfern Now Highlights

CONTENTS

Key terms 4

OVERVIEW 5

ALL DRAMA PRODUCTION 6

Production trends 7

AUSTRALIAN FEATURE SLATE – DOMESTIC AND CO-PRODUCTION TITLES 8

Feature budget ranges 8

Sources of finance for Australian features 9

AUSTRALIAN TV DRAMA SLATE – DOMESTIC AND CO-PRODUCTION TITLES 10

Programs for adults 13

Programs for children 14

Sources of finance for Australian TV drama 15

FOREIGN PRODUCTION 16

Features 16

TV drama 16

DRAMA PRODUCTION BY LOCATION 17

Expenditure by state 17

Location of production company 17

TITLES IN THE 2012/13 SLATE 18

PDV SERVICES – FEATURES AND TV DRAMA PRODUCTION 21

METHODOLOGY 23

ABOUT THE REPORT activity in Australia and the Offset’s 20 per cent of all audiovisual production in contribution to the annual slate. Data is Australia. Other areas of activity include The Drama Report covers the production presented for the past five years, 2008/09 to documentaries, light entertainment, of feature films and TV drama programs 2012/13. commercials, music videos, corporate videos (mini-series, telemovies and series/serials) by and TV productions such as sport, news and financial year. Foreign titles are included if they are shot (or substantially shot) in Australia, or have post, current affairs. See the statistics section It reports on the operation of the Producer digital or visual effects (PDV) work carried of the Screen Australia website for details, Offset tax rebate for domestic Australian out in Australia without shooting here. www.screenaustralia.gov.au/research/ projects and official co-productions, prod_industry.aspx, and the relevant archives See page 4 for definitions of ‘Australian’, incorporating data gathered through surveys for pre-2008/09 data. and publicly available sources to give a ‘domestic’, ‘co-production’ and ‘foreign’. comprehensive view of drama production Feature films and TV dramas represent about

The Drama Report 2012/13 | Screen Australia 3 Serangoon Road

KEY TERMS

Analysis of ‘total budgets’ includes completed (they have generally been content’ test for eligibility for the visual editing, digital effects, creation all projects that started shooting issued with a Provisional Certificate). Producer Offset and may be classified of computer-generated images (CGI), during the financial year, with the full An Offset project may be either an as ‘Australian’ for the purposes film laboratory work and duplication budget allocated to the date principal eligible domestic production or an of Australian content regulations services. As such, it includes a variety photography started; budgets are not official co-production. applying to broadcasters, in most of activities that not only take place apportioned across the duration of the cases the report discusses domestic after the shoot but also during the project. This indicator is not reported ‘Non-Offset projects’ are domestic and co-production projects as a earlier stages of a project’s overall for foreign PDV-only productions as productions which for reasons combined ‘Australian’ slate. production. the Australian work may represent such as format, level of production only a small proportion of the overall expenditure or use of previous tax ‘Foreign’ productions are defined Please note: This report has been budget. incentives are not eligible for the as those under foreign creative compiled by Screen Australia’s Producer Offset. control, originated and developed by Producer Offset & Co-production Unit, As a subset of ‘total budgets’, the non-Australians. This includes foreign incorporating data gathered from amount spent in Australia is also ‘Domestic’ productions include: projects with an Australian production administration of the Offset as well as analysed; this is particularly relevant – Offset projects other than co- company operating in a service data gathered by Screen Australia’s for co-productions and foreign productions capacity. Strategy & Research Unit through productions. Again, all expenditure – non-Offset projects under contact with production companies or is allocated to the date principal Australian creative control (ie In-house productions are projects from publicly available sources. PDV photography or the date PDV work in where the key elements are by Australian TV stations, where no data is gathered through surveying Australia began rather than according predominantly Australian and independent production company is PDV companies. to the actual date of spending. Note: the project was originated and credited as producer or co-producer. this is not the same as ‘qualifying developed by Australians). This See also Methodology on page 23. Australian production expenditure’ includes projects under Australian PDV (post-production, digital (QAPE) for the purpose of the creative control that are 100 per production and visual effects) refers Producer Offset: some expenditure cent foreign financed. to those activities that create audio in Australia is not QAPE, and QAPE and visual elements for film or can include some expenditure on ‘Co-productions’ are official TV drama other than by principal Australian elements outside of co-productions (ie projects made photography, pick ups or physical Australia. QAPE is not reported here. pursuant to an agreement between elements such as sets and props, the Australian Government and the and includes animation. It also ‘Offset projects’ are projects which government of another country). refers to the manipulation of those have accessed the Producer Offset or, Because official co-productions don’t elements and includes sound and if not completed, will access it once have to pass the ‘significant Australian

4 Overview

The annual slate of feature films and TV drama productions consists of Australian titles (including official co-productions) and foreign titles that start production or post, digital and visual effects (PDV) during a given year.

DRAMA EXPENDITURE IN AUSTRALIA Rake yy Total expenditure in Australia by the yy Australian feature production was down 2012/13 drama slate was $752 million, a on last year but close to the five-year 9 per cent increase on the previous year. average. There were no co-productions Australian TV drama accounted for 50 per in the feature slate for the first time in 14 cent of expenditure, Australian feature years, while last year’s slate included two films 33 per cent and foreign activity high-budget, foreign-financed titles as well (primarily feature production) 17 per cent. as four co-productions. yy Expenditure by the Australian slate yy Foreign activity accounted for – domestic productions and official expenditure in Australia of $130 million co-productions – totalled $622 million, in 2012/13, up from $98 million last year, comprising 656 hours of TV drama (56 primarily due to the high-budget US feature titles) spending $372 million and 27 The Wolverine. Six foreign features and features spending $250 million. two foreign TV dramas started shooting in yy Australian TV drama expenditure Australia during the year, and six foreign increased by 27 per cent on the previous projects (all features) undertook PDV in year to reach the highest level on record, Australia without shooting here. and total hours increased by 19 per cent. Mini-series production continued to climb, EXPENDITURE BY LOCATION and children’s drama recorded strong yy Of total 2012/13 drama expenditure, 57 growth following a contraction over the per cent occurred in NSW, 30 per cent in previous three years. Increased investment Victoria and 7 per cent in South Australia. by the ABC contributed to growth in both children’s and adults’ drama production.

800 $744m $752m $723m $689m 700

600 Foreign $516m Features 500 TV drama 400 Australian

300 Features TV drama – Children’s 200 TV drama – for adults

100

Spend in Australia ($m) 2008/09 2009/10 2010/11 2011/12 2012/13

The Drama Report 2012/13 | Screen Australia 5 All drama production

Total expenditure in Australia by the 2012/13 drama slate was $752 million, comprising $622 million by Australian projects and $130 million by foreign productions.

