Drama Report Production of Feature Films, TV and Online Drama in Australia in 2016/17 © Screen Australia 2017 ISBN: 978-1-920998-31-8

Home , Animal Logic, Electric Entertainment, Endemol Shine Australia, Hanging With, Lego Ghostbusters, Matt Tolmach

Screen Australia Drama Report Production of feature films, TV and online drama in Australia in 2016/17 © Screen Australia 2017 ISBN: 978-1-920998-31-8

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 2016/17. 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 Newton’s Law omissions.

2 Contents

ABOUT THE REPORT 3

Key terms 4

OVERVIEW 5

ALL DRAMA PRODUCTION 6

AUSTRALIAN FEATURE SLATE 8

Feature budget ranges 8

Sources of finance for Australian features 9

AUSTRALIAN TV DRAMA SLATE 11

AUSTRALIAN CHILDREN’S TV DRAMA SLATE 14

AUSTRALIAN ONLINE DRAMA PROGRAMS 16

Sources of finance for Australian TV and online drama 17

Finance by Australian first release platforms 20

FOREIGN PRODUCTION 21

DRAMA PRODUCTION BY LOCATION 22

PDV SERVICES – FEATURES, TV DRAMA AND ONLINE PRODUCTION 24

All PDV 25 ABOUT THE REPORT The Drama Report covers the production Focus on foreign PDV-only expenditure 26 of feature films, TV drama (mini-series, telemovies and series/serials) and online PDV expenditure by state 25 drama programs by financial year. Showcases 28 The report incorporates data gathered through surveys and publicly available TITLES IN THE 16/17 SLATE 30 sources to give a comprehensive view of drama production activity in Australia. Data METHODOLOGY 36 is presented for the past five years, 2012/13 to 2016/17. Foreign titles are included if they are shot (or substantially shot) in Australia, or have post, digital or visual effects (PDV) work carried out in Australia without shooting here. See page 4 for definitions of ‘Australian’, ‘domestic’, ‘co-production’ and ‘foreign’. Feature films and TV dramas represent about 30 per cent of all audiovisual production in Australia (excluding online productions). Other areas of activity include documentaries, web-series, light entertainment, commercials, music videos, corporate videos and TV productions such as sport, news and current affairs. See the statistics section of the Screen Australia website for details, www.screenaustralia. Newton’s Law gov.au/fact-finders/production-trends, and the relevant archives for pre-2012/13 data.

The Drama Report 2016/17 | Screen Australia 3 Doctor Doctor S2

KEY TERMS don’t have to pass the ‘significant Australian principal photography, pick ups or physical elements content’ test for eligibility for the Producer Offset, such as sets and props, and includes animation. It Drama includes: and may be classified as ‘Australian’ for the also refers to the manipulation of those elements Features: a film made for cinema which is 60 purposes of Australian content regulations applying and includes sound and visual editing, digital minutes or longer to broadcasters, the report mainly focusses on effects, creation of computer-generated images TV drama: a ‘drama’ program according to the domestic and co-production projects as a combined (CGI), film laboratory work and duplication Australian Content Standard guidelines (see ACMA ‘Australian’ slate. services. As such, it includes a variety of activities website). Includes series/serials, mini-series and that not only take place after the shoot but also telemovies. ‘Foreign productions’ are defined as those under during the earlier stages of a project’s overall Online drama: encompasses single-episode or foreign creative control, originated and developed production. series programs with total durations of 30 minutes by non-Australians. This includes foreign projects or more that have their first Australian release with an Australian production company operating in The following abbreviations are used throughout online. a service capacity. the report: Subscription video-on-demand (SVOD), Free video-on-demand (FVOD), Advertising or Ad- Total budgets reports on how much it actually ‘In-house productions’ are projects by Australian based video-on-demand (AVOD) and Transactional costs to make projects. It is reported for all projects TV networks, where no independent production video-on-demand (TVOD). that started shooting during the financial year, company is credited as producer or co-producer. with the full budget allocated to the date principal See also Methodology on page 36. photography started; budgets are not apportioned across the duration of the project. ‘PDV’ (post, digital and visual effects) refers to those activities that create audio and visual elements for film or TV drama other than by Total spend reports on how much of the total budgets was spent in Australia. This measure is particularly relevant for co-productions and foreign productions. Again, all expenditure is allocated to the date principal photography or PDV work in Australia began rather than to the actual date of spending. Note: this is not the same as ‘qualifying Three Summers Australian production expenditure’ (QAPE) for the purpose of the Producer Offset. Some expenditure in Australia is not QAPE, and QAPE can include some expenditure on Australian elements outside of Australia. QAPE is not reported here.

Australian productions include: ‘Domestic productions’: Projects other than co-productions under Australian creative control (ie where the key elements are predominantly Australian and the project was originated and developed by Australians). This includes projects under Australian creative control that are 100 per cent foreign-financed. ‘Co-productions’ are official co-productions (ie projects made pursuant to an agreement between the Australian Government and the government of another country). Because official co-productions

4 Overview

The annual slate of feature films, TV and online 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 financial year.

DRAMA EXPENDITURE IN AUSTRALIA Total expenditure 2016/17 yy $1.3 billion total Australian expenditure – a record year, driven by the highest level of foreign spend in this country of $610 million and a healthy $1277m Australian slate of $667 million. yy 29 foreign projects $610 million yy Record year, driven by highest ever spend of $557 million from 6 features and 3 TV dramas that commenced shooting in Australia yy PDV-only spend totalled $53 million from $860m $872m 16 features and 4 TV drama titles, down $830m $850m 17 per cent on 2015/16. yy 41 Australian features $284 million - 45% increase on last year and above the 5-year average, due to the US studio- financed film, Peter Rabbit and strong domestic and co-production activity during the year. yy 46 Australian TV drama titles $321 million - with expenditure and the number of titles produced at record levels. The volume of hours was also up on last year, with a resurgence in series production along with a strong mini-series slate. yy 13 Australian Children’s TV drama titles $48 million - significantly below the five-year average. Hours produced were down slightly on last year, however when combined with hours for children’s programs made for online, show a slight increase. As a result of the 3-year children’s broadcast quotas required of the commercial free-to-air broadcasters, children’s TV drama production tends to be cyclical with the third year in this cycle still to come. EXPENDITURE BY STATE yy Australian online drama contributed yy NSW 36% accounted for the greatest $14 million to overall expenditure and is share of total expenditure, supported by separately measured for the first time in Australian TV drama production. this report. yy QLD 33% had the second highest share, boosted by strong foreign shoot expenditure. yy VIC 25% had the third largest share, with the majority of the spend coming from Australian TV drama titles.

