Bord Scannán na hÉireann/ Irish Film Board Strategic Plan 2016 — 2020 — Building on Success 1 Contents —

Executive Summary 03 Foreword from the Chairperson 04 Introduction and Message from the Chief Executive 05 Who We Are and What We Do 07 Strategic Context 09 Listening to our Stakeholders 11 Mission 12 Vision and Values 13 Key Challenges 14 Strategic Objectives 15 Measuring Our Success 34 Making it Happen 35

2 01 Executive Summary —

Welcome to the Bord Scannán na hÉireann / Key Challenges Strategic Objectives Irish Film Board (IFB) Five-Year Strategy, 8 Academy Award covering the period 2016 to 2020. We —— Positioning the sector as a strategically As part of this strategy, we have identified prepared this strategy after extensive important contributor to the cultural core strategic objectives which, when taken consultation with stakeholders in Irish film and economic life of the country as a whole, will strengthen the IFB and help and the screen content production sector as us build on the industry’s success: Nominations for well as detailed contributions from our staff. —— Identifying, nurturing and developing It sets out our mission statement and vision, creative talent and building a film Vision for 2020 as well as emphasising the core values culture in Ireland 1. Vision and Leadership which we hold strongly. 2. Gender Equality and Diversity IFB-Supported Films —— Embracing diversity and gender 3. Building Audiences Building on Success equality in all its forms and ensuring the participation and representation of the Building on our Core Strengths In 2015 and 2016, we witnessed the most full range of diverse voices in Ireland 4. Development and Support of Creative in 2015/16 extraordinary success of Irish film, television Screen Content Production and animation. IFB-supported films received —— Strengthening the links between 5. Development of Talent and Skills eight Academy Award® nominations (with creative vision, quality of work and 6. Inward Production and Investment a total of ten nominations for Irish films audience engagement to achieve and filmmakers), which is an extraordinary critical and commercial success for Strong Foundations achievement. The IFB-supported filmThe Irish screen content 7. Increased Investment in the IFB Lobster won the Jury Prize at the Cannes 8. Partnerships for Screen Production Room Film Festival, and Room, also supported by —— Restoring IFB funding levels to enable 9. Organisational Effectiveness the IFB, won the prestigious People’s Choice us to fulfil our remit and the strong Award at the Toronto International Film ambition of Irish filmmakers We have set out an implementation plan to 4 Academy Award® Nominations 2016 Festival. In 2015/16 Irish film has taken over execute the various actions developed in Best Film, Best Director, Leading Actress, Best Adapted Screenplay $140 million at the worldwide box office and —— Improving the local landscape by way this strategy. has generated global sales. of partnerships with state agencies, Academy Award® Winner broadcasters and content distributors Leading Actress This achievement is the result of investment and support provided by the IFB over many —— Strengthening the position of Irish film, years and proves that in order to achieve television and animation in the rapidly national and international recognition it is shifting international marketplace Brooklyn vital to invest (and continue to invest) in home-grown talent. —— Ensuring we have the right skills and training facilities to allow us to enable 3 Academy Award® Nominations 2016 Carpe Diem – Seize the Day continuous industry growth Best Film, Leading Actress, Best Adapted Screenplay

Irish film and screen content has achieved —— Ensuring we have the infrastructure to phenomenal worldwide success, but what support production comes next? Ireland has a new, improved and extremely competitive tax incentive for —— Ensuring Ireland is competitive Song of the Sea production activity in place, but how do we in terms of the international maximise the benefits of this? We believe that landscape for screen production Academy Award® Nomination 2015 now is the time to seize the opportunity that Best Animated Feature this success presents to Ireland, to scale the industry to the next level. And we believe that the IFB is the agency to direct and oversee this growth.

02 03 Foreword from the Chairperson Introduction and Message — from the Chief Executive —

I am delighted to present this Strategic Plan production, the development of talent and The Board of the IFB is excited by these The remit of the IFB is as the development Irish films need to be addressed, as do the I would like to take this opportunity to thank for the IFB, covering the period 2016 to 2020. skills and inward production and investment. challenges, and in many ways this Strategic agency to promote creative talent working in limitations on resources devoted by those the IFB Board for their vision in delivering this Key to this will be the funding of, and Plan provides a public statement of intent film, television and animation. Our aim is to public-service broadcasters to TV drama Five-Year Strategy and for their support to Irish film, television and animation has been support for, creative talent development and regarding the work we will be doing over the develop a sustainable industry for filmmaking (including children’s TV drama) and TV our staff over recent years. I would also like enjoying tremendous success in recent times, organisational arrangements to support this. next five years. Further work will be carried in Ireland. Our purpose is to support the animation. Computer games are also a major to thank my hardworking colleagues within and it is the intention of the IFB to help build out by the Board and by the IFB Executive highest quality in creative filmmaking and opportunity not only for Irish technology the IFB for their constant commitment and on these achievements. The IFB develops The third pillar will focus on a Strong team to bring the strategy to life, including an our ambition is to see this quality recognised but also Irish creativity and storytelling. The dedication to our work. Finally, I want to and funds a range of projects — primarily Foundation for the IFB in order to deliver on annual business plan, and we will be reporting by Irish and international audiences. This limitations on IFB resources (as well as those express my appreciation of the dedication feature films, feature documentaries and TV our priorities, including increased funding for annually on our success in achieving the purpose and ambition have already borne on the other public service bodies) brings and commitment of all of the creative and animation. As a nation, we have great pride investment in film, television and animation, objectives set out in this Strategic Plan for fruit in the recent successes of IFB-funded into strong focus the need for leadership to technical people working on IFB-funded in the Irish and international recognition dynamic partnerships within the sector and 2016 to 2020. films. With a dynamic industry and artistic create a sustainable environment for creative films. It’s a challenging and competitive achieved by films such asRoom , Brooklyn, an effective organisation that can deliver on leadership and drive, both within the IFB storytelling on screen in Ireland, and the industry, and without them none of this Viva, Sing Street, Song of the Sea and The these priorities. On behalf of the Board, I would like to thank and in the wider community of filmmakers, central role that the IFB would play in this. would be possible. Thank you again. Queen of Ireland – and in the quality of Irish our CEO, James Hickey, and his team of even greater success can be achieved. storytelling presented on screen. In an ideal world the IFB would support professional and committed staff at the IFB; What we do know is that Irish creative James Hickey Irish creative talent, telling stories on the Minister and officials in the Department The IFB needs to put itself on a secure footing talent in film, television and animation has Chief Executive This success has taken many years to build screen through all the forms and media that of Regional Development, Rural Affairs, as that development agency and be fully achieved spectacular success in the recent Bord Scannán na hÉireann/Irish Film Board and many of those directors, writers, actors, technology enables. These now include Arts and the Gaeltacht who have provided and properly resourced. This will enable us past. Irish screen writers, directors, actors, producers, animators, skilled technicians and feature films and feature documentaries great support to us, our many partner to develop the strength and depth of the designers, animators, technicians, and many others in the screen industry who are for cinema release and distribution online, organisations in the screen industry who creative talent in screen storytelling in Ireland, other creative artists for screen, have had now enjoying success have benefited from short films, TV animation, TV drama on work with us and the other public agencies including in particular new and emerging their work recognised for its quality and investment by the IFB over the last 10 to 15 broadcast television and online, interactive with whom we engage. talent as well as supporting a sustainable innovation worldwide. This creates high- years. Without our support, many of them content and computer games. To achieve career path for the creative talent already quality jobs in Ireland. It creates economic would not have been able to develop the kind this ideal and give full effect to the remit of We also remember fondly our beloved working in the sector. The goal is a vibrant and cultural value through the ownership of of careers they now enjoy. the title Screen Ireland, the IFB needs to be former Chair, Bill O’Herlihy, whose sudden future for artistic quality and excellence intellectual property which in turn generates resourced both in terms of additional funding and tragic death in 2015 was a major shock in film and screen content for Ireland and employment, exports and revenue for Ireland. There are three central pillars to this Five-Year and personnel. This would involve not only to all at the IFB. Bill brought dynamism and its taxpayers who support this work. It promotes an image of Ireland as dynamic Strategy. The first, is setting out a Vision for looking at all the potential sources of funding huge commitment to the development of and innovative as well as highlighting its 2020. The Strategic Plan provides a vision of film agencies but also working closely with the IFB and the wider screen industry, and With limitations on funding, the IFB has locations and scenic imagery for a worldwide for the IFB and we will be working with all other organisations in the screen content this strategic plan, which he was very keen continued a strong commitment to feature audience, promoting inward tourism and our stakeholders to promote and develop a production sector so that the best outcomes to progress, will be Bill’s enduring legacy films including feature documentary growing revenue for the Irish economy. vision for the industry overall. We will focus are achieved for screen content production – for us all. films for cinema release. The IFB also on Leadership, Gender and Diversity and culturally and economically. supports the development of creative Our vision over the next five years is for Building Audiences for Irish film, television Dr Annie Doona talent through its short film schemes. In Irish creative talent in film and screen and animation. In December 2015 we Developing and maintaining a successful Acting Chair addition, we support TV animation and content to strengthen and deepen and for published a Six Point Plan on Gender Equality screen industry in Ireland is not solely the Bord Scannán na hÉireann/Irish Film Board TV drama where we have seen gaps in world-class storytelling on screen to give a which is close to my heart and we will be responsibility of the IFB, and we will continue other public supports for storytelling on full and equal voice to the diversity of Irish working actively with all our stakeholders with to work closely with our colleagues in central screen. In this way we can rightly claim cultural life for Irish audiences as well as a view to achieving the targets and goals set government and with a wide range of state our central role as the development on the world stage. We are hugely excited out in this plan. agencies and the public-service broadcasters agency for screen content in Ireland. by the creative possibilities and will be in areas such as funding, infrastructure, job pursuing every opportunity to bring them The second pillar will be to Build on our creation, taxation, and other incentivisation The IFB’s Mission, Vision, and Values need to fruition so that the widest diversity of Core Strengths which will focus on the measures which are vital in helping to move to be seen in this wider context. Issues such Irish and international audiences can see development and support of creative screen the industry forward. as public-service broadcaster funding of the work of Irish creative talent on screen.