Five-year summary 2008/09–2012/13

Australian Co- Total Offset1 Non-Offset2 Domestic production Australian Foreign2 Total No. Spend No. Spend No. Spend No. Spend No. Spend No. Spend No. Spend Year titles $m titles $m titles $m titles $m titles $m titles $m titles $m Annual feature slate 2008/09 24 359 14 10 36 355 2 13 38 368 13 20 51 388 2009/10 30 265 12 8 37 242 5 31 42 273 11 180 53 452 2010/11 16 91 6 2 18 55 4 37 22 92 14 31 36 124 2011/12 29 296 3 1 28 265 4 32 32 297 20 90 52 387 2012/13 n.p. n.p. n.p. n.p. 27 250 0 0 27 250 12 109 39 358 5-yr av 25 252 7 4 29 234 3 22 32 256 14 86 46 342 Annual TV drama slate 2008/09 35 252 10 81 42 320 3 13 45 333 4 1 49 334 2009/10 27 232 10 60 35 279 2 13 37 292 2 <1 39 292 2010/11 33 265 8 72 40 334 1 3 41 337 3 54 44 392 2011/12 38 226 7 68 43 n.p. 2 n.p. 45 294 5 8 50 301 2012/13 44 295 12 77 51 362 5 10 56 372 2 21 58 393 5-yr av 35 254 9 71 42 316 3 10 45 326 3 17 48 343 Total annual feature and TV drama slate3 2008/09 59 611 24 90 78 675 5 26 83 701 17 21 100 723 2009/10 57 497 22 68 72 521 7 44 79 565 13 180 92 744 2010/11 49 356 14 74 58 389 5 40 63 430 17 86 80 516 2011/12 67 522 10 69 71 n.p. 6 n.p. 77 591 25 98 102 689 2012/13 n.p. n.p. n.p. n.p. 78 612 5 10 83 622 14 130 97 752 5-yr av 60 506 17 76 71 550 6 32 77 582 17 103 94 685

Notes: Figures may not total exactly due to rounding. n.p. Not for publication due to confidentiality reasons. 1. See page 4 for definitions. 2. Includes both productions that started principal photography during the year and foreign productions undertaking only PDV work in Australia. 3. The annual slate is defined as productions that started principal photography during the year.

6 PRODUCTION TRENDS

Annual feature slate: spend in Australia Annual TV drama slate: spend in Australia

Australian features Foreign features Australian TV drama1 Foreign TV drama2 400 400

350 350

300 300

250 250

200 200 $ million $ million

150 150

100 100

50 50

0 0 2011/12 2010/11 2012/13 2011/12 2010/11 2003/04 2012/13 2003/04 2007/08 2009/10 2006/07 2007/08 2005/06 2008/09 2004/05 2009/10 2006/07 2005/06 2008/09 2004/05

Notes 1 Australian includes both domestic and co-production. 2 Graphs exclude PDV-only expenditure by foreign projects.

The Broken Shore

The Drama Report 2012/13 | Screen Australia 7 Australian feature slate

The 2012/13 Australian feature slate There were no co-productions in the feature comprised 27 titles, accounting for slate for the first time in 14 years, which also expenditure in Australia of $250 million, contributed to the drop. Currently none are In 2012/13 there were no down from 32 titles resulting in $297 million confirmed for 2013/14. Spend on domestic co-production features in the expenditure last year, when two high-budget features fell slightly on last year but remained titles (The Great Gatsby and I, Frankenstein) above the five-year average. slate for the first time in 14 boosted total expenditure. years. All Australian features

Co-production Domestic features features Total Total Total Total No. budgets Spend No. budgets Spend No. budgets Spend titles $m $m titles $m $m titles $m $m 2008/09 36 383 355 2 25 13 38 408 368 2009/10 37 248 242 5 53 31 42 301 273 2010/11 18 58 55 4 67 37 22 125 92 2011/12 28 319 265 4 44 32 32 363 297 2012/13 27 300 250 0 0 0 27 300 250 5yr av 29 262 234 3 38 22 32 299 256

FEATURE BUDGET RANGES Co-productions tend to fall in the higher budget ranges, and with none in this year’s slate, the majority of features (74 per cent) had budgets under $6 million. Seven films had budgets over $6 million, including six Screen Australia–funded titles.

All Australian features (by budget range)

Domestic Co-production Total Australian

08/09 09/10 10/11 11/12 12/13 08/09 09/10 10/11 11/12 12/13 08/09 09/10 10/11 11/12 12/13 0 to 1 11 9 6 7 5 0 0 0 0 0 11 9 6 7 5 1 to 3 9 10 6 8 8 0 1 0 0 0 9 11 6 8 8 3 to 6 11 7 2 7 7 0 0 1 1 0 11 7 3 8 7 6 to 10 3 6 3 1 3 1 1 1 1 0 4 7 4 2 3 10+ 2 5 1 5 4 1 3 2 2 0 3 8 3 7 4 TOTAL 36 37 18 28 27 2 5 4 4 0 38 42 22 32 27 %<$1m 31% 24% 33% 25% 19% 0% 0% 0% 0% 0% 29% 21% 27% 22% 19% %<3m 56% 51% 67% 54% 48% 0% 20% 0% 0% 0% 53% 48% 55% 47% 48% %<6m 86% 70% 78% 79% 74% 0% 20% 25% 25% 0% 82% 64% 68% 72% 74% %6m+ 14% 30% 22% 21% 26% 100% 80% 75% 75% 0% 18% 36% 32% 28% 26% %10m+ 6% 14% 6% 18% 15% 50% 60% 50% 50% 0% 8% 19% 14% 22% 15%

Note that features with budgets under $500,000 are only included in the report if they have had a cinema release or major festival screening. Figures may therefore be revised upwards in future if releases are achieved for additional low-budget films that went into production in 2012/13.