The Drama Report 2016/17 | Screen Australia 5 All drama production

Total drama expenditure in Australia in 2016/17 was $1.3 billion – hitting an all-time high. $667 million was spent by Australian projects, while $610 million came from foreign productions.

Australian1 Foreign2 Total Spend Spend Spend No. titles No. titles No. titles $m $m $m Features

2012/13 38 325 14 110 52 435

2013/14 39 312 24 203 63 516

2014/15 39 125 14 426 53 551

2015/16 32 195 22 249 54 444

2016/17 41 284 22 567 63 851

5-yr av 38 248 19 311 57 559

TV drama

2012/13 40 305 2 21 42 326

2013/14 40 291 2 1 42 292

2014/15 35 237 2 21 37 257 The Warriors 2015/16 44 310 8 31 52 341

2016/17 46 321 7 43 53 364

5-yr av 41 293 4 23 45 316

Children’s TV drama

2012/13 17 69 0 0 17 69

2013/14 11 53 0 0 11 53

2014/15 13 64 0 0 13 64

2015/16 14 66 0 0 14 66

2016/17 13 48 0 0 13 48

5-yr av 14 60 0 0 14 60

Online drama

2016/17 22 14 0 0 22 14

TV + online drama

2016/17 81 383 7 43 88 426

Total annual drama slate3

2012/13 95 699 16 131 111 830

2013/14 90 656 26 204 116 860

2014/15 87 425 16 447 103 872

2015/16 90 571 30 279 120 850

2016/17 122 667 29 610 151 1277

5-yr av 97 603 23 334 120 938

Notes: Figures may not total exactly due to rounding. n.b. 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

Features - spend ($m)

TV Drama - spend ($m)

Notes: 1. Australian includes both domestic and co-production titles 2. Foreign productions include both productions that started principal photography during the year and productions undertaking only PDV work in Australia.

The Drama Report 2016/17 | Screen Australia 7 Australian feature slate

All Australian features

Domestic features1 Co-production features1 Total In 2016/17, total expenditure on Australian features was $284 million - a significant No. Spend No. Spend No. Spend increase from the previous two years and

titles $m titles $m titles $m the 5-year average. Peter Rabbit, financed by US studio Sony/Columbia and 3 official co- 2012/13 38 325 0 0 38 325 productions contributed to the increase. 2013/14 36 305 3 9 39 312

2014/15 37 123 2 1 39 125 41 features that entered into production in 2016/17 had total budgets of $343 million. 2015/16 31 n.p. 1 n.p. 32 195 As per usual, the majority of Australian films 2016/17 38 259 3 24 41 284 were made for under $10 million – 32 titles 5yr av 36 237 2 11 38 248 (78%). This year saw a rise in the number and proportion of films with budgets greater than $10 million.

All Australian features (domestic and co-production) by budget ranges

Domestic Co-production Total 12/13 13/14 14/15 15/16 16/17 12/13 13/14 14/15 15/16 16/17 12/13 13/14 14/15 15/16 16/17

< $1m 15 9 7 n.p. 9 0 0 0 n.p. 0 15 9 7 5 9

$1–5m 14 15 24 n.p. 21 0 1 2 n.p. 0 14 16 26 16 21

$5–10m 5 9 2 n.p. 2 0 0 0 n.p. 0 5 9 2 7 2

$10m+ 4 3 4 n.p. 6 0 2 0 n.p. 3 4 5 4 4 9

Total 38 36 37 31 38 0 3 2 1 3 38 39 39 32 41

% < $1m 39% 25% 19% n.p. 24% 0 0% 0% n.p. 0% 39% 23% 18% 16% 22%

% < $5m 76% 67% 84% n.p. 79% 0 33% 100% n.p. 0% 76% 64% 85% 66% 73%

% < $10m 89% 92% 89% n.p. 84% 0 33% 100% n.p. 0% 89% 87% 90% 88% 78%

% $10m+ 11% 8% 11% n.p. 16% 0 67% 0% n.p. 100% 11% 13% 10% 13% 22%

Notes: 1. Features with budgets of less than $500,000 are included in the report only 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 2016/17. See page 36, Methodology.

Peter Rabbit

8 SOURCES OF FINANCE FOR Contributions to the annual AUSTRALIAN FEATURES Australian feature slate Foreign investors contributed nearly The Australian film/TV industry (mainly (domestic and co-production) half of the finance for this year’s feature distribution and production companies) slate, providing $162.9 million to 23 titles. contributed $28.4 million to 30 features. No. Amount % of total The presence of a foreign studio-backed Australian private investment was up on of titles $m finance film and strong foreign contributions from last year and above the 5-year average. This Australian Direct Government Sources1 co-production and domestic titles led to this increase can be attributed to a small number 2012/13 25 35.4 7% increase. of titles with substantial amounts of private 2013/14 26 32.4 9% The Producer Offset provided $99.7 million investment. to projects, accounting for 29% of total 2014/15 27 25.5 19% finance. 2015/16 22 32.4 16% Funding from Australian direct 2016/17 26 28.4 8% government sources slightly decreased 5-yr av 25 30.8 10% to $28.4 million for 26 titles (8% of total Australian Producer Offset2 finance). Screen Australia accounted for the greatest contribution from a single 2012/13 n.p. 157.9 32% agency – investing $13 million in 16 features 2013/14 n.p. 110.7 29% that commenced principal photography in 2014/15 n.p. 40.7 31% 2016/17. Together the state agencies put in 2015/16 n.p. 65.3 31% $14.9 million for 21 features. The Melbourne International Film Festival and the Adelaide 2016/17 n.p. 99.7 29% Film Festival financed 3 and 2 titles 5-yr av 34 94.9 31% respectively. Australian Private Investors 2012/13 24 7.3 1% 2013/14 24 15.7 4% 2014/15 27 16.0 12% 2015/16 23 11.4 5% 2016/17 28 23.6 7% 5-yr av 25 14.8 5% Australian Film/TV industry3 2012/13 31 59.4 12% 2013/14 33 43.9 12% 2014/15 36 26.0 20% 2015/16 29 30.2 15% 2016/17 30 28.4 8% 5-yr av 32 37.6 12% Foreign Investors 2012/13 17 229.7 47% 2013/14 20 177.4 47% 2014/15 13 24.9 19% 2015/16 16 68.8 33% Sweet Country Image caption 2016/17 23 162.9 47% 5-yr av 18 132.7 43%

Notes: Figures may not total exactly due to rounding. n.p. Not for publication due to confidentiality reasons. 1. Includes direct funding from Australian state and federal agencies and funding bodies (see page 36). Equity investments and grants only – distribution guarantees, loans and underwriting are not included. 2. The Producer Offset amount is taken from the finance plan of each title. For Screen Australia funded projects – the agency only requires 90% of the anticipated Offset in the finance plan for features and television projects. A producer is entitled to retain the difference for their own purposes, but many producers still include it in the finance plan. For this reason, the Producer Offset amounts listed above may be lower than what is eventually received from the Australian Taxation Office for each project. 3. Finance provided by Australian-based producers and 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 2016/17 | Screen Australia 9 These graphs represent contributions from various sources for films starting principal photography in each financial year.