04 05 Who We Are and What We Do —

Bord Scannán na hÉireann/The Irish Film Film Production Film Audience Board (IFB) was established as a state In 2015/2016 Irish agency for film funding under the Irish ——Providing production investment loans for ——Supporting the Irish film programme in Film Board Act 1980. The remit of the IFB is feature film, feature documentaries and local festivals set out as follows: “The Board shall assist TV animation projects and encourage by any means it considers ——Supporting Irish film and television awards Film grossed over $140* appropriate the making of films in the State ——Enabling Irish companies to own and and the development of any industry in the exploit their own intellectual property ——Supporting and promoting Irish films at State for the making of films”. This remains major international markets and festivals the statutory remit of the IFB to this day. ——Support short film schemes across live which provide an international sales launch million at the theatrical The IFB operates under the aegis of the action, documentary and animation pad for our output Department of Regional Development, Rural Affairs, Arts and the Gaeltacht. We have Film Distribution ——Creation of Irish Shorts DVD and a staff complement of 14, with a further promotion of short film talent box office worldwide. 6 in Screen Training Ireland. Our work is ——Funding P&A spend and assisting with the overseen by a Board of up to 7 members promotion and distribution of the feature ——IFB Media Hub appointed by the Minister. films in cinemas throughout Ireland Film Location What We Do ——Assisting distributors with distribution strategies including the broadcast and ——Promoting inward investment and Ireland ——Provide leadership and strategic vision online availability of these films as a location for international production for Irish film and the Irish film industry Film Industry Support ——Providing advice and support for ——Provide a wide range of funding for film international companies seeking to locate and screen content ——Through Screen Training Ireland, investing production activity to Ireland in people and skills development ——Foster an environment for a successful ——Organising a number of inward and and growing Irish filmmaking culture, ——Supporting industry guilds outward trade missions on an annual basis telling our own stories for Irish and international audiences ——Supporting Creative Europe desks in ——Working in partnership with EU partnership with industry counterparts on co-production We fulfil our remit through a number of activities as set out below: ——IFB website, industry communications, social media management Film Development

——Supporting creative talent and Irish production companies

——Providing development loans for feature film, feature documentaries, TV animation and international TV drama

——Enabling Irish companies to own and exploit their own intellectual property

* figures to June 2016

06 07 Strategic Context —

Scope and Remit Policy Landscape “ We have the great “Film” is not defined in the Irish Film Board Government policy for the IFB, which Act 1980 or in subsequent IFB legislation. The funds, supports, and develops the Irish IFB operates on the basis of a wide definition film industry, forms part of policy for the of the types of films we fund, including: audiovisual production sector overall. Other intangible, which is the ‘soft aspects of government policy include the ——feature films (live action and animation) Section 481 tax relief for film production, ——feature documentaries public service broadcaster funding, the ——TV animation Broadcasting Authority of Ireland (BAI) power’ aspect of millions of ——TV drama development Sound & Vision Scheme (funded by a portion of the television licence fee), and The IFB has not as yet included computer the mandating of a quota for programming games in its remit even though this from independent television companies for people all around the world has been embraced in other European RTÉ. A series of policy and strategy reports territories. Television drama production and initiatives have shaped the audiovisual and development, including Irish-language industry and the role of the IFB within it television drama, has been supported in the over the past two decades, including most seeing films made by Irish past, but due to funding constraints only recently the 2011 Creative Capital report1. the development of high-end international However, aspects of previous reports were television drama is currently supported. not implemented, and at present there is no clear overarching government vision or directors and producers, In December 2015, legislation was passed strategy for the audiovisual industry. by the Oireachtas to facilitate a change of name for the IFB to “Screen Ireland”. Our Changing Times ambition at the IFB is to embrace our role written by Irish scriptwriters as Screen Ireland, the national development The audiovisual production sector has agency for creative screen content changed, and will continue to change, production. However, our capacity to do dramatically. Technological advances are so at present is subject to limitations on affecting every aspect of the industry taken from Irish novels and funding and staff resources. including filming, visuals, sound, and consumption, now fragmented across cinemas, DVDs, Blu-Ray, tablets, and smartphones. This presents challenges in played by Irish actors. This terms of training and skills development, for example, but also opportunities to increase the audience for and impact of Irish film, television and animation, is... enormously powerful, domestically and internationally. economically”

* Irish Independent article “ The Oscar trail of success can be a huge boost to ‘Brand 1 For details on the Creative Capital report and other policy and strategy David McWilliams, Economist Ireland’ abroad”, David McWilliams documents from previous years, please see our website.