8 SOURCES OF FINANCE FOR AUSTRALIAN FEATURES Contributions to the annual Australian feature slate (domestic and Foreign investors provided the largest share Direct government sources accounted co-production), 2008/09–2012/13 of finance to this year’s slate, contributing for 12 per cent of total finance for the slate, $91 million (30 per cent) to 15 titles. Foreign providing $35 million to 21 features, similar Contribution % of total No. films investment can shift significantly from to last year with $37 million for 25 films. $m finance invested in one year to the next, with high-budget, The majority of funding came from Screen Direct government sources1 principally foreign-funded titles causing large Australia, with $24 million invested in 17 of 2008/09 35.3 9% 26 fluctuations. the features that went into production during The Producer Offset, cashflowed by the year. The state agencies contributed 2009/10 51.0 17% 26 producers in various ways, contributed 30 per $9 million to 19 features, almost a third of 2010/11 18.3 15% 11 which came from the South Australian Film cent of finance to the feature slate. Most of 2011/12 37.2 10% 25 the Offset cashflow in 2012/13 came from Corporation. The Melbourne International the industry itself, with the larger production Film Festival contributed to five titles and 2012/13 34.8 12% 21 companies tending to find the funds from their the Adelaide Film Festival contributed to four 5 yr 35.3 12% 22 own resources, followed by specific industry titles. average funds. Other cashflow sources included Australian private investors2 private sources and bank loans, the Australian 2008/09 6.7 2% 18 Government’s Export Finance and Insurance Corporation (EFIC) as well as state agencies 2009/10 33.9 11% 29 (see ‘Snapshot 2012/13’ below). 2010/11 19.4 16% 17 The Australian film/TV industry (mainly 2011/12 8.4 2% 15 distribution companies) contributed $79 million to 23 Australian features. 2012/13 6.2 2% 16 5 yr 14.9 5% 19 average Finance sources Producer Offset 30% Foreign $91M Offset cashflow sources 2008/09 136.1 33% 24 60% Film/TV industry 2009/10 86.7 29% 30 2010/11 32.4 26% 16 26% Industry $79M 2011/12 103.6 29% 29 2012/13 88.7 30% n.p. 26% Specific industry funds 30% Offset $89M 6% Private/Bank loans 5 yr 89.5 30% 25 2% Private $6M 6% Government average 12% Government $35M 2% Unknown Australian film/TV industry3 2008/09 18.6 5% 30 2009/10 61.3 20% 28 2010/11 9.7 8% 10 2011/12 22.8 6% 23 2012/13 79.1 26% 23 5 yr 38.3 13% 23 average Foreign investors 2008/09 211.3 52% 15 Notes: Figures may not total exactly due to rounding. 2009/10 67.9 23% 18 n.p. Not for publication due to confidentiality reasons. 1. Includes direct funding from Australian state and 2010/11 44.9 36% 9 federal agencies and funding bodies (see page 23). Equity investments only – distribution guarantees, loans and 2011/12 190.8 53% 15 underwriting are not included. 2. Private investment sources including the final titles 2012/13 91.2 30% 15 accessing 10BA and 10B tax incentives. 5 yr 121.2 41% 14 3. Finance provided by Australian-based producers and average production companies, distribution companies, free-to-air broadcasters (commercial and public) and subscription TV channels. The Producer Offset, cashflowed in various ways, is listed separately.

The Drama Report 2012/13 | Screen Australia 9 Australian TV drama slate

Overall, the 2012/13 Australian TV drama 2007/08 – two of which were programs for slate comprised 656 hours of programs (56 adults (Serangoon Road: Australia/Singapore titles), accounting for expenditure in Australia and Hard Rock Medical: Australia/Canada). Mini-series production has of $372 million. Total expenditure increased Over the last decade most TV co-productions been rising over the past five by 27 per cent to reach the highest level on have been programs for children, with only record. Hours were up by 19 per cent on last three other adult drama programs made as years. year’s result. official co-productions since 2002/03. The adult drama slate accounted for 82 per There were 44 Offset titles, accounting for cent of expenditure and increased across all 79 per cent of expenditure and 51 per cent of indicators, continuing the steady growth of hours. Not all TV drama projects are eligible recent years. Children’s drama production to apply for the Offset – only the first 65 hours recovered in 2012/13 after three years of of a title (across all seasons) are eligible, relatively low levels. and the QAPE per hour must reach minimum There were five co-productions in this year’s thresholds in order to qualify. TV drama slate – the highest number since

All Australian TV drama programs (by Offset/non-Offset)

Offset TV drama1 Non-Offset TV drama1 Total Total Total Total budgets budgets budgets No. titles Hours2 $m Spend $m No. titles Hours2 $m Spend $m No. titles Hours2 $m Spend $m Programs for adults 2008/09 22 193 157 157 5 292 64 64 27 486 222 222 2009/10 22 205 192 191 5 244 47 47 27 448 239 238 2010/11 27 225 216 216 5 264 60 60 32 489 277 276 2011/12 35 213 221 203 3 257 61 61 38 470 282 264 2012/13 36 257 260 251 4 245 55 55 40 502 314 306 5 yr av 28 219 209 204 4 260 58 58 33 479 267 261 Programs for children 2008/09 13 146 115 95 5 43 18 16 18 189 133 111 2009/10 5 59 49 41 5 60 28 13 10 118 76 54 2010/11 6 65 52 49 3 29 13 12 9 94 65 61 2011/12 3 46 40 23 4 34 13 7 7 79 53 30 2012/13 8 78 55 44 8 76 37 22 16 154 92 67 5 yr av 7 79 62 51 5 48 22 14 12 127 84 64 Total TV drama slate3 2008/09 35 340 272 252 10 335 83 81 45 675 355 333 2009/10 27 263 240 232 10 303 75 60 37 566 315 292 2010/11 33 290 268 265 8 293 74 72 41 583 341 337 2011/12 38 259 261 226 7 291 74 68 45 549 335 294 2012/13 44 335 315 295 12 321 91 77 56 656 406 372 5 yr av 35 297 271 254 9 309 79 71 45 606 350 326

Notes: Figures may not total exactly due to rounding. n.p. Not for publication due to confidentiality reasons.

1. See page 4 for definitions. 2. Commercial broadcast hours rather than actual running time. Individual program duration has been rounded to 15, 30 or 60 minutes as appropriate (including commercial breaks). 3. The annual slate is defined as productions that started principal photography during the year.

10 Dance Academy

All Australian TV drama programs (by domestic/co-production)

Domestic1 Co-production1 Total Total Total Total budgets Spend budgets Spend budgets Spend No. titles Hours2 $m $m No. titles Hours2 $m $m No. titles Hours2 $m $m Programs for adults 2008/09 27 486 222 222 0 0 0 0 27 486 222 222 2009/10 27 448 239 238 0 0 0 0 27 448 239 238 2010/11 32 489 277 276 0 0 0 0 32 489 277 276 2011/12 37 465 273 n.p. 1 5 9 n.p. 38 470 282 264 2012/13 38 490 302 301 2 12 12 5 40 502 314 306 5 yr av 32 476 263 259 1 3 4 2 32.8 479 267 261 Programs for children 2008/09 15 157 106 98 3 33 27 13 18 189 133 111 2009/10 8 99 56 40 2 20 21 13 10 118 76 54 2010/11 8 81 59 57 1 13 6 3 9 94 65 61 2011/12 6 60 36 25 1 20 17 5 7 79 53 30 2012/13 13 122 77 61 3 33 15 6 16 154 92 67 5 yr av 10 104 67 56 2 23 17 8 12 127 84 64 Total TV drama slate3 2008/09 42 642 328 320 3 33 27 13 45 675 355 333 2009/10 35 547 294 279 2 20 21 13 37 566 315 292 2010/11 40 570 336 334 1 13 6 3 41 583 341 337 2011/12 43 525 309 n.p. 2 25 26 n.p. 45 549 335 294 2012/13 51 611 378 362 5 45 28 10 56 656 406 372 5 yr av 42 579 329 316 3 27 21 10 44.8 606 350 326

Notes: Figures may not total exactly due to rounding. n.p. Not for publication due to confidentiality reasons.