Financial contributions from government Government funding ($m) agencies fluctuate year-to-year in line with the production schedules of each film as well as budget allocations of each agency. 25 9 1

22 10 1

18 6 10

18 11 4

13 15 1

Domestic1 Co-production1 Total Australian1 Finance from the Australian film and television No. Spend No. Spend No. Spend Australian film/TV industry ($m) industry has been relatively static over the titles Hours2 $m3 titles Hours2 $m3 titles Hours2 $m3 last four years. The presence of Mad Max: 2012/13 38 490 300 2 12 5 40 502 305 Fury Road gave 2012/13 a boost in financial 2013/14 39 465 283 1 7 8 40 472 291 52 7 contributions from local distributors. 2014/15 34 396 227 1 6 10 35 402 237 11 33 2015/16 44 446 310 0 0 0 44 446 310 2016/17 45 451 312 1 6 10 46 457 321 11 15 5-yr av 40 449 286 1 6 6 41 456 293 6 24

7 21

The presence or absence of foreign studio- Foreign Finance ($m) backed domestic films as well as co- 21 production titles has led to year-to-year fluctuations in money coming in from foreign 222 8 sources. US studios have backed a number of recent domestic features over the years 147 31 including, Mad Max: Fury Road (2012/13), Gods of Egypt (2013/14), Hacksaw Ridge (2015/16) 21 3 and Peter Rabbit (2016/17).

54 15

154 9

10 Australian TV drama slate

As of 2016/17, titles produced for subscription video-on-demand and broadcaster-affiliated services will be TV drama expenditure classified as online drama. In previous years, reached a new record with these were captured as TV drama. Therefore, it is important to keep this in mind when a resurgence in series comparing this year’s results with previous years. production and a strong In 2016/17, 46 titles, an all-time record, mini-series slate started production and generated 457 hours of content. These titles were worth $325 million, of which $321 million was spent in Australia. Total budgets and expenditure exceeded last year’s records. The volume of hours increased on last year and was above the 5-year average.

Australian TV drama programs

Domestic1 Co-production1 Total Australian1 No. Spend No. Spend No. Spend titles Hours2 $m3 titles Hours2 $m3 titles Hours2 $m3 2012/13 38 490 300 2 12 5 40 502 305 2013/14 39 465 283 1 7 8 40 472 291 Notes: Figures may not total exactly due to rounding. 1. See page 4 for definitions 2014/15 34 396 227 1 6 10 35 402 237 2. Commercial broadcast hours rather than actual running time. Individual program duration 2015/16 44 446 310 0 0 0 44 446 310 has been rounded to 15, 30 or 60 minutes as appropriate (including commercial breaks). 2016/17 45 451 312 1 6 10 46 457 321 3. Amount of total budgets spent in Australia 4. The annual slate is defined as productions starting 5-yr av 40 449 286 1 6 6 41 456 293 principal photography during the year

Hours produced Spend ($m)

502 $305m

472 $291m

402 $237m

446 $310m

457 $321m

The Drama Report 2016/17 | Screen Australia 11 BY FORMAT Format definitions according to this report: than the flagship serials Home and Away (Seven), Doctor Doctor and Love Child (10 • Series/serials - unlimited number of (Seven) and Neighbours (Ten). Therefore, hours each) (both Nine), The Wrong Girl episodes (more than 13 in total) as well as the majority of the series slate was made and Offspring (10 hours each) (both Ten), multi-part programs with episode durations up of half-hour comedy formats with total A Place to Call Home and two seasons of less than one commercial broadcast hour. durations below 5 hours. Titles included Wentworth (all 12 hours each) for Foxtel. • Mini-series - a limited series of drama returning seasons of Rosehaven (ABC), The New titles included Newton’s Law (8 hours) normally 13 hours or less in length and each Family Law (SBS), Here Come the Habibs! (ABC), Safe Harbour (4 hours) (SBS) and episode is usually a commercial hour in (Nine) and Russell Coight’s All Aussie TV drama adaptations of Wake in Fright (4 duration. Adventures (Ten) as well as new titles Get hours) (Ten) and Picnic at Hanging Rock (6 Krack!n (ABC), True Story with Hamish and hours) (Foxtel). See page 33 for full list. • Telemovies – single-episode drama Andy (Nine) and The Slot (Foxtel). made for television that is a commercial The production of telemovies in 2016/17 hour or more in length. Series of, or related Mini-series production remained strong but fell below the 5-year average. Titles telemovies are counted as individual titles, as saw slight decreases from last year across included Olivia Newton-John: Hopelessly set out in a broadcaster’s licence agreement. all indicators. Most titles in this year’s slate Devoted to You parts 1 & 2 (Seven) and had total durations below 10 hours. Season Sisters (Ten). 2016/17 saw a resurgence in series returns included, Cleverman (6 hours) and production after two consecutive years of Janet King: Playing Advantage (8 hours) downward activity. Once again, the slate did (both ABC), The Secret Daughter (6 hours) not include any long-form programs other

The Wrong Girl S2

12 Australian TV drama

Budgets Avg. cost/hr No. Hours1 Spend ($m)3 ($m)2 $m4 Series/serials (in-house productions in brackets) 2012/13 13 (2) 308 106 105 0.344

2013/14 20 (3) 332 117 117 0.352

2014/15 14 (2) 284 85 85 0.299

2015/16 15 (1) 274 78 78 0.286

2016/17 22 (1) 296 105 105 0.355

5-yr av 17 (2) 299 98 98 0.329

Mini-series (in-house productions in brackets) 2012/13 22 (2) 186 194 187 1.043

2013/14 15 (1) 132 169 158 1.281

2014/15 15 (2) 109 138 136 1.268

2015/16 23 162 222 220 1.368

2016/17 21 157 212 209 1.352

5-yr av 19 (1) 149 187 182 1.253

Telemovies (in-house productions in brackets) 2012/13 5 8 14 14 1.805

2013/14 5 (1) 8 16 16 2.037

2014/15 6 9 16 16 1.876

2015/16 6 10 15 11 1.534

2016/17 3 5 8 8 1.738

5-yr av 5 (<1) 8 14 13 1.792

Total (in-house productions in brackets) 2012/13 40 (4) 502 314 305 0.625 Rosehaven S2 2013/14 40 (5) 472 302 291 0.640