08 09 Listening to our Stakeholders —

In late 2014/early 2015, Crowe Horwath carried out an extensive consultation with stakeholders in the screen content production sector in respect of their views on what Developing Talent – the IFB’s future strategy should focus on. Below is a broad sample of what we heard.

Theme You Said What this tells us The Next Generation: Vision and leadership There is an absence of a clear, communicated We need to set a clear vision for the IFB vision for the industry and the IFB, and the and to reclaim the cultural and artistic leadership has focused on economic rather voice for film Ireland has won 10 than cultural/artistic aspects

Perceptions of the IFB The IFB is seen as hardworking, but with We need to strengthen our resources, resource challenges and a perceived lack of build on our strengths, and ensure our Academy Award transparency in decision making organisation is accountable and open

Remit of the IFB Mixed views on whether the remit of the We need to consider the impact of any IFB should extend more substantially into extension of our remit on our capacity in Nominations and Two non-feature film areas of screen content and terms of resources recognition of the resource constraints

Balance between indigenous industry It is recognised that inward investments We need to work on ensuring the right Academy Awards and foreign direct investment support the audiovisual industry in Ireland, balance of resource allocation in respect of but some are concerned about the balance inward production and on ways to make it for indigenous production and the lack of work for creative talent development here opportunities to develop Irish creative talent for Best Short Film Development of creative talent The current funding structures are focused on We need to focus on ways to nurture and producers and are project-based rather than support creative talent to ensure a vibrant and supporting talent development creative industry in the future since 2002. Development of the indigenous industry Stakeholders would like to see a stronger We need to support a diverse range of Irish Irish voice and confidence in Irish film, with filmmakers in their articulation of a vision a longer-term development approach and an for Irish film, supporting the industry with emphasis on diversity, gender in particular innovative approaches

Education and training Screen Training Ireland is well-regarded and We need to build on Screen Training Ireland’s stakeholders are happy to see it continue strengths and work with education and under the aegis of the IFB; additionally there training providers and with the industry to should be closer integration with third-level bring them closer together education and pathways into the industry

10 11 Mission Vision and Values — —

The IFB’s mission is to support and promote Irish film, television Vision Our vision sees IFB as a leadership and animation through fostering Irish artistic vision and our organisation advocating for a vibrant, creative and sustainable diverse creative and production talent, growing audiences, Irish film, television and animation Talent and Skills industry, with diverse voices, talent and attracting filmmakers and investment into the country. and opportunities, which speaks to Creativity and and connects Irish film culture with Value for Money Innovation audiences at home and abroad.

We deliver on our mission through: Policy Values

In leading and supporting the industry, our policy is to value and support the following: Policy Values

Providing leadership, Promoting Irish films to Audiences Diversity direction and advocacy major international markets for the Irish film industry

Generating inward Partnerships Enterprise Development and Production investment by promoting funding for Irish film Ireland as a film location and screen content and advising international Professional companies on locations Investing in people and Open Creative skills development through Engaging with European IFB Organisational Values Screen Training Ireland counterparts on mutually Our organisational values are fundamental in informing and shaping both our beneficial policy initiatives IFB Values corporate and individual behaviour within the IFB. We strive to provide the values set Promoting the distribution out on the left. of supported feature Accountable Effective films, bringing Irish film to wider audiences Efficient

12 13 Key Challenges Strategic Objectives — —

The timing of this strategy is particularly ——Restoring IFB funding levels to apt because it is about building on success. enable us to fulfil our remit and the Focus of Strategy Irish film received eight Academy Award® strong ambition of filmmakers The purpose of this strategy is to help ensure a clear vision and plan nominations in 2015/16, which for a country for the IFB and to streamline our focus into a number of strategic of our size is a spectacular achievement. It ——Improving the local landscape by way priority areas. This strategy aims to support the case for restoring is clear that Ireland has vibrant talent, and of partnerships with state agencies, funding and for enhancing support for the sector, and is built upon 2 what is needed is the requisite framework broadcasters and content distributors our strategic analysis and feedback from our stakeholders. to harness this momentum. The principal Building on Our challenges and opportunities we need to ——Strengthening the position of address include: Irish film in the rapidly shifting Core Strengths international marketplace ——Positioning the sector as a strategically important contributor to the cultural ——Ensuring we have the right skills Strategic Priority Areas Development and Support of and economic life of the country and training facilities to aid the growth of the industry — Creative Screen Production ——Identifying, nurturing and developing creative talent and ——Capitalsing on the new and improved tax building a film culture in Ireland incentive Section 481 to scale the industry Development and Nurturing

——Embracing diversity and gender ——Ensuring we have the infrastructure of Talent and Skills equality in all its forms and ensuring the to support production participation and representation of the full range of diverse voices in Ireland ——Ensuring Ireland is competitive 1 Inward Production and in terms of the international ——Strengthening the links between landscape for screen production Vision for 2020 Investment creative vision, quality of work and audience engagement to achieve critical and commercial Vision and Leadership for success for Irish screen content the Screen Sector Gender and Diversity 3 Building Audiences Strong Foundations Increased Investment Partnerships for Screen Production Organisational Effectiveness