The Drama Report 2012/13 | Screen Australia 11 Hours produced Spend ($m)

Series/serials Mini-series Telemovies Series/serials Mini-series Telemovies Children’s programs Children’s programs

486 222 2008/09 2008/09 189 111

448 238 2009/10 2009/10 118 54

489 276 2010/11 2010/11 94 61

470 264 2011/12 2011/12 79 30

502 306 2012/13 2012/13 154 67

0 100 200 300 400 500 600 0 100 200 300 400 Hours $m

Patrick

12 PROGRAMS FOR ADULTS The adult TV drama slate comprised 40 titles Series/serials activity remained relatively for the largest share of production hours, (502 hours) with total budgets of $314 million stable in 2012/13, with slight increases in followed by the ABC, which had a record and expenditure in Australia of $306 million. total budgets and expenditure and a slight 19 programs made for it this year. Drama Hours increased by 7 per cent on last year’s drop in hours on last year. The category production for the national broadcaster has result, while total budgets increased by 11 per encompasses long-form programs (over 13 increased significantly over the last two years, cent and Australian spend by 16 per cent. The hours total duration), as well as multi-part and accounted for the largest share of total growth was primarily due to the continued programs with episodes shorter than one budgets in both 2011/12 and 2012/13. Within climb in mini-series production, which commercial broadcast hour. This year, most its 2009-12 triennial funding agreement, recorded its highest result to date. were half-hour formats with total duration the ABC received a substantial increase in Multi-part programs typically account for the under 5 hours – only four of the thirteen titles funding, in part to commission high-quality, majority of TV drama hours and expenditure had total running times of 22 hours or over. original drama. This year’s production in Australia. Production of mini-series – Telemovie production dipped after last year’s slate included Serangoon Road (Australia/ generally ‘quality’ programs with up to 13 high, with all indicators just below the five- Singapore co-production), Old School, Janet hours of 1-hour episodes – has been rising year averages. King, The Gods of Wheat Street and returning seasons of Redfern Now, Rake, Miss Fisher’s over the past five years, accounting for 186 With two long-running serials made for Seven Murder Mysteries and Twentysomething. hours and $187 million in 2012/13, more than (Home and Away) and Ten (Neighbours), double 2008/09’s 93 hours and $87 million. these two networks continued to account

No. Hours1 Total budgets ($m) Total spend ($m) Av. cost/hr ($m) Series/serials (in-house productions in brackets) 2008/09 15 (4) 390 130 130 0.335 2009/10 13 (4) 340 132 132 0.390 2010/11 13 (3) 348 126 126 0.362 2011/12 12 (3) 313 100 100 0.318 2012/13 13 (2) 308 106 105 0.346 5-yr average 13 (3) 340 119 119 0.350 Mini-series (no in-house productions) 2008/09 10 93 87 87 0.934 2009/10 10 102 95 95 0.931 2010/11 13 132 138 138 1.046 2011/12 16 139 150 132 1.080 2012/13 22 186 194 187 1.043 5-yr average 14 130 133 128 1.007 Telemovies (no in-house productions) 2008/09 2 3 4 4 1.402 2009/10 4 7 11 11 1.680 Notes: Figures may not total exactly due 2010/11 6 9 13 13 1.450 to rounding. 2011/12 10 18 33 33 1.794 1. Commercial broadcast hours rather than actual running time. Individual program 2012/13 5 8 14 14 1.805 duration has been rounded to 15, 30 or 60 minutes as appropriate (including 5-yr average 5 9 15 15 1.626 commercial breaks).

The Drama Report 2012/13 | Screen Australia 13 PROGRAMS FOR CHILDREN Children’s TV drama increased The 2012/13 Australian children’s drama 2007/08 and 2008/09. Children’s programs slate comprised 154 hours of programs with made for the ABC accounted for the largest in 2012/13, following a total budgets of $92 million and Australian share of both hours and budgets this year, expenditure of $67 million. Total expenditure with 11 titles starting production including contraction over the previous more than doubled compared with last year’s Hoopla Doopla!, Nowhere Boys, The Flamin’ three years. result, while hours increased by 95 per cent Thongs and returning seasons of Dance and all indicators were well above the five- Academy and You’re Skitting Me. The Nine year averages. Network also recommenced production of Domestic production activity accounted for children’s drama, after three years of no to the majority of the increase. The slate also little activity, following the higher levels of included three co-productions (Jar Dwellers production in 2007/08 and 2008/09. Three The Skinner Boys SOS, Lah-Lah’s Adventures and the second titles were made for Nine (Dennis the Menace series of Sally Bollywood), which is slightly and Gnasher series 2, The Skinner Boys and above the five-year average for co-production The Day My Butt Went Psycho). activity. The majority of children’s programs made After strong results in 2007/08 and 2008/09, for the commercial free-to-air broadcasters children’s drama production contracted over this year were animated. Programs made the last three years. The 2012/13 result for the ABC included a mix of live-action and represents somewhat of a recovery, although animation. not to the elevated levels experienced in

Total budgets Total spend Av. cost/hr No. (in-house) Hours ($m) ($m) ($m) Domestic 2008/09 15 157 106 98 0.678 2009/10 8 99 56 40 0.564 2010/11 8 81 59 57 0.724 2011/12 6 60 36 25 0.602 2012/13 13 122 77 61 0.629 5-yr ave 10 104 67 56 0.640 Co-production 2008/09 3 33 27 13 0.821 2009/10 2 20 21 13 1.068 2010/11 1 13 6 3 0.452 2011/12 1 20 17 5 0.865 2012/13 3 33 15 6 0.470 5-yr ave 2 23 17 8 0.735 Total 2008/09 18 189 133 111 0.702 2009/10 10 118 76 54 0.647 2010/11 9 94 65 61 0.687 2011/12 7 79 53 30 0.667 2012/13 16 154 92 67 0.596 5-yr ave 12 127 84 64 0.660

Notes: Figures may not total exactly due to rounding. 1. Commercial broadcast hours rather than actual running time. Individual program duration has been rounded to 15, 30 or 60 minutes as appropriate (including commercial breaks).