2014/15 35 (4) 402 239 237 0.595

2015/16 44 (1) 446 315 310 0.706

2016/17 46 (1) 457 325 321 0.710

5-yr av 41 (3) 456 299 293 0.656

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). 2. Total cost of productions 3. Amount of total budgets spent in Australia 4. Total budgets divided by total hours

The Drama Report 2016/17 | Screen Australia 13 Australian Children’s TV drama slate

The 2016/17 children’s TV drama slate had broadcast - Trip for Biscuits (ABC iview) co-production title Drop Dead Weird, which 13 titles in production. These titles generated and the Australia/Ireland co-production, premiered on Seven’s YouTube channel 111 hours of content, at a cost of $100 million Drop Dead Weird (Seven Network’s Kidson7 (Kidson7) in early October. As noted, for this in total, with $48 million spent in Australia. YouTube channel). Both of these have been reason, this title has been accounted for While the number of titles produced, volume excluded from the figures below and were in the online drama section. Network Ten of hours generated and total budgets were captured as part of the online drama slate. also had three titles in production, which all slightly down on last year, expenditure in See page 16 for details. generated 34 hours of content, also up on Australia sharply declined. Co-production It’s important to note that children’s TV last year and the network’s average activity titles by their very nature are made jointly drama production tends to fluctuate year- over the last 5 years. The Nine Network had between two or more countries and are not to-year and the broadcasting compliance only one title in production (13 hours). This required to spend their entire budgets in regulations for the commercial free-to-air was down on three titles in production last Australia. Australian spend for animated networks ensure a balance over time. Within year (28 hours). titles also dropped and it’s not unusual for the 260 hours of Children’s (C) programming, those programs to go off-shore for various commercial television licensees must production activities. Therefore, this also broadcast at least 25 hours of first-release impacts on the amount spent in Australia. Australian children’s drama and at least 96 This year saw a healthy co-production slate hours over a three-year period. with all levels above the 5-year averages. In the last financial year, the Seven Network Titles included, Oh Yuck! and the second provided production finance to 39 hours season of The Deep with Canada as well as (3 titles) – up from last year and its activity The Legend of Monkey and Nate is Late with over the last 5 years. It also financed the New Zealand and France respectively. There were also 2 children’s drama titles made for online release prior to television

Australian Children’s TV drama

Budgets Avg. cost/hr No. Hours1 Spend ($m)3 ($m)2 $m4 Domestic1 2012/13 13 117 71 60 0.606 2013/14 9 99 63 44 0.637 2014/15 10 80 65 54 0.809 2015/16 13 102 n.p. n.p. n.p. 2016/17* 9 74 62 34 0.838 5-yr av 11 94 66 49 0.697 Co-production1 2012/13 4 43 23 9 0.543 2013/14 2 33 24 8 0.730 2014/15 3 36 30 10 0.827 2015/16 1 13 n.p. n.p. n.p.

2016/17* 4 38 38 13 1.025 *Excludes 2 children’s TV drama titles that have had their releases online before TV broadcast – Trip for 5-yr av 3 32 30 11 0.915 Biscuits had its premiere on ABC iview before airing Total on ABC Me. Drop Dead Weird premiered on Kidson7 YouTube and is set to be released on on 7TWO later in 2012/13 17 159 94 69 0.589 the year.

2013/14 11 131 86 53 0.660 Notes: Figures may not total exactly due to rounding. 1. Commercial broadcast hours rather than actual 2014/15 13 116 95 64 0.815 running time. Individual program duration has been rounded to 15, 30 or 60 minutes as 2015/16 14 115 101 66 0.879 appropriate (including commercial breaks). 2016/17* 13 111 100 48 0.901 2. Total cost of productions. 3. Amount of total budgets spent in Australia. 5-yr av 14 127 95 60 0.753 4. Total budgets divided by total hours.

14 Mustangs FC

As can be seen in the table to the left, Budgets Avg. cost/hr No. Hours1 Spend ($m)3 ($m)2 $m4 animated titles have made up the bulk of production slates over the last 5 years. Live action Animated titles produced in 2016/17 include 2012/13 8 64 44 39 0.698 all but one of the co-productions as well as 2013/14 2 26 23 18 0.889 Kitty Is Not a Cat, Motown Magic (Seven), KuuKuu Harajuku series 3 and Jar Dwellers 2014/15 4 28 27 27 0.965 SOS series 2 (Ten). Live action titles included, 2015/16 4 20 20 20 0.983 Justine Clarke’s Ta Da!, Mustangs FC 2016/17* 5 26 24 16 0.946 (both ABC) and Random & Whacky (Ten). 5-yr av 5 33 28 24 0.848 Animation 2012/13 9 96 49 30 0.517 2013/14 9 105 63 35 0.603 2014/15 9 88 68 37 0.767 2015/16 10 95 81 47 0.856 2016/175 8 86 76 32 0.887 5-yr av 9 94 68 36 0.719 Total 2012/13 17 159 94 69 0.589 2013/14 11 131 86 53 0.660 2014/15 13 116 95 64 0.815 2015/16 14 115 101 66 0.879 2016/17* 13 111 100 48 0.901 5-yr av 14 127 95 60 0.753

*Excludes 2 children’s TV drama titles that have had their releases online before TV broadcast – Trip for Biscuits had its premiere on ABC iview before airing on ABC Me. Drop Dead Weird premiered on Kidson7 YouTube and is set to be released on on 7TWO later in the year.

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). 2. Total cost of productions. 3. Amount of total budgets spent in Australia. 4. Total budgets divided by total hours. 5. Includes one hybrid animation/live action title.