14 15 Vision for 2020

16 17 Vision and Leadership Gender and Diversity for the Screen Sector — —

Positioning the IFB at the centre of industry ——Seeking a ‘root and branch’ review of how As part of our artistic leadership role in film 5. Supporting education initiatives in and artistic leadership for film and screen feature film is funded in Ireland, including and screen content it is vitally important schools and colleges in the area of content production in Ireland is at the heart examination of alternative and innovative that we represent a contemporary Ireland Irish culture of the IFB’s vision for the next five years. Our approaches (including contributions from with all of its uniqueness, originality of voice role sees us as promoting the environmental and levies on broadcasters and other and cultural diversity. In doing so we want to 6. Working with our partners in funding film conditions so that growth and creativity can content users) and comparative practices provide a breadth of storytelling and serve a and screen content, including the public achieve its full potential. in other EU countries and elsewhere wide range of audiences. service broadcasters RTÉ and TG4, as well as the Broadcasting Authority of Ireland We want to support the growth and ——Commissioning a full study of the screen We are committed to addressing the issue (BAI) Sound and Vision Scheme, so that development of a dynamic sector, creating content sector including employment of gender inequality in Irish filmmaking and gender equality and diversity is promoted great work, jobs and exports in a vibrant levels, turnover and the strategic potential screen content, in particular the roles of in publicly funded screen content and innovative environment. We want to of the sector. This will then be followed writers and directors. For the purposes of this achieve full recognition for the sector in the through with annual data collection and five-year strategy our main focus in ensuring a Intended Outcomes strategically important role it plays both industry measurement so that policy diversity of voices in Irish film and filmmaking in Ireland and internationally, so that the development is fully informed by accurate will be on gender. ——A more inclusive diversity of creative benefits of improved support for the sector statistical information talent and screen content across the full are strongly advocated for. Key Actions spectrum of Irish society ——Working with European Film Agency We will engage with government and other Directors on the development of EU ——Tasking the new Head of Creative ——That diversity within Irish society is fully stakeholders in the sector so that the vision policies on film and screen content, Production and Talent Development reflected in the film and screen content for Irish culture and creativity is promoted including initiatives on the Digital Single to work to achieve enhanced levels of production sector, within the workforce and the value of Irish screen content is Market (DSM), the Audiovisual Media diversity in films and screen content as a whole and in the audiences for fully recognised for its cultural, social and Services Directive (AVMSD) and directives supported by the IFB whom the film content in created economic merits. in relation to copyright and e-commerce ——Continuing to implement the Six Point Plan ——That the target of 50/50 gender parity in Key Actions ——Playing an active role as the Creative on Gender Equality published in December creative talent working in screen content Europe Desk co-ordinator, supporting the 2015, including the following initiatives: is achieved ——Taking an industry leadership / Irish audiovisual sector, accessing funding advocacy role by engaging intensively and opportunities that the Creative Europe 1. The collection, publication and ——That diversity and gender equality with government for a strong policy programme provides monitoring of data on gender inequality are embedded within the funding engagement with storytelling on screen in process of all publicly funded film Ireland, so that there is a coherent public Intended Outcomes 2. Engagement with production companies and screen content sector approach to the development and and representative organisations to raise funding of the sector ——Positioning of IFB in industry leadership awareness of gender imbalance and working with them in education and ——Providing artistic leadership, nurturing ——Positioning of IFB in artistic leadership training initiatives highlighting unconscious and developing creative talent on screen. bias in creative decision making This will include intensive engagement ——Sustainable funding for film and screen with writers, directors and producers content 3. Enhancing the skills and capacities of and the creation of a new post of Head creative decision makers in relation to of Creative Production and Talent ——Evidence-based policy for the screen diversity and equality issues in the creative Development content production sector decision-making process

——Promoting the economic and cultural 4. Continuing training and mentorship value of inward production and the vital initiatives through Screen Training Ireland role played by tax incentives (Section 481) and other measures promoting Ireland in the competitive world market of screen content production

18 19 Building Audiences —

The IFB will increase audience access to ——Building a networked approach to IFB-funded films in cinema, online and exhibition and programming through broadcast television and will promote strategic partnerships to increase the “Ireland’s presence globally Irish film culture. Audience consumption circulation of Irish films is shifting at a dramatic pace as is the many ways in which audiences can now ——Building in structured feedback after a engage. Theatrical windows are still film’s distribution life with the producer is through its culture, that’s important in terms of generating profile and the distributor for films and there are considerable opportunities in building new relationships ——Working with Irish broadcasters across a wide range of platforms. to promote Irish film to a wide our strongest identifier. television audience Key Actions ——Continuing our successful strategy of ——Continuing to build cinema audiences engagement with international A-list With really clever targeted for IFB films by focusing on audience festivals to promote Irish film and Irish development as part of the funding film talent process at the development and production funding stages ——Working with film festivals in Ireland support, I think we could and internationally to support and ——Increasing cinema distribution promote the exhibition of Irish work, funding and planning, to maximise in conjunction with Culture Ireland cinema-going audiences in all and the Irish Film Institute have a world-class content funding decisions for IFB films Intended Outcomes ——Continuing to build our relationships with local, UK and US distributors and ——Increased cinema and digital audiences for creation sector in Ireland.” international sales agents, which are Irish film vital to the success of Irish films ——Increased access to Irish film for audiences ——Supporting early engagement between producers and distributors and creating ——Promotion of IFB-funded films Lenny Abrahamson, incentives that supports early partnership ® ——Partnerships developed with distributors, Academy Award Nominated Director ——Developing a new strategy supporting the broadcasters, and other funders delivery of IFB films to digital audiences including VOD, subscription VOD (SVOD) and over-the-top (OTT: the term used for + Additional funding will enable us to: the delivery of film and TV content via ——Increase funding for distribution across all the internet) including tracking revenue platforms streams and promoting audience access ——Establish a regional exhibition fund for ——Working with the Department of Irish film Regional Development, Rural Affairs, Arts and the Gaeltacht, and the Arts Council ——Establish an education partnership on the completion of the Arthouse outreach fund for Irish film Cinema Network which will greatly enhance the circulation of Irish films *LA Times article “Irish Film Board has growing ambition for its industry after 2016 Oscars”

20 21 Building on Our Core Strengths

22 23 Development and Support of Development and Nurturing Creative Screen Production of Talent and Skills — —

We will continue to support and develop budget, and low-budget films to new Irish IFB will support the development, nurturing, ——Developing a film strategy for young + Additional funding will enable us to: + Additional funding will enable us to: those creating and producing film and cinema, mid-range films and major Irish and maintenance of talent and skills for the people which will aim to discover next ——Increase the IFB investment in skills ——Increase development funding for screen content in Ireland by providing feature films screen industry in Ireland. Finding, nurturing, generation filmmakers and training feature films and to resource a full range funding and other supports. We will and developing creative talent through of development of screen content strengthen the creative process and ——Ensuring that the Creative Team is properly supporting development and production, is ——Developing links with third level education explore new ways of helping creative resourced in order to be strengthened to a clear goal for IFB. Through Screen Training and training institutions to support ——Improve and increase production talent achieve full potential. deliver talent development initiatives Ireland we will continue to expand the graduate pathways into the industry funding supports for feature films and to development and support of a whole range of resource a full range of screen content The primary focus of the production and ——The development of concentrated skills and training for the audiovisual sector. ——Establishing an education forum at development team is to engage with supports for animation screen content primary, secondary and third levels in ——Establish support for the creative writers, directors and producers of films through targeted development and The current level of funding for skills Ireland to link industry with the education storytelling elements of computer games and screen content to achieve the best support for short films and lower budget development and training in Ireland is wholly system from the earliest stage quality and diversity of the work supported animation projects inadequate to support the potential growth by the IFB. High-quality screen production of the sector and priority must be given to ——Advocating for and strongly supporting depends on the collaboration of the ——The promotion of Irish writers, directors, developing a sustainable model for funding a levy on the Section 481 incentive which creative team involved, supported by the producers, actors and other creative training and skills. will form the basis of a skills fund to resources and funding of the IFB. personnel at international festival markets support the industry skills requirements to international talent agents Alongside this IFB Strategic Plan, the IFB Key Actions and the BAI have commissioned a new Intended Outcomes —— Assign a share of the producer corridor to strategy for the development of skills in the ——Providing production funding to be shared with other Irish creative talent audiovisual sector. ——Implementation of strategy for the creative screen productions in Ireland (writers and directors) development of skills for the whole and to creative co-productions Key Actions audiovisual industry including a more with Irish involvement. Funding will Intended Outcomes sustainable model of funding training prioritise feature films and feature ——Overseeing, along with the BAI, the documentaries for cinema release ——High-quality creative films to be made implementation of forthcoming strategy ——More integration of training with with smaller amounts of funding also in Ireland and with Irish involvement to develop skills and training for the inward production in order to maximise provided for television animation and internationally audiovisual sector in Ireland opportunities other forms of screen content ——More access to development funding to ——Considering the outcome and ——Clearer career pathways and more ‘on ——Providing development funding for Irish ensure that projects going into production implications of this strategy for Screen the job’ opportunities feature films, feature documentaries and are of the highest quality Training Ireland and IFB major international TV drama so that the ——Improved co-ordination and support quality of the work can attract local and ——Identification and nurturing of existing and ——Implementing, along with other industry for education and training in the international funding for production new talent in relation to creative screen stakeholders, the strategy for skills sector content production development ——Creating a new position of Head ——Increased skills and capacity building in of Creative Production and Talent ——Finding ways to link training and the audiovisual sector Development to provide artistic and development to funded productions creative leadership in the support of more effectively ——Strong creative talent and the opportunity screen production to develop and hone skills and experience ——Addressing the challenge of training ——The development of career paths for and development for creative roles ——Strong links between industry and filmmakers through graduated steps in in the industry (i.e. screenwriters, education film production from short films, micro- directors and actors in particular) including the development of shadowing and mentorship opportunities, showcasing and specific talent development initiatives