14 Contributions to the annual Australian TV drama slate (domestic and The largest contribution from co-production), 2008/09–2012/13 a single broadcaster came Contribution % of total No. programs $m finance invested in from the ABC. Direct government sources1 2008/09 42.0 12% 26 2009/10 28.3 9% 21 SOURCES OF FINANCE FOR 2010/11 43.9 13% 30 AUSTRALIAN TV DRAMA 2011/12 30.9 9% 33 The Australian film/TV industry provided 2012/13 37.9 9% 33 the majority of finance for this year’s Australian TV drama slate (67 per cent), 5-yr average 36.6 10% 29 contributing $273 million to 56 titles. All Australian private investors2 broadcasters increased their contributions, 2008/09 7.2 2% 2 and, as usual, the largest proportion (and 2009/10 0.3 <1% 2 the largest from any sector) came from the 2010/11 0.1 <1% 1 commercial free-to-air networks. However, the largest contribution from a single 2011/12 0.2 <1% 1 broadcaster came from the ABC, which 2012/13 0.8 <1% 4 contributed around $75 million to 30 titles. 5-yr average 1.7 <1% 2 The balance came from SBS (three titles), Producer Offset subscription TV (three titles), distributors and 2008/09 42.1 12% 35 production companies. 2009/10 43.1 14% 27 The Producer Offset, cashflowed by Notes: Figures may 2010/11 46.5 14% 33 not total exactly due to producers in various ways, contributed 13 per rounding. cent of finance to the overall slate, adding $51 2011/12 40.2 12% 38 1. Includes direct funding million to the 44 Offset titles – the highest 2012/13 51.0 13% 44 from Australian state levels to date. While there appears to be a 5-yr average 44.6 13% 35 and federal agencies and move towards specific film funds cashflowing funding bodies (see page Australian film/TV industry3 the Offset in recent times, the industry itself 23). Equity investments 2008/09 214.9 61% 45 only – distribution was the dominant source of Offset cashflow, guarantees, loans and with the larger production companies tending 2009/10 196.8 62% 37 underwriting are not to find the funds from their own resources 2010/11 222.6 65% 40 included. (see ‘Snapshot 2012/13’ below). 2. Private investment 2011/12 213.4 64% 44 sources including the Direct government sources contributed 2012/13 272.7 67% 56 final titles accessing $38 million to 33 programs in the 2012/13 TV 10BA and 10B tax 5-yr average 224.1 64% 44 incentives. drama slate, accounting for 9 per cent of total Foreign investors 3. Finance provided by finance. This was up on last year’s $31 million, Australian-based and above the five-year average. 2008/09 48.5 14% 15 producers and production companies, 2009/10 46.6 15% 12 Screen Australia was the principal source distribution companies, of government finance, with $27 million 2010/11 28.3 8% 18 free-to-air broadcasters (commercial and public) invested in 20 titles, an increase from the 2011/12 50.1 15% 16 $22 million in 19 titles last year. The state and subscription TV 2012/13 43.6 11% 16 channels. The Producer agencies contributed $9 million to 28 titles, Offset, cashflowed in 5-yr average 43.4 12% 15 the majority (72 per cent) from Film Victoria various ways, is listed and Screen NSW. Additional finance came separately. from the Australian Children’s Television Finance sources Foundation, which contributed to six titles. 11% Foreign $44M Offset cashflow sources Foreign investors provided $44 million, down from last year’s $50 million but close to 59% Film/TV industry the five-year average. The lower figure from 2010/11 can be attributed to only one co- 67% Industry $273M production title being in production that year, compared to five this year and an average of three in the last five years. <1% Private $1M 18% Specific industry funds Private investors contributed around 13% Offset $51M 14% Private/Bank loans $820,000 to four TV dramas in 2012/13. 9% Government $38M 9% Government

The Drama Report 2012/13 | Screen Australia 15 Foreign production

FEATURES TV DRAMA Six foreign features started shooting in Foreign TV drama activity accounted for a The Wolverine (US) boosted Australia in 2012/13: The Wolverine (US), total of $21 million in Australian expenditure Three Peas in a Pod (Singapore), Shaadi Ke Side in 2012/13, up significantly on 2011/12 and foreign shoot expenditure in Effects (India), Thalaivaa (India), Madha Gaja the five-year average. Two foreign titles Raj (India) and Tu Mera 22 Main Tera 22 (India), started shooting in Australia in 2012/13: the 2012/13. allocating $100 million to expenditure in this high-budget US TV drama Camp and the country. After two years with no high-budget German telemovie Traumschiff. No drama US films shooting in Australia, this year’s titles commenced PDV work in Australia result showed a significant increase due to the without shooting here. Twentieth Century Fox film,The Wolverine. Six foreign features commenced PDV work in Total Spend budgets in Aust. Australia in 2012/13 without shooting here, No.1 ($m)2 ($m) accounting for almost $9 million in local expenditure. This was down significantly on $87 2008/09 2 (+2) 2 1 (+<1) million in 2011/12, which included a substantial 2009/10 2 (+0) 15 <1 (+0) amount as a result of PDV work on Lego: The Notes: 2010/11 2 (+1) 68 543 Piece of Resistance. This year’s titles included 1. Figures preceded by ‘+’ are for foreign productions Iron Man 3, After Earth, The Hunger Games: 2011/12 5 (+0) 13 8 (+0) undertaking only PDV work in Australia. 2. Total budgets include only foreign titles shot in Australia Catching Fire, Seventh Son and Paranoia. 2012/13 2 (+0) 22 21 (+0) – total budgets for foreign PDV-only titles are not Despite the increase of the PDV Offset to 30 5-yr average 3 (+1) 24 17 (+<1) available. per cent and the lowering of the expenditure 3. Figures combined for confidentiality reasons. threshold to $500,000 in July 2011, there was a sizeable decrease in foreign PDV work this year, following a five-year high in 2011/12. The sector experienced significant contraction and consolidation of businesses over the last 12 months, as the persistently high Australian dollar over the last two and a half years challenged the industry’s ability to attract foreign PDV work. Based on survey data, nine projects in this year’s slate would have met expenditure thresholds for the PDV Offset, and two for the Location Offset. With the recent announcements that Unbroken (Universal Pictures) and The Moon and the Sun will film in Australia, overall foreign feature expenditure is likely to be strong in 2013/14.