The Drama Report 2016/17 | Screen Australia 15 Australian online drama programs

With ongoing changes in audience behaviour Online drama according to this report FVOD and AVOD titles were primarily series, and content commissioning strategies, this encompasses single-episode or series including Other People’s Problems and year, the Drama Report has included online programs with total durations of 30 minutes children’s titles Trip for Biscuits (all for ABC drama titles known to Screen Australia as or more that have premiered in Australia iview) and Drop Dead Weird for the Seven part of total screen production in Australia. online. Broadly speaking they cover titles Network’s Kidson7 YouTube channel. The Drama Report had previously accounted released via: SVOD (e.g. Stan), FVOD (e.g. Titles distributed via SVOD were a mix of for ABC iview and subscription video-on- ABC iview), AVOD (e.g. SBS on demand and single-episode and series, including two demand (SVOD) titles as TV drama. In YouTube), TVOD (e.g. iTunes). For titles that Home and Away titles – All or Nothing and addition to this, there has been a dedicated have a simultaneous TV broadcast and online Revenge and Let’s Talk About series 2 for webpage listing all online titles regardless release, they have been accounted for as TV Presto and Chaperones and The Other Guy of the online release platform so long as drama. (Stan). There were also six other YouTube they had been financed by Australian screen In 2016/17, there were 22 titles made for first titles in the slate which included Method, agencies and/or broadcasters – see https:// release online – 6 single-episode titles and Sexy Herpes, The Superwog Show and www.screenaustralia.gov.au/fact-finders/ sixteen series. Together they cost $16 million subsequent seasons of The Horizon and production-trends/tv-drama-production/ to make and added $14 million to expenditure These New South Whales. online-drama/titles-produced. Screen in Australia. Australia acknowledges that it’s not possible to account for all titles made for and released online.

Budgets Spend Avg. cost/ Notes: Figures may not total exactly due to rounding. No. Hours1 1. Actual running time ($m)2 ($m)3 hr $m4 2. Total cost of productions Single-episode drama 6 5 2 2 0.501 3. Amount of total budgets spent in Australia 4. Total budgets divided by total hours Series drama 16 35 14 12 0.400

Total online drama 22 40 16 14 0.412

The Other Guy

16 SOURCES OF FINANCE FOR Contributions to the annual AUSTRALIAN TV AND ONLINE Australian TV/online slate DRAMA (domestic and co-production)

The Australian film/TV industry 2016/17. It’s important to note that over half No. Amount % of total provided the majority of finance to this of the Screen Australia-funded titles in this of titles $m finance year’s Australian TV and online drama year’s slate accessed Multiplatform funds Australian Direct Government Sources1 titles – $252.9 million to 77 titles (57%). The (53%) rather than General TV drama. The 2012/13 33 37.9 9% largest proportion (and the largest from any Multiplatform program typically distributes sector) came from the commercial free-to- lower funds per title, compared to the 2013/14 33 28.2 7% air networks. The largest contribution from TV drama program. In addition, Screen 2014/15 33 32.9 10% a single broadcaster came from the ABC, Australia supported over half of the TV and which provided finance to 34 titles – nine of online drama titles commencing principal 2015/16 47 44.2 11% which were ABC iview originals. Subscription photography in 2016/17 (56%). 2016/17 63 38.9 9% television set a new record financial State Agency funding totalled $14.4 million 5-yr av 42 36.4 9% contribution and financed seven titles. Presto for 52 titles in production. Film Victoria and Australian Producer Offset2 was attached to three titles. SBS financed Create NSW provided the majority of the 2012/13 45 51.7 13% three titles, whilst Stan invested in two funds (86%). titles. Distributors and production companies Foreign investment in Australian TV and 2013/14 37 43.8 11% provided the rest of the industry finance. online drama remained strong at $86.9 2014/15 32 37.8 11% The Producer Offset was accessed by 47 million, a fifth of total finance. This was due 2015/16 37 45.7 11% titles and added $52.9 million, making up 12% to a small number of titles with substantial of total finance. amounts of foreign investment. 2016/17 47 52.9 12% The PDV Offset was utilised by 5 titles and Private investment was $5.6 million, 5-yr av 40 46.4 12% provided $4.3 million finance. the lowest contributor to overall finance. PDV Offset Direct government sources provided However, this was an increase on last year’s 2013/14 7 6.5 2% $38.9 million in funding support for 63 figure and was a result of one title with a high 2014/15 7 7.4 2% titles and accounted for 9% of total finance. level of private investment. Although this was down on last year’s 2015/16 12 11.5 3% contributions, it was above the 5-year 2016/17 5 4.3 1% average. Screen Australia was the major Australian Private Investors source of government funds, providing $24.3 million to 45 titles which were made during 2012/13 3 <1 <1% 2013/14 4 <1 <1% 2014/15 2 <1 <1% 2015/16 5 2.5 1% 2016/17 5 5.6 1% 5-yr av 4 1.8 <1% Australian Film/TV Industry3 2012/13 57 270.4 66% 2013/14 48 244.4 63% Notes: Figures may not total exactly due to rounding. 1. Includes direct funding from Australian state and fed- 2014/15 48 201.7 60% eral agencies and funding bodies (see page 36). Equity investments and grants only – distribution guarantees, 2015/16 57 219.4 53% loans and underwriting are not included. 2. The Producer Offset amount is taken from the finance 2016/17 77 252.9 57% plan of each title. For Screen Australia funded projects 5-yr av 57 237.7 60% – the agency only requires 90% of the anticipated Offset in the finance plan for features and television Foreign Investors projects. A producer is entitled to retain the difference for their own purposes, but many producers 2012/13 29 47.2 12% still include it in the finance plan. For this reason, the Producer Offset amounts listed above may be lower 2013/14 27 65.4 17% than what is eventually received from the Australian Taxation Office for each project. 2014/15 21 53.6 16% 3. Finance provided by Australian-based producers and production companies, distribution companies, 2015/16 34 92.3 22% free-to-air broadcasters (commercial and public) and 2016/17 38 86.9 20% subscription TV channels. The Producer Offset, cashflowed in various ways, is listed separately. 5-yr av 30 69.1 17%

The Drama Report 2016/17 | Screen Australia 17 Kiki and Kitty

The following graphs represent contributions Government funding ($m) from various sources for TV and online drama titles starting principal photography in each financial year. Both Screen Australia and State Agency 27 9 2 funding allocated to titles commencing shoot in 2016/17 were above the 5-year averages. Other government funding was 18 10 1 highest in 2015/16, due to the Department of Immigration & Border Protection funding 21 10 2 Journey.