24 25 Inward Production and Investment —

The IFB will continue to promote inward ——Promoting Ireland though trade production of feature film, TV drama and missions to major international animation projects as well as the development industry hubs and co-production “ Ireland has become of a network and infrastructure for production partner territories including EU, US in Ireland. This will support the growth and Canada, India and China development of the sector in Ireland and increase jobs, exports and the international ——Working with IDA Ireland on the an important part of promotion of Ireland as a tourism destination. infrastructural requirements of the sector and the foreign direct Key Actions investment opportunities within it, creating jobs and exports Star Wars history.” ——Promoting the new Section 481 tax incentive to achieve exponential ——Ensuring that environmental conditions growth and development in film, TV that support inward investment and drama, animation, visual effects and employment are strong and competitive Candice Campos, Vice President, post-production Intended Outcomes Physical Production, Lucasfilm ——Recruitment of a new Inward Production Manager ——Increased production levels in Ireland

——Develop the Film Dublin Partnership and ——More employment within the sector build new stakeholders ——Greater capacity of the regions to attract ——Build filmmaking fabric in the regions, inward production “ Ireland is the best develop our relationships with local county councils, and create a regional filmmaking ——Increased state-of-the-art infrastructure fund to stimulate regional activity commensurate with plans to develop the creative screen industry in Ireland place in the world ——Liaising closely with the industry and with government to ensure that Ireland’s need ——Improved access to urban and rural for studio infrastructure is properly and locations objectively assessed, and the appropriate to shoot a film.” actions taken by key parties involved ——Enhanced facilities and services available in Ireland ——Upgrading and improving the database of film locations to improve its content Whit Stillman, Director, Love & Friendship and usability

26 27 Strong Foundations

28 29 Increased Investment Partnerships for — Screen Production —

The IFB will engage with government and Key Actions The success of Irish film is built on ——Partnering with Enterprise Ireland to other partners and stakeholders to seek partnerships with a wide range of develop Irish companies working in increased investment in Irish film over the ——Continuing to highlight the contribution stakeholders, public and private. Without screen content production, increasing lifetime of this strategy. Irish films have made by Irish film and the screen these partnerships, the capacity to provide employment and promoting services achieved great success in recent times, yet, industry to our economy – in 2015, the number of films that are delivered and facilities including animation, post- since 2008, the IFB’s funding has been cut IFB-funded films brought in over $140 annually would be reduced even further. Even production, visual effects, and all forms of from €20 million to €11.2 million. million at the box office worldwide; and with existing partnerships, there is an urgent screen content production the wider audiovisual sector employs need to break new ground in developing Ireland’s current success is due to over 6,000 people at present in Ireland, and increasing the level of engagement with ——Developing international partnerships investment in Irish film and creative content generating over €0.5 billion to the these partners. through international co-production production over the past decade or more, economy treaties and other government-to- and to maintain such reduced funding levels Key Actions government relationships to promote for the IFB threatens the future success of ——Engaging with government, political international co-production partners for Irish film and filmmakers. leaders, and senior executives in a wide ——Partnering with government in bringing Irish originated films and creative range of state agencies to present the case to the fore a cultural and industrial co-productions We strongly believe there will be significant for increased investment in Irish film and vision for growth and development to advantages for Ireland if our funding were screen content production the sector through working with the ——Partnering with other public film to be increased, particularly for the cultural Department of Regional Development, funding agencies to promote co- value of the films produced and the creation ——Undertaking an audit of comparative Rural Affairs, Arts and the Gaeltacht and funding arrangements and the pooling and maintenance of thousands of jobs film agency and content funding the Interdepartmental Group established of creative skills, so that the knowledge within a growing industry achieving huge arrangements in the EU and elsewhere by the Department of the Taoiseach so and experience of international international critical acclaim. We to support the case for increased that there is an integrated governmental production strengthens and develops also strongly believe that all options in investment in indigenous content policy and ongoing initiatives across all Irish film and screen content relation to sources for increased funding parts of government should be explored. This could include ——Independently measuring the value of Irish ——Engaging with private sector funding the deployment / re-deployment of film through an ongoing data collection ——Partnering with public service broadcasters opportunities including film distributors, existing resources such as public service process, and the annual presentation to secure increased funding for feature broadcasters, and film financing funds broadcaster funding and new sources of results film and screen storytelling content as of funding through contributions from well as access to audiences. A full and Intended Outcomes online channel delivery services. Intended outcomes: intensive engagement with RTÉ and TG4 across feature films, television drama, and ——Enhancing the quality and range of films ——Restoration of IFB funding to €20 animation is essential to the future success and screen storytelling content written, million, including annual increases on an of Irish originated screen content produced and directed by Irish talent incremental basis ——Partnering with associations such as ——Strengthening the industrial base of the ——Increased contributions from public the Writers Guild of Ireland, the Screen screen content production sector service broadcasters and content Directors Guild, Screen Producers distributors to Irish film and screen Ireland, Animation Ireland, Visual Effects ——Increased public service broadcaster storytelling content Association of Ireland, Women in Film and funding for feature film as well as TV Television, Games Ireland, and Imirt (Irish drama and TV animation game makers’ association) and others to strengthen and develop the creative skill ——Greater audiences for Irish content base for Irish screen content production ——Increased foreign direct investment ——Partnering with IDA Ireland to encourage foreign direct investment in film, TV ——The growth and focus of Irish production production, animation, and computer companies, particularly with a focus on the game production located in Ireland export markets

30 31 Organisational Effectiveness —

The IFB will ensure the organisation is ——Reviewing the organisational and appropriately resourced, structured, governance structures relating to governed, and managed so as to most Screen Training Ireland and its role In 2016, Two out of effectively support our mission and to within the IFB achieve our strategic aims. ——Ensuring we have appropriate Key Actions policies, procedures, and systems the Eight Best Picture in place to support efficient and ——Reviewing the size, configuration, effective working practices and appointment process of the IFB Board with the Department of ——Ensuring we have communications Academy Award Regional Development, Rural Affairs, plans in order to effectively Arts and the Gaeltacht, to ensure it communicate with our stakeholders can continue to effectively lead and govern the organisation ——Ensuring that the IFB and Screen Training Nominations were Irish Ireland are learning organisations. We ——Reviewing our Creative Team value our staff and their development structure to deliver a dynamic and artistic leadership and a concerted Intended Outcomes development of and support for creative talent ——An IFB Board with the appropriate mix of skills and experience to continue to lead ——Reviewing our funding systems and govern the IFB and Screen Training to achieve the maximum level of Ireland in the most effective way transparency and accountability which meets the flexibility and ——An increased level of creative and adaptability necessary for us to administrative staffing with an deliver on our role as a development appropriate range of skills to maximise agency the impact of the work of the IFB