Total Spend budgets in Aust. No.1 ($m)2 ($m) 2008/09 6 (+7) 10 2 (+18) 2009/10 5 (+6) 250 169 (+10) 2010/11 2 (+12) 8 1 (+31) 2011/12 3 (+17) 23 3 (+87) 2012/13 6 (+6) 155 100 (+9) 5-yr average 4 (+10) 89 55 (+31)

Notes: See page 4 for definition of ‘foreign’. 1. Figures preceded by ‘+’ are for foreign productions undertaking only PDV work in Australia. 2. Total budgets include only foreign titles shot in Australia – total budgets for foreign PDV-only titles are not available.

16 Drama production by location

EXPENDITURE BY STATE 500 NSW QLD SA VIC WA/TAS/NT/ACT 450 The largest proportion of drama production 400 Foreign activity in 2012/13 occurred in NSW (57 per Australian cent), with high levels of both foreign and 350 local production, including for feature films 300 Spend ($m) Spend The Wolverine and Mad Max: Fury Road and 250 TV dramas Camp, Wonderland, A Place to Call 200 Home, Love Child and Puberty Blues series 2. 150 Victorian activity contributed 30 per cent of total production expenditure, with strong TV 100 drama activity including new titles Mr & Mrs 50 Murder and Underbelly: Squizzy, and returning 0 seasons of Miss Fisher’s Murder Mysteries, Offspring, Winners & Losers and House 2011/12 2011/12 2011/12 2011/12 2011/12 2012/13 2012/13 2012/13 2012/13 2012/13 2010/11 2010/11 2010/11 2010/11 2010/11 2009/10 2009/10 2009/10 2009/10 2009/10 Husbands. 2008/09 2008/09 2008/09 2008/09 2008/09 South Australia recorded its highest share Feature film and TV drama production activity ($m) by location of expenditure since 2005/06, at 7 per cent. This boost was mainly related to domestic features Tracks, TAS/NT/ The Rover and Wolf Creek 2, and TV drama NSW QLD SA VIC WA ACT Sam Fox: Extreme Adventures. $m With no significant foreign or co-production activity undertaken in Queensland this year, 2008/09 455 47 32 166 18 4 the state’s share fell to 3 per cent. Titles 2009/10 197 224 22 277 23 1 producing in Queensland included TV drama 2010/11 212 140 19 136 81 Secrets & Lies and domestic features Return to Nim’s Island, My Mistress and Patrick. 2011/12 370 65 16 222 15 1 Activity in Western Australia increased 2012/13 430 23 50 223 22 4 on the last two years, with the production % of domestic features Son of a Gun, The Reckoning, These Final Hours and The Turning, 2008/09 63% 6% 4% 23% 3% 1% as well as TV dramas An Accidental Soldier 2009/10 26% 30% 3% 37% 3% <1% and Serangoon Road (Australia/Singapore 2010/11 41% 27% 4% 26% 2%1 co-production). 2011/12 54% 9% 2% 32% 2% <1% 2012/13 57% 3% 7% 30% 3% 1%

LOCATION OF PRODUCTION Total budgets for feature film and TV drama production ($m) by location of COMPANY Australian production company As an indication of where production activity is being generated, the report also allocates TAS/NT/ the budget of each Australian feature and NSW QLD SA VIC WA ACT TV drama program to where the production $m company is based in Australia, rather than 2008/09 527 25 4 186 19 3 where the shoot takes place. 2009/10 409 18 23 131 33 2 Feature film and TV drama activity generated by NSW-based companies continued to 2010/11 306 67 3 90 1 0 account for the majority of production in 2011/12 555 39 3 98 2 0 2012/13 (81 per cent), followed by Victoria at 2012/13 570 20 4 94 18 0 13 per cent. % 2008/09 69% 3% 1% 24% 2% <1% 2009/10 66% 3% 4% 21% 5% <1% 2010/11 66% 14% 1% 19% <1% 0%

Notes: 2011/12 80% 6% <1% 14% <1% 0% 1. Figures combined for confidentiality reasons. 2012/13 81% 3% 1% 13% 3% 0%

The Drama Report 2012/13 | Screen Australia 17 Titles in the 2012/13 slate

AUSTRALIAN FEATURES FOREIGN FEATURES Domestic Babadook, The Causeway Films Pty Ltd Madha Gaja Raj (India) Additude Advertising Pty Ltd Backyard Ashes Crow Crow Productions Shaadi ke Side Effects (India) Pritish Nandy Communications Ltd Boy Castaways, The Soft Tread Enterprises Pty Ltd Thalaivaa (India) Sri Mishri Productions Charlie's Country Charlie’s Country Productions Three Peas in a Pod (Singapore) Huat Films Pty Ltd Darkside, The Scarlett Pictures P/L Tu Mera 22 Main Tera 22 (India) Sukha Production Felony Goalpost Pictures Australia, Wolverine, The (US) Marvel Enterprises Blue-Tongue Films Foreshadow Movierockets Entertainment, PDV-only Buzz Productions After Earth (US) Columbia Pictures, Galore Film Camp Pty Ltd Overbrook Entertainment, Blinding Edge Pictures Half Dead, The Half Dead Pictures Fallen (US) Lotus Entertainment, Healing Healing Pty Ltd, Mayhem Pictures, Pointblank Pictures Pty Ltd Silver Reel Infinite Man, The Hedone Productions Pty Ltd Hunger Games: Catching Fire, Lionsgate, L.A.D (working title) L.A.D Feature Film Pty Ltd, The (US) Color Force P.O.V Films Iron Man 3 (US) Marvel Studios, Mad Max: Fury Road Kennedy Miller Mitchell Paramount Pictures, Mule, The The Mule Development Pty Ltd, DMG Entertainment 4 Cows Pty Ltd Paranoia (US/France) Demarest Films, My Mistress Mini Studios, EMJAG Productions, My Mistress Productions IM Global, Kintop Pictures, Nerve Luscious International Pictures, Reliance Entertainment Cornerstone Pictures Pty Ltd Seventh Son (UK/US/Canada) Legendary Pictures, One Eyed Girl Projector Films Warner Bros Patrick Roget Clinic Pty Ltd, FG Film Productions (Australia) Pty Ltd Predestination Predestination Holdings Pty Ltd Reckoning, The Filmscope Entertainment Pty Ltd Return to Nim’s Island Pictures in Paradise, Turtle Beach Productions LLC Rover, The Porchlight Films Pty Ltd, Lava Bear Films, Blue-Tongue Films Son of a Gun SOAG Productions Pty Ltd These Final Hours 8th in Line Tracks See-Saw Films Pty Ltd Turning, The Arenamedia Pty Ltd Wolf Creek 2 WC2 Pty Ltd