27 12 4

24 14

18 Broadcaster and distributor investment Broadcasters and Distributors ($m) decreased after 2012/13 before picking up again. The 2016/17 slate includes funding from the ABC for its iview originals as well as funding from Stan and Presto for their titles. The increase in financing coming from 251 19 producers and production companies can be tied to a small number of titles. 226 18

187 15

204 15

223 30

Foreign finance in Australian titles has been Foreign Finance ($m) particularly strong in the last two years. Netflix US financed The Legend of Monkey and The Letdown which went into production in 2016/17 and animated kids titles, Beat Bugs and Kazoops, the year before. Sundance TV 35 12 US financed Top of the Lake: China Girl, which commenced production in 2015/16. 57 9

41 13

81 12

70 17

The Drama Report 2016/17 | Screen Australia 19 Finance by Australian first release platforms

As a group, the commercial free-to-air networks provided the majority of finance for this year’s slate - $107 million for 22 titles, similar to last year’s contribution but below the 5-year average. The public broadcasters provided the second-largest amount with a combined contribution of $62 million. Their contributions have steadily grown since 2013/14. Subscription television broadcasters made a record contribution of $50 million. For the third consecutive year, the highest Investment contribution from a single broadcaster came No. of titles Hours Budgets $m from the ABC. $m* The lion’s share of total hours was produced ABC (includes iview) by the commercial free-to-air networks, 2012/13 26 72 138 134 thanks to long-running soap operas, Home and Away and Neighbours for the Seven and 2013/14 20 45 102 89 Ten networks respectively. 2014/15 20 52 109 115

The ABC had the largest share of total 2015/16 21 53 100 106 budgets for the fifth consecutive year. 2016/17 34 55 120 130

5-yr av 24 56 114 115

SBS/NITV The commercial free-to- 2012/13 3 4 11 7 air networks provided the 2013/14 1 n.p. n.p. n.p. 2014/15 3 4 8 7 majority of finance to this 2015/16 3 3 9 9 year’s TV and online drama 2016/17 3 6 11 14 slate. 5-yr av 3 4 8 8

Commercial Free-to-air TV

2012/13 24 156 490 248

2013/14 23 147 454 240

2014/15 20 93 358 166

2015/16 23 108 393 218

2016/17 22 107 398 211

5-yr av 22 122 419 216

Subscription television broadcasters

2012/13 4 11 23 18

2013/14 4 26 35 53

2014/15 3 33 38 44

2015/16 6 30 46 67

2016/17 7 50 58 75

5-yr av 5 30 40 51

Stan and Presto**

2014/15 2 n.p. n.p. n.p. *investment includes licence fees, presales, equity investments etc. 2015/16 3 6 10 12 **combined due to confidentiality 2016/17 5 2 7 4 Notes: Figures may not total exactly due to rounding. n.p. Not for publication due to confidentiality reasons. 3-yr av 3 3 7 6

20 Foreign production

TOTAL FOREIGN SPEND FEATURES and 34 per cent below the five-year average Total spend from foreign shoot and PDV- Driving the all-time high was record of $69 million. Despite the drop, the number only titles reached a record $610 million in expenditure of $521 million from the six of PDV-only features commencing work in 2016/17, up 118 per cent on 2015/16 and foreign features that commenced shooting in 2016/17 was strong at 16 and included titles 82 per cent above the five-year average. Australia in 2016/17. This result was almost such as Spider-Man: Homecoming, Jumanji: The record year was driven by highest-ever three times higher than in 2015/16 ($195 Welcome to the Jungle, Logan, Black Panther, spend of $557 million on the nine titles that million) and more than double the five year John Wick: Chapter 2, Bright and A Wrinkle in commenced shooting in Australia in 2016/17. average ($242 million). The 2016/17 foreign Time. PDV-only expenditure totalled $53 million, shoot slate included the US titles Thor: PDV work was also undertaken on foreign down 17 per cent on 2015/16. Ragnarok, Aquaman and Pacific Rim: Uprising, shoot titles such as Thor: Ragnarok and large The Australian dollar remained below along with Bleeding Steel (China), Parindey scale domestic features such as Peter Rabbit. US$0.80, assisting companies to remain (India) and Bad Genius (Thailand). competitive and effectively leveraging both Foreign PDV-only feature expenditure fell for the 16.5 per cent Location Offset, the 30 the second consecutive year to $46 million, per cent PDV Offset and other government down 15 per cent from $54 million in 2015/16 Thor: Ragnarok, Aquaman incentives to attract foreign productions. and Pacific Rim: Uprising drove foreign expenditure to a record high in 2016/17.

Foreign production – foreign shoot and PDV-only

Shoot PDV-only Total Foreign TV DRAMA Foreign TV drama activity accounted for No. Spend No. Spend No. Spend $43 million in Australian expenditure in titles $m1 titles $m1 titles $m1 2016/17, up 39 per cent on 2015/16 ($31 million) and 84 per cent above the five-year Features average. Seven titles contributed to this 2012/13 6 100 8 10 14 110 result including the foreign shoot titles The Leftovers series 3, The Bold and the Beautiful 2013/14 9 159 15 44 24 203 (US) and Speed (China); and four PDV-only 2014/15 5 234 9 193 14 426 titles including Game of Thrones series 7, Outcast series 2 and Philip K. Dick’s Electric 2015/16 7 195 15 54 22 249 Dreams (US). 2016/17 6 521 16 46 22 567

5yr av 7 242 13 69 19 311 TV drama

2012/13 2 21 0 0 2 21

2013/14 2 1 0 0 2 1

2014/15 1 n.p. 1 n.p. 2 21

2015/16 2 21 6 10 8 31

2016/17 3 36 4 7 7 43

5yr av 2 20 2 4 4 23 Total

2012/13 8 121 8 10 16 131

2013/14 11 160 15 44 26 204

2014/15 6 n.p. 10 n.p. 16 447

2015/16 9 216 21 64 30 279

2016/17 9 557 20 53 29 610 Notes: Figures may not total exactly due to rounding. n.p. Not for publication due to confidentiality reasons. 5yr av 9 261 15 73 23 334 1. Amount of total budgets spent in Australia

The Drama Report 2016/17 | Screen Australia 21 Drama production by location

NSW accounted for the largest share of total South Australian expenditure rose Expenditure in the remaining states was at expenditure in Australia - $460 million (36%), significantly on the previous two years due a record high - $23 million (2%). This was thanks to Australian features Peter Rabbit to Australian feature films Cargo and Hotel primarily driven by Australian feature film and Maya 2: The Honey Games, two foreign Mumbai shooting there as well as the Chinese The Nightingale and the second series of films Pacific Rim: Uprising (US) and Jackie TV series, Speed. Foreign titles Logan Rosehaven shooting in Tasmania and Sweet Chan’s Bleeding Steel (China), and returning and Philip K. Dick’s Electric Dreams both Country filming in the Northern Territory. seasons of TV drama titles, A Place to Call undertook PDV-only work in South Australia. Home, Doctor Doctor, Home and Away and Expenditure in Western Australia was Love Child. down on last year’s record. Australian Queensland was not far behind NSW and features 1%, The Gateway and Three the state accounted for a third of total Summers undertook shoot there along with expenditure in 2016/17, at $426 million. The domestic online titles, Aussie Rangers and state continued to attract strong attention Small Town Hackers. There was also PDV- from major Hollywood blockbusters shooting only work done on the Netflix original feature, in the state, including, Aquaman, Pacific 1922. Rim: Uprising and Thor: Ragnarok. Australian feature productions included Australia Day and Swinging Safari as well as domestic TV drama titles, The Family Law series 2 and NSW QLD VIC Safe Harbour. Shoot PDV Total Shoot PDV Total Shoot PDV Total