——Reviewing our internal structures to ——A well-managed organisation operating identify the most appropriate level and transparently, efficiently and effectively configuration of resources to support the work of the IFB

32 33 Measuring Our Success Making it Happen — —

Measuring success across the economic and great intangible, which is the ‘soft power’ To implement our new strategic plan, the IFB will industrial agenda is quite straightforward aspect of millions of people all around Implementing commence a series of activities over the next 12 months: – physical production can be seen and the world seeing films made by Irish its impacts and economic multipliers can directors and producers, written by Irish the Strategy – be measured. Measuring cultural and scriptwriters taken from Irish novels and artistic achievements is more complex. played by Irish actors”. In a small economy Next Steps As David McWilliams wrote about the such as ours, cultural and economic Activity Timeframe Irish film sector’s success“We have the achievements are inextricably linked. — This Five-Year Strategic Plan has been Stakeholder Engagement Q4, 2016 to Q1 2017 Cultural and Artistic Industrial and Economic prepared in order to ensure that the IFB We will hold a series of meetings with maximises its capacity to support the film, key stakeholders (industry, government, ——Cultural benefit of Irish film ——Economic value of local screen TV and animation industry and to assist state agencies, broadcasters, etc) to and screen content – telling production and inward investment as in its development. It is not, however, a present our new strategy and to discuss stories of Ireland and Irish talent stimulated by Section 481 tax incentive strategy for the industry per se, and whilst how best we can work together to telling international stories the IFB is keen to play a full part, we also deliver on our strategic objectives ——Growth of filmmaking in the regions believe that the time is right for government ——Audience engagement in Ireland to consider the development of a new Organisational Strengthening Q4, 2016 to Q1 2017 and internationally – across ——Growth in employment strategic plan for the audiovisual industry as We will review our executive and Board all viewing platforms a whole, covering all aspects – indigenous structures, including Screen Training Ireland, ——Growth in physical infrastructure production, foreign direct investment, job to maximise our effectiveness – this will ——Selection at Irish and creation, financial supports, infrastructure, include creation of a new role Head of international A-list festivals ——Scaling of the sector people development, and many more. Creative Production and Development

——International awards for Irish ——Tourism benefits from screen Annual Business Planning and Reporting Q3-Q4, 2016 film and Irish film talent production using Ireland as a location We will develop an annual business plan to set out the year-on-year operational objectives ——Sales and exports of Irish film ——More stable and sustainable of the IFB, linked in with our budgeting production environment and resource planning cycle and with the ——Improved gender balance and production of an annual report diversity in the work we support ——Technology and innovation developments Measuring our Success Q4 2016 to Q1 2017 ——Career progression of Irish talent – ——Partnerships to achieve economic We will report on an annual basis how writers, producers, directors, and industrial impacts we perform benchmarked against our animators, actors and technicians performance indicators

——Partnerships in order to achieve Strategy Review Q4 2017 cultural and artistic benefits As the industry changes the IFB must be responsive to change and be adaptable – as part of our strategy we will review our In order to advance greater transparency the IFB will use these performance strategic priorities and examine how indicators and will report on them on an annual basis. we are progressing and the changes we should make

34 35 Appendix 1 Appendix 4 — — IFB Exchequer Funding 2006 – 2016

Year Capital Admin Total Funding (€) Funding (€) Funding (€)

2006 €17,300,000 €2,126,000 €19,426,000 1. Average Allocation of IFB 2007 €19,500,000 €2,659,000 €22,159,000 Capital Funding 2013 – 2015 2008 €20,000,000 €3,189,000 €23,189,000 — 2009 €18,817,000 €3,023,000 €21,480,000 Total 2013 – 15 2010 €16,500,000 €2,772,000 €19,272,000 2011 €16,000,000 €2,431,000 €18,431,000 Irish Production 39% 2012 €13,150,000 €2,540,000 €15,690,000 Creative Co-Pro 11% 2013 €11,898,000 €2,960,000 €14,858,000 2014 €11,202,000 €2,760,000 €13,962,000 Documentary Production 7% 2015 €11,702,000 €2,760,000 €14,192,000 TV Animation Production 6% 2016 €11,202,000 €3,269,000 €14,471,000 Shorts 4%

Distribution 4%

International Production 2%

Development 14%

Appendix 2 Training 5% — Industry Support 8% Annual expenditure in the Irish economy from independent film, TV drama and animation production activity 2006 – 2015

2006 €91,659,750 2011 €118,248,839 2007 €100,425,445 2012 €142,968,378 2008 €108,441,729 2013 €183,142,646 2009 €105,477,863 2014 €237,387,613 2010 €164,581,541 2015* €118,618,238 2. Average Allocation of IFB Funding for *New Section 481 regime introduced February 2015 Production / Development / Distribution 2013 – 2015 (excluding Training and Industry Support) — Total 2013 – 15

Appendix 3 Irish Production 44.85% — Creative Co-Pro 12.73% TV Animation Production 7.04% Number of Projects Supported by IFB 2011 – 2015 Documentary Production 8.29% Year Irish Creative Co- Animation Feature TV Drama Shorts Features International Production 2.16% Production Production Documentaries Cinema Release Distribution 4.14% 2011 21 6 2 18 2 28 17 Shorts 4.91% 2012 16 7 6 18 3 19 20 2013 11 4 7 18 1 12 23 Development 15.88% 2014 14 11 4 9 1 9 22 2015 12 7 2 13 0 17 25

36 37 Appendix 5 International Awards —

2009 Best Live Action Short Film, Brooklyn ® Academy New Boy (Nomination) Golden Globes, USA Three Academy Award Nominations ® in 2016 including Best Picture and Best Awards , USA 2008 Best Original Song, Once — Actress for Saoirse Ronan 2016 Best Actress, Brie Larson, Room — 2006 Best Live Action Short Film, Six Shooter 2016 Best Picture, Room (Nomination) 2016 Best Picture, Room (Nomination) 2002 Best Short Animation, 50 Percent Grey 2016 Best Picture, Brooklyn (Nomination) (Nomination) 2016 Best Screenplay, Room (Nomination)

2016 Best Director, Lenny 2002 Best Short Animation, Give Up Yer 2015 Best Actress, Saoirse Ronan, Abrahamson, Room (Nomination) Aul Sins (Nomination) Brooklyn (Nomination)