18 AUSTRALIAN TV DRAMA Domestic Series/serials Elegant Gentleman's Guide to Jungleboys FTV Pty Limited Redfern Now series 2 Blackfella Films Pty Ltd Knife Fighting, The Secrets & Lies Hoodlum Active Pty Ltd Home and Away series 26 Seven Network Operations Limited Underbelly: Squizzy series 6 Screentime Pty Ltd Housos series 2 Housos Productions Wentworth FremantleMedia Australia It's a Date High Waters Holding, Princess Pictures Pty Ltd Telemovies Ja'mie: Private School Girl Princess Pictures Pty Ltd Accidental Soldier, An Goalpost Pictures Australia, Neighbours series 30 FremantleMedia Australia Taylor Media Problems Guesswork Television Arrowhead TV1 General Entertainment Partnership Twentysomething series 2 High Wire Films, Electric Living Productions Broken Shore, The Essential Media and Entertainment Pty Ltd Untitled Chris Lilley Project Princess Pictures Pty Ltd Carlotta Story Ark Productions Upper Middle Bogan Gristmill Pty Ltd, Happy Thumb Pty Ltd Jack Irish: Dead Point Essential Media and Entertainment Pty Ltd Winners & Losers series 3 Seven Network Wonderland FremantleMedia Australia Children’s Dance Academy series 3 Werner Film Productions Mini-series Day My Butt Went Psycho, The Studio Moshi Better Man FremantleMedia Australia, Brain Bender Pty Ltd Bravado Productions Dennis the Menace and Sticky Pictures Pty Ltd Devil's Playground Matchbox Pictures Pty Ltd Gnasher series 2 Gods of Wheat Street, The Every Cloud Productions Dukes of Broxstonia, The, Sticky Pictures Pty Ltd House Husbands series 2 Playmaker Media 2 SPV Pty Ltd series 3 Janet King Screentime Pty Ltd Flamin Thongs, The MWP-RDB Thongs Pty Ltd Love Child Playmaker Media 4 SPV Pty Ltd Get Ace Galaxy Pop Pty Limited Miss Fisher's Murder Mysteries Every Cloud Productions Hairy Legs Southern Star Entertainment Pty series 2 Ltd Mr & Mrs Murder FremantleMedia Australia, Hoopla Doopla! Beyond Screen Production Pty Ltd, Bravado Productions The Content Agency Never Tear Us Apart: The Shine Australia Nowhere Boys Matchbox Pictures Pty Ltd Untold Story of INXS Sam Fox: Extreme Adventures SLR Productions Offspring series 4 Southern Star John Edwards Skinner Boys, The SLR Productions, Old School Matchbox Pictures Pty Ltd Telegael, Packed to the Rafters series 6 Seven Productions Top Draw Animation Paper Giants: Magazine Wars Southern Star Entertainment Pty Worst Year of My Life – Again!, Worst Year Productions Pty Ltd Ltd The Place to Call Home, A Seven Network Operations You're Skitting Me series 2 Jigsaw Entertainment Pty Ltd, Australian Children's Television Power Games: The Packer- Southern Star Entertainment Foundation Murdoch Story Puberty Blues series 2 Southern Star John Edwards Rake series 3 Essential Media and Entertainment Pty Ltd

The Drama Report 2012/13 | Screen Australia 19 Co-productions FOREIGN TV DRAMA Adult Camp (US) BermanBraun, Hard Rock Medical (Australia/ Hard Rock Medical Productions Camp Matchbox Productions Pty Canada) Pty Ltd, Ltd Moody Street Productions Pty Ltd Traumschiff (Germany) Polyphon Film, Serangoon Road (Australia/ Great Western Entertainment Pty Satelite Pictures Singapore) Ltd, Infinite Frameworks Pty Ltd

Children’s Jar Dwellers SOS (Australia/ Kalidor Pty Ltd trading as Canada) Viskatoons, Jar Dwellers Production Pty Ltd Lah-Lah's Adventures Stella Projects Pty Ltd, (Australia/Canada) Bardel Entertainment Inc Sally Bollywood series 2 Three's A Company P/L (Australia), (Australia/France) Tele Images Kids

Tracks

20 PDV services – for features and TV drama production

This section incorporates data from a separate survey of companies providing post-production, Income from PDV work on features and TV drama digital and visual effects (PDV) services. recovered in 2012/13 after a drop the previous year. ALL PDV The data focuses on income to companies in companies shown here for 2012/13 came from the PDV sector and is presented according to expenditure not only by projects which began in when income was earned. It is therefore not 2012/13 (the ‘2012/13 slate’ referred to in the comparable with the data in the main body of main body of the report) but also by projects the report. For example, the income to PDV continuing production from previous years.

Income from Australian PDV work on features and TV drama ($m), 2008/09–2012/13

Australian Foreign Total Co- Total Shot in PDV only in Domestic production Australian Australia Australia No. titles Features 2008/09 92 3 95 1 9 105 2009/10 134 15 149 2 16 166 2010/11 94 2 95 <1 36 131 2011/12 43 2 45 0 40 85 2012/13 65 2 67 6 37 110 5 yr average 86 5 90 2 28 120 TV drama 2008/09 43 7 50 1 <1 51 2009/10 41 5 46 0 <1 46 2010/11 40 1 41 0 1 42 2011/12 31 1 32 <1 0 32 2012/13 37 4 41 1 0 41 5 yr average 39 4 42 <1 <1 43 Total 2008/09 135 10 145 3 9 157 2009/10 175 20 195 2 16 213 2010/11 134 2 136 <1 37 173 2011/12 74 2 77 <1 40 117 2012/13 102 6 108 7 37 152 5 yr average 124 8 132 2 28 162 Note:% share Figures may not 77%total exactly due to5% rounding. 81% 1% 17% 100%

Note: Figures may not total exactly due to rounding.