Victorian productions made up a quarter $m of total expenditure. There was strong TV drama activity in the state with Picnic 2012/13 395 99 494 18 5 23 193 42 235 at Hanging Rock and season returns of 2013/14 300 64 364 124 5 129 192 77 270 Neighbours, Offspring and Wentworth. In 2014/15 145 207 352 232 6 238 184 51 235 addition, the third season of HBO series The Leftovers (US) shot predominantly in 2015/16 389 78 467 89 10 99 160 57 217 Victoria. PDV-only work was undertaken on 2016/17 326 133 460 415 12 426 238 80 318 US features Jumanji: Welcome to the Jungle and Spider-Man: Homecoming as well as TV % series Game of Thrones series 7. 2012/13 59% 62% 60% 3% 3% 3% 29% 26% 28%

2013/14 44% 36% 42% 18% 3% 15% 28% 44% 31%

2014/15 24% 77% 40% 38% 2% 27% 31% 19% 27%

2015/16 56% 48% 55% 13% 6% 12% 23% 36% 26%

2016/17 32% 54% 36% 40% 5% 33% 23% 32% 25%

SA WA Tas/NT/ACT

Shoot PDV Total Shoot PDV Total Shoot PDV Total

2012/13 42 10 52 19 3 22 5 <1 5

2013/14 46 28 74 13 2 14 8 1 9

2014/15 9 5 14 12 <1 13 20 <1 20

2015/16 14 14 28 26 2 28 12 1 12

2016/17 21 19 41 7 2 9 22 1 23

2012/13 6% 6% 6% 3% 2% 3% 1% <1% 1%

2013/14 7% 16% 9% 2% 1% 2% 1% 1% 1%

2014/15 1% 2% 2% 2% <1% 1% 3% <1% 2%

2015/16 2% 9% 3% 4% 1% 3% 2% <1% 1%

2016/17 2% 8% 3% 1% 1% 1% 2% <1% 2%

22 Thor: Ragnarok NSW QLD VIC

Shoot PDV Total Shoot PDV Total Shoot PDV Total

2012/13 395 99 494 18 5 23 193 42 235

2013/14 300 64 364 124 5 129 192 77 270

2014/15 145 207 352 232 6 238 184 51 235

2015/16 389 78 467 89 10 99 160 57 217

2016/17 326 133 460 415 12 426 238 80 318 Spend by State ($m) %

2012/13 59% 62% 60% 3% 3% 3% 29% 26% 28%

2013/14 44% 36% 42% 18% 3% 15% 28% 44% 31%

2014/15 24% 77% 40% 38% 2% 27% 31% 19% 27%

2015/16 56% 48% 55% 13% 6% 12% 23% 36% 26%

2016/17 32% 54% 36% 40% 5% 33% 23% 32% 25%

SA WA Tas/NT/ACT

Shoot PDV Total Shoot PDV Total Shoot PDV Total

2012/13 42 10 52 19 3 22 5 <1 5

2013/14 46 28 74 13 2 14 8 1 9

2014/15 9 5 14 12 <1 13 20 <1 20

2015/16 14 14 28 26 2 28 12 1 12

2016/17 21 19 41 7 2 9 22 1 23

2012/13 6% 6% 6% 3% 2% 3% 1% <1% 1%

2013/14 7% 16% 9% 2% 1% 2% 1% 1% 1%

2014/15 1% 2% 2% 2% <1% 1% 3% <1% 2%

2015/16 2% 9% 3% 4% 1% 3% 2% <1% 1%

2016/17 2% 8% 3% 1% 1% 1% 2% <1% 2%

The Drama Report 2016/17 | Screen Australia 23 PDV services for features, TV drama and online production

This section looks at Australian expenditure from post, digital and visual effects (PDV) services for domestic, foreign shoot and foreign PDV-only feature film, TV drama and online titles.

To provide a sense of the ongoing business activity of PDV companies in a given financial year, a project’s total PDV spend has been spread across each year in which it occurred rather than attributing the whole amount to the year in which work commenced. The results for each year will therefore include expenditure from projects that began work in previous financial years and only relevant spend for projects that continue work into future financial years. As a result, this data cannot be compared to that presented in previous sections of the Drama Report.

PDV EXPENDITURE IN AUSTRALIA yy $252 million in total PDV expenditure Up 17% on last year’s all-time record and 24% above the five-year average. yy $123 million on 34 foreign PDV-only projects. An all-time high, up 18% on last year’s record and 49% above the five-year average, a result of work completing on The LEGO® Batman Movie and continuing on The LEGO® Ninjago Movie. yy $6 million on five foreign PDV-only TV dramas Down 36% on last year’s record high, but almost double the five-year average. yy $32 million on six foreign shoot titles An all-time high, up from just $2 million last year and almost three times the five- year average, a result of record PDV spend on features such as Thor: Ragnarok and Alien: Covenant. yy $97 million on Australian productions 10% below last year and under the five- year average

Hotel Mumbai

24 TOTAL PDV EXPENDITURE Australian PDV expenditure on features, TV drama and online ($m) PDV expenditure on Australian and foreign Australian Foreign drama titles totalled $252 million in 2016/17, up 17 per cent on last year’s record high Co- Total Shot in Total and 24 per cent above the five-year average Domestic PDV only production Australian Australia of $202 million. Record PDV spend of $29 million from foreign shoot features (almost three times the five year average) as well as Features ($m) record spend of $117 million from PDV-only 2012/13 70 2 72 6 60 137 features was responsible for the increase. 2013/14 59 1 60 5 40 104 PDV expenditure on domestic titles fell for the second consecutive year, down 10 per 2014/15 84 1 86 8 87 180 cent on 2015/16 to $97 million and below the 2015/16 58 2 61 1 94 156 five-year average. 2016/17 46 5 51 29 117 197 Services to Australian productions accounted for 54 per cent of all PDV spend over the 5-yr av 63 2 66 10 79 155 last five years. Domestic titles generating TV drama* ($m) *NB: online titles included for 2016/17 only PDV expenditure in 2016/17 include Peter 2012/13 37 4 41 1 0 42 Rabbit, Hotel Mumbai, Swinging Safari and Winchester. 2013/14 48 2 49 <1 0 50 2014/15 28 3 32 1 1 33