2016 Best Actress, Brie Larson, Room 2009/08 Best Performance by an Actor in a Television Series - Drama, 2016 Best Adapted Screenplay, Emmy Awards, USA The Tudors (Nomination) Room (Nomination) — 2006 Best Performance by an Actor 2016 Best Actress, Brooklyn, 2013 Exceptional Merit in Documentary in a Musical or Comedy, Breakfast Saoirse Ronan (Nomination) Filmmaking, Mea Maxima Culpa: on Pluto (Nomination) Silence in the House of God 2005 Official Selection Directors’ Fortnight 2013 Editing Award: World Cinema 2016 Best Adapted Screenplay, (Short Film), Undressing My Mother Documentary, The Summit Berlin Film Festival, Brooklyn, Nick Hornby (Nomination) 2013 Outstanding Picture Editing for Germany Nonfiction Programming,Mea Maxima Cannes Film 2001 Official Selection (Short Film),Chicken 2012 Official Selection,Grabbers, 2015 Best Animated Feature, Culpa: Silence in the House of God Shadow Dancer, This Must Be The Place Song of the Sea (Nomination) Festival, France 1998 Best Director, The General — 2013 Outstanding Writing for Nonfiction 2011 Official Selection,The Guard, 2015 Official Selection,You’re Ugly Too 2012 Best Actress, Albert Nobbs (Nomination) Programming, Mea Maxima Culpa: — Knuckle, Perfect Sense, Small Change Silence in the House of God 2015 Jury Prize, The Lobster 2014 Official Selection,Calvary, 2012 Best Supporting Actress, Sundance Film 2010 Official Selection,His & Hers, The Food Guide to Love, Last Hijack Albert Nobbs (Nomination) 2010/09/08 Outstanding Costumes, 2014 Official Selection,Jimmy’s Hall Old Fangs The Tudors Festival, USA 2013 Official Selection,Slow Food Story 2012 Best Make-Up, Albert Nobbs 2014 Directors’ Fortnight, Queen and Country 2010 World Cinema Documentary (Nomination) 2010 Outstanding Art Direction, The Tudors — Award, His & Hers 2012 Official Selection,Dollhouse, 2013 Official Selection, Directors’ 2016 Official Selection,Sing Street, Mammal, Shadow Dancer, Anton Corbijn: Inside 2012 Best Live Action Short Film, 2010 Outstanding Cinematography, Fortnight, The Last Days on Mars Love & Friendship, Viva, The Lobster, The 2009 Official Selection,Five Minutes of Out, The Reluctant Revolutionary Pentecost (Nomination) The Tudors (Nomination) Land of the Enlightened, A Coat Made Dark Heaven, A Film From My Parish – 6 Farms 2011 Official Selection,This Must be the Place 2011 Official Selection,The Guard, 2011 Best Live Action Short Film, 2010/09 Outstanding Hair Styling, 2015 Special Jury Prize, Jack Reynor, 2009 World Cinema Directing Crossing Salween, The Pipe The Crush (Nomination) The Tudors (Nomination) 2011 Official Selection, Directors’ Glassland Award, World Cinema Screenwriting Fortnight, The Other Side of Sleep Award, Five Minutes of Heaven 2010 Official Selection,Corduroy 2010 Best Animated Feature Film, 2009 Outstanding Cinematography, 2015 Official Selection,Brooklyn, Glassland, The Secret of Kells (Nomination) The Tudors 2010 Official Selection Directors’ The Hallow, Strangerland, The Visit 2007 Audience Award for 2009 Official Selection,The Secret of Kells, Fortnight, All Good Children World Cinema, Once Cherrybomb 2010 Best Animated Short Film, Granny 2009/07 Outstanding Art Direction, 2014 Official Selection,Frank, Calvary, The O’Grimm’s Sleeping Beauty (Nomination) The Tudors (Nomination) 2007 CICAE Art & Essai Cinema Prize, Garage Last Days of Peter Bergmann, Young Ones 2002 Audience Award for World 2008 Official Selection,Seaview, Cinema, Bloody Sunday New Boy, 32A, Frankie 2010 Best Live Action Short Film, 2009/08/07 Outstanding Casting, 2006 Palme D’Or, The Wind That Shakes 2013 Best Short Animation, The Door (Nomination) The Tudors (Nomination) The Barley Irish Folk Furniture

38 39 Room 2002 Discovery Award, The 2010 Official Selection,Snap, 2009 Official Selection,Foxes ® Four Academy Award Nominations in 2016 Magdalene Sisters My Brothers, Ondine, Zonad including Best Picture, Best Director and Best 2007 Official Selection,Blind Man’s Eye screenplay with Actress Brie Larson Winning 2009 Official Selection,The Best Actress Tribeca Film Eclipse, Of Best Intentions 2005 Official Selection,Pavee Lackeen Festival, USA 2009 Best Actor, The Eclipse 2004 Official Selection,Adam & Paul 2008 Official Selection,Eden, New Boy 2002 The Golden Lion (Best Film), — The Magdalene Sisters 2016 Official Selection,Tiger Raid 2008 Best Actress, Eden 2002 Best Supporting Actor, 2015 Official Selection,Personal 2008 Best Short Film, New Boy Nothing Personal Development (Short Film), Jimmy’s Hall 2004 Best Actor, Blind Flight 2014 Official Selection,The Canal Major International 2013 Official Selection,Run & Jump, Byzantium, What Richard Did, Venice Film Achievements Dark Touch, Fear of Flying, The Girl with the Mechanical Maiden Festival, Italy and Awards 2008 Best Short Film, Frankie 2006 Official Selection, 2012 FIPRESCI Prize, Call Girl Useless Dog (Short Film) 2012 Official Selection,Babygirl, — — 2002 Golden Bear (Best Film), Bloody Sunday 2011 Gala Presentation, Albert Nobbs Death of a Superhero, El Gusto, Foxes 2015 Official Selection,Eleven Minutes 2016 Silver World Medal, One Million 2004 Official Selection,Adam & Paul Dubliners, New York Festivals 2000 CICAE Prize, Saltwater 2011 Official Selection,Death of a Superhero, 2011 Official Selection,Lotus 2010 Special Jury Prize, Best Actor, World’s Best TV and Film Awards 2003 Official Selection, Intermission The Other Side of Sleep, The Moth Diaries Eaters, The Hideaways, The Guard, CinemAvvenire Award, Essential Killing 1998 Silver Bear (Best Director), Switch, Noreen, Pentecost 2016 Orbit Prize, Traders, Brussels The Butcher Boy 2010 Official Selection,As if I Am Not There, Independent Fantastic Film Festival The Pipe, Sensation, Essential Killing, Toronto Film Lapland Odyssey

Telluride Film Festival, Canada 2009 Official Selection,Perrier’s Bounty, Ondine, Triage, Colony, A Shine of Festival, USA — Rainbows, Eamon, Cracks 2015 Official Selection,Room , — The Lobster, Brooklyn, Being AP, 2008 Official Selection,Kisses , 2015 Official Selection,Room, My Name is Emily, Eleven Minutes A Film With Me In It Viva, Mom and Me 2014 Official Selection,Song of the Sea, 2007 Official Selection,Garage , Kings 2013 Official Selection,Irish Folk Furniture Miss Julie (Short Film), Slow Food Story 2006 Official Selection,The Wind That 2013 Official Selection,Life’s A Shakes the Barley, Ugly Duckling & Me, 2012 Official Selection,Pilgrim Hill Breeze, The F Word, Stay, The Sea, True North All Is by My Side, The Stag 2011 Official Selection, Albert Nobbs, 2005 Official Selection,Breakfast on Pluto, Collaboration Horizontale (Short Film) 2012 Official Selection,What Richard Did, Isolation, Pavee Lackeen Byzantium, Jump, Men At Lunch, The 2008 Official Selecton,Learning Gravity, Pervert’s Guide to Ideology, Call Girl, Mea 2004 Discovery Award, Omagh The Lobster Kisses, Revelations (Short Film) Maxima Culpa: Silence in the House of God Cannes Film Festival Jury Prize 2016