Income from PDV work on Australian and over the last two years. foreign drama titles totalled $152 million in However, services to Australian productions 2012/13, an increase of 30 per cent on last continued to account for the majority of PDV year’s result, but below the five year average of work, with titles generating income during the $162 million. A drop in the number of domestic year including The Great Gatsby, I, Frankenstein, features starting production in 2010/11 reduced Mad Max: Fury Road and The Railway Man. the level of drama income to PDV companies

The Drama Report 2012/13 | Screen Australia 21 Foreign PDV only Income from foreign titles undertaking Paranoia and After Earth, as well as complete PDV without shooting here remained strong production on projects continuing from in 2012/13 at $37 million, although it was previous years, including Gravity and The slightly down on last year’s five-year high of Incredible Burt Wonderstone, and the large- $40 million (see table on previous page). scale feature production Lego: The Piece of 2012/13 saw significant consolidation within Resistance, which is scheduled to continue the PDV sector as Fuel VFX was acquired well into 2013/14. by Animal Logic and Digital Pictures was The wide range of PDV-only work on recent bought by Deluxe Entertainment Services, foreign features and TV dramas carried out by forming the new company DDP Studios. Australian companies included visual effects, Despite the increase of the PDV Offset to 30 sound mixing, foley and ADR, as well as per cent and the lowering of the threshold to traditional post-production activities such as $500,000 in July 2011, many companies still editing. Visual effects made up approximately struggled to attract foreign work and were 93 per cent of the value of PDV income earned unable to recover from the effects of the high on PDV-only foreign features and TV drama Australian dollar. over the last five years. The remaining 7 per In 2012/13, Australian PDV companies cent was made up of digital and non-digital had the opportunity to work on big-budget post production, including sound post- productions such as The Hunger Games: production and other digital post-production Catching Fire, Iron Man 3, Seventh Son, such a scanning and digital colour grading. Sam Fox: Extreme Adventures INCOME BY STATE Income from Australian PDV work on features and TV drama by state ($m), 2008/09–2012/13

WA/TAS/ NSW VIC QLD SA NT/ACT Total $m 2008/09 110 28 5 10 4 157 2009/10 159 25 8 20 1 213 2010/11 102 46 3 20 2 173 2011/12 68 33 2 14 <1 117 2012/13 103 33 5 8 3 152 5-yr average 108 33 5 14 2 162 % share 67% 20% 3% 9% 1% 100%

Note: Figures may not total exactly due to rounding.

A substantial proportion of PDV work in PDV projects undertaken in South Australia Australia is undertaken in NSW, which included the features Seventh Son, Gravity, accounted for 67 per cent ($108 million The Incredible Burt Wonderstone, Prometheus annually) of spending on PDV in the five years and The Wolverine. Titles undertaking PDV in from 2008/09 to 2012/13. NSW companies Victoria in the last five years included Kath & provided PDV services for features such Kimderella, Emperor, Ted, Ghost Rider: Spirit as The Sapphires, The Great Gatsby, The of Vengeance and After Earth. Queensland Avengers, Happy Feet Two, Iron Man 3 and projects included TV dramas K9, Oakie’s The Hunger Games: Catching Fire. Outback Adventures and Lightning Point. The balance of PDV work over the period was Foreign PDV-only is an area of film activity spread between Victoria at 20 per cent (average where the smaller states have been able $33 million) of the total, followed by South to consistently compete with their larger Australia (9 per cent; $14 million), Queensland counterparts with an estimated 33 per cent of (3 per cent; $5 million) and the remaining states expenditure on PDV-only projects being spent and territories (1 per cent; $2 million). in South Australia in 2012/13, compared to 17 per cent in Victoria.

22 ABOUT THE PDV DATA Companies identified by Screen Australia as Methodology providing PDV services for features and TV drama were surveyed, and this data was used to supplement the main report data. PDV is defined as a set of activities rather than a stage in the production process (see ‘Key Compiled by Screen Australia’s Producer Offset Contributions to TV drama by broadcasters in this terms’ on page 4). & Co-production Unit, using data collected in report do not correlate with expenditure reported the administration of the Producer Offset, and by the Australian Communications and Media To provide a sense of the ongoing business incorporating production data gathered by the Authority (ACMA) in the Broadcasting Financial activity of PDV companies in a given financial Strategy & Research Unit through contact with Results (BFR). This report analyses finance sources year (rather than according to an annual slate production companies and from publicly available in place at the start of production while the BFR of productions or titles), income has been sources. PDV data is gathered through surveying reports expenditure by the commercial free-to-air assigned to the year it was earned rather than PDV companies. broadcasters on screened programs during the allocated to the start of the shoot or PDV year and includes amortisation costs for programs in Australia. As a result, the figures in this The following federal and state government funding purchased in previous years and programs section may include projects that commenced agencies provide data on titles they have funded purchased after completion. For pay TV, ACMA shooting or PDV work in previous financial and, in the case of state agencies, titles shot and/ reports annual expenditure by drama channels on or post-produced in their state: Screen Australia ‘eligible Australian drama’, including licence fees, years and cannot be compared with figures in (including the former Film Finance Corporation production expenses and limited pre-production the main body of the report, which are based Australia and the Australian Film Commission), costs. Expenditure on features may be apportioned on principal photography or PDV start date. Screen NSW, Film Victoria, South Australian Film across financial years. For both free-to-air and pay Note that this data relates to the production Corporation, Screen Queensland, ScreenWest, TV, the ACMA figures can include expenditure on of features and TV drama only and so does Screen Tasmania and Screen Territory. New Zealand programs, following the ‘Australian not cover all PDV activity in Australia. content’ definition. In some cases, estimates have been made where The most recent data from the Australian data was not available. Sketch comedy programs are included in line with Bureau of Statistics indicates that Australian ACMA’s definition of TV drama under the Australian companies received income of $349.7 million Foreign projects are included in the report when a Content Standard. in 2011/12 from the provision of PDV services substantial amount is shot in Australia or when PDV across all audiovisual production, with 46 per work is undertaken in Australia. For other projects In categorising titles as either mini-series or series, cent accounted for by feature films and TV where only one or two episodes of a foreign series Screen Australia has followed the definitions set drama. Other areas of PDV activity include are shot in Australia or where the spend is less than out in Division 10BA of the Income Tax Assessment commercials and other TV productions. 10 per cent of the total budget, only the budgets for Act 1936. the episodes shot in Australia are included in the total. Series of or related telemovies are counted as individual titles. Features with budgets under $500,000 are only included if they have had a screening at a festival or Data is updated on an ongoing basis, with the result cinema release. that some discrepancies with previously published reports may appear. The discrepancies reflect new Spending in Australia may include some expenditure information or adjustments to methodology. on foreign production elements – for example, fees for non-Australian actors or other individuals Figures may not total exactly due to rounding. while working in Australia. Likewise, spending in a particular state may include fees for elements from outside the state such as foreign or interstate cast or crew.

When analysing sources of finance, the ABC and SBS are categorised as film and TV industry, rather than as government sources. This reflects industry perception of the public broadcasters as part of the broadcast sector rather than government film agencies. In addition to the federal, state and territory film agencies (listed above), government sources may include direct finance from other government agencies and departments, including the Australian Children’s Television Foundation and the Adelaide and Melbourne Film Festival Funds.

Funding figures from government agencies may not correlate with the figures in this report because this report includes projects according to the start date of principal photography rather than contract dates.

The Drama Report 2012/13 | Screen Australia 23 www.screenaustralia.gov.au