PDV EXPENDITURE BY STATE 2015/16 38 9 48 1 10 59 NSW accounted for the majority (59 per cent) 2016/17 44 2 46 3 6 55 of PDV expenditure in the five years from 2012/13 to 2016/17, representing an average 5-yr av 39 4 43 1 3 48 of $120 million annually. Businesses in the Total ($m) state provided PDV services to local and international features such as Peter Rabbit, 2012/13 107 6 113 7 60 179 Spider-Man: Homecoming, Bright, Deepwater 2013/14 107 2 109 5 40 154 Horizon, The LEGO® Batman Movie, The 2014/15 112 5 117 9 87 213 LEGO® Ninjago Movie, The LEGO® Movie, Mad Max: Fury Road and Gods of Egypt. 2015/16 97 12 108 2 104 215 Victorian businesses accounted for 29 per 2016/17 90 7 97 32 123 252 cent of total PDV expenditure over the last 5-yr av 103 6 109 11 83 202 five years, representing an average of $59 million annually. PDV projects undertaken in % share 51% 3% 54% 5% 41% 100% the state in the last five years include Picnic at Hanging Rock, Spider-Man: Homecoming, Thor: Ragnarok, Jumanji: Welcome to the Expenditure from Australian PDV work on features, TV drama Jungle, Doctor Strange, Ghostbusters, Game and online by state ($m) of Thrones series 6 and 7, The SpongeBob Movie: Sponge Out of Water and Ted 2. NSW VIC QLD SA WA, ACT, Total The remainder of PDV work over the period NT, TAS was spread across South Australia (7 per cent; $14 million), Queensland (3 per cent; 2012/13 123 38 5 10 3 179 $7 million) and the remaining states and 2013/14 86 54 4 7 3 154 territories (1 per cent; $2 million). Titles undertaking PDV in South Australia since 2014/15 119 68 5 20 1 213 2012/13 include the features The Nightingale, 2015/16 123 61 9 19 2 215 Logan, X-Men: Apocalypse, Game of Thrones series 6, X-Men: Days of Future Past, The 2016/17 149 75 9 16 3 252 Water Diviner, The Legend of Tarzan and 5-yr av 120 59 7 14 2 202 Pan. Queensland projects include Australian TV dramas such as Wanted series 1, the % share 59% 29% 3% 7% 1% 100% Australian feature Winchester, US features Notes: Figures may not total exactly due to rounding. Underworld: Blood Wars and The Age of Adaline and US mini-series’ Powers series 1 and 2, and Underground series 2.

The Drama Report 2016/17 | Screen Australia 25 FOCUS ON FOREIGN on projects continuing from previous years PDV-ONLY EXPENDITURE such as The LEGO® Batman Movie, Doctor Strange and Ghostbusters and continued on Continued work on The LEGO® Expenditure from foreign titles undertaking The LEGO® Ninjago Movie and The LEGO® PDV without shooting here totalled a record Batman Movie and The LEGO® Movie Sequel. $123 million in 2016/17, 49 per cent above the Ninjago Movie drove PDV-only five year average. This very strong result, 18 The Australian dollar remained below per cent above the previous high of 2015/16, is US$0.80 in 2016/17, which assisted expenditure to an all-time predominantly due to work completing on The companies to remain competitive and LEGO® Batman Movie and continuing on The effectively leveraging the 30 per cent PDV high. LEGO® Ninjago Movie. The number of titles Offset to attract PDV work on large scale contributing to the overall total remained foreign productions. And the quality of the strong at 34 (up from 30 in 2015/16) and well work undertaken by Australian companies above the five year average of 24. Five PDV- continued to be recognised internationally only TV drama titles generated $6 million with awards, new partnerships and in expenditure in 2016/17, down 36 per cent opportunities to expand. Iloura received on 2015/16’s record $10 million from seven an Academy Award® nomination for Best titles, but almost double the five year average. Visual Effects on the film Deepwater Horizon; while Soundfirm was part of the team that Amongst the 34 titles undertaking PDV-only won the Academy Award® for Best Sound work in 2016/17, Australian PDV companies Mixing on the Australian feature Hacksaw had the opportunity to work on big-budget Ridge. Adelaide based Rising Sun Pictures features such as Spider-Man: Homecoming, opened a front end office in Sydney; while Logan, Jumanji: Welcome to the Jungle, John Animal Logic announced a joint venture with Wick: Chapter 2, Black Panther, Ghost in the Imagine Entertainment to develop, produce, Shell, A Wrinkle in Time, Bright, 24 Hours to and finance six feature length animation and Live; and mini-series such as Game of Thrones hybrid animation projects over the next five series 7, Outcast series 2 and Philip K Dick’s years. Electric Dreams. Work was also completed

Apportioned expenditure from foreign PDV-only titles1 ($m)

123

104

1Expenditure has been apportioned across the year or years in which it was spent

26 Game of Thrones S7

No. of titles % of titles % of expenditure1 FOREIGN PDV-ONLY BY REGION, 2006/07 – 2016/17 US 103 68% 84% US productions represent the largest Asia 21 14% 2% proportion of international PDV work US/UK 8 5% 13% undertaken by Australian businesses on feature film and TV drama projects, US/Other 7 5% 1% accounting for more than 68 per cent of titles UK 6 4% <1% and 84 per cent of expenditure since 2006/07. Europe + US/Asia 6 4% <1% PDV services to Asian productions represent 14 per cent of titles but only around two per Total 151 100% 100% cent of total spend.

Spend by Region ($m)

4% 1% 4% 13% 5% 5% 2%

14%

68% 84%

The Drama Report 2016/17 | Screen Australia 27 SHOWCASE The LEGO Batman Movie (Animal Logic)

Animal Logic recently required a more realistic style details were added to every completed work on The LEGO® than its predecessor. The frame to bring the LEGO® Batman Movie, the second Batman mythology was used Minifigure characters to life, feature in the LEGO® franchise to inspire character and design, while creative solutions such following 2014’s box office which still adhered to the rules as animated brick replacement hit The LEGO® Movie. The and principles set out by The allowed Batman to drive and Animal Logic team produced LEGO® Group. partial motion blur was used all the production design, For example, a jitter algorithm to show him swimming with asset creation and animation, was applied to ensure bricks dolphins. shot production, final grade would not be perfectly