40 41 2016 Best Horror Film, 2015 Best Actress, Brie Larson, 2015 New Hollywood Award, Saoirse Ronan, Song of the Sea ® The Hallow, Empire Awards Room, National Board of Review Brooklyn, Hollywood Film Awards Academy Award nomination 2015, Best Animated Feature Film 2016 Best Narrative Short, 2015 Best Actress, Brie Larson, 2015 International Star Award, Saoirse How Was Your Day, SXSW Room, Screen Actors Guild Ronan, Brooklyn, Palm Springs Film Festival

2016 Best Female Lead, Brie Larson, 2015 Best Actress, Brie Larson, 2015 Best Film, Brooklyn, Evening Room, Independent Spirit Awards Room, Critics’ Choice LA Standard British Film Awards

2016 Producer of the Year, Moe Honan, 2015 Best Young Actor, Jacob Tremblay, 2015 Best British/Irish Actress, Saoirse Moetion Films, Cartoon Movie Room, Critics’ Choice LA Ronan, Brooklyn, London Critics Circle

2015 People’s Choice Award, Room, 2015 Best Screenplay (Emma Donoghue), 2015 Best Actress, Saoirse Ronan, Toronto International Film Festival. Evening Standard British Film Awards Brooklyn, Screen Actors Guild

2015 Audience Award, Room, 2015 Leading Actress Brie Larson, 2015 European Animated Feature Film, Les Arcs European Film Festival Room, BAFTA Song of the Sea, European Film Awards

2015 Best International Independent Film, 2015 Best Actress, Saoirse Ronan, 2015 Best Supporting Actress (Olivia Colman), Room, British Independent Film Awards. Brooklyn, New York Film Critics Circle The Lobster, British Independent Film Awards

2015 European Co-Production Award, 2014 Best Animated Short Film 2012 Best Animation, LA Shorts 2015 Performer of the Year, Brie Larson, Room, 2015 Best Actress Saoirse Ronan, Brooklyn, 2015 European Screenwriter and European Ed Guiney, Element Pictures, Prix Award, Coda, SXSW Fest, Fear of Flying Santa Barbara International Film Festival British Independent Film Awards Costume Designer, The Lobster, European Eurimages, European Film Awards Film Awards 2014 Official Selection,Octonauts, 2012 European Producer of the Year, 2015 Breakthrough Performance, Brie 2015 Performer of the Year, Saoirse 2015 Best eBook, Boj, iKids Awards, Kidscreen Wildernuts, The Last Hijack, The Missing JAM Media, Cartoon Forum Larson, Room, Palm Springs Film Festival Ronan, Brooklyn, Santa Barbara 2015 Best Non-Animated or Mixed Scarf, Annecy Animation Festival International Film Festival Series, Roy, Kidscreen Awards 2015 Best TV Series for Pre-school, The Day 2012 Best Distributor, Monster 2015 Best Breakthrough Award, Jacob Henry Met, Pulcinella Awards (Nomination) 2014 Best Drama & Writer, Roy, BAFTA Distributes, Cartoon Forum Tremblay, Room, National Board of Review. Children’s Awards (Nomination) 2015 Best Educational and Social Issues Work, 2012 Children’s BAFTA Award, Roy Punky, Pulcinella Awards (Nomination) 2014 Best International in 2014, Doc McStuffins, BAFTA Children’s 2012 Children’s BAFTA Award, 2015 Best Film plus seven other nominations, Awards (Nomination) The Amazing World of Gumball Song of the Sea, Annie Awards (Nomination) 2014 Best Pre-School Animation, Bing, 2012 Audience Award, The Boy in the 2015 Best Pre-School Television, BAFTA Children’s Awards (Nomination) Bubble, Palm Springs Shortfest Peter Rabbit, Annie Awards (Nomination) 2014 Best Animation & Writer, 2012 Special Focus on Irish 2015 Best Pre-School Television, The Amazing World of Gumball, BAFTA Animation, Annecy Film Festival Doc McStuffins, Annie Awards (Nomination) Children’s Awards (Nomination) 2012 Official Selection,The Last Train, A 2015 Best Short Film, Coda, 2013 Best Animation, LA Shorts Fest, Different Perspective, Annecy Film Festival Annie Awards (Nomination) New Hampshire Film Festival, Seminci, Indie Memphis Film Festival, Savannah 2011 European Producer of the Year, 2015 Official Selection,Somewhere Film Festival, The Missing Scarf Monster Animation, Cartoon Tributes Down the Line, Clermont-Ferrand International Short Film Festival 2013 Best Short Animation, Sundance 2011 UNICEF Award, Santa’s Apprentice, Film Festival, Irish Folk Furniture Annecy Film Festival Sing Street International critical and box office success

42 43 The Queen of Ireland Captures the historic campaign behind the Irish same sex marriage referendum in 2015

2011 Best TV Production, The Amazing 2010 Best Animated Feature, 2009 Producers of the Year, World of Gumball, Annecy Film Festival The Secret of Kells, ASIFA Hollywood Brown Bag Films, Cartoon Forum Annie Awards (Nomination) 2011 Best Animation, Paperman, 2009 Director of the Year, Canada International Film Festival 2010 Best Animated Short, The Rooster, Tomm Moore, Cartoon Movie the Crocodile & the Night Sky, ASIFA 2010 Best Drama, Roy, BAFTA British Hollywood Annie Awards (Nomination) 2009 Producers of the Year, Academy Children’s Award (Nomination) Cartoon Saloon, Cartoon Movie 2010 Official Selection,Old Fangs, 2010 Best Writer, Roy, BAFTA British Sundance Film Festival 2008 Producer of the Year, Academy Children’s Award (Nomination) Cartoon Saloon, Cartoon Forum 2010 Official Selection,A Film From My 2010 Best Children’s Drama, Roy, Parish — 6 Farms, The Polish Language, Royal Television Society Awards Clermont Ferrand Film Festival

2010 Best Animated Feature, The Secret 2009 Best Animated Feature, of Kells, Academy Awards® (Nomination) European Film Awards, Niko and the Way to the Stars (Nomination) 2010 Best European Feature, The Secret of Kells, British Animation Awards 2009 Official Selection,The Secret of Kells, Berlin International Film Festival 2010 Best Animated Short, Granny O’Grimm’s Sleeping Beauty, 2009 Official Selection,A Film From My Academy Awards® (Nomination) Parish — 6 Farms, Sundance Film Festival

2010 Fipresci Award, Miss Remarkable & 2009 Audience Award, The Secret of Kells, Her Career, Annecy Animation Film Festival Annecy International Animation Film Festival, Edinburgh International Film Festival

44 45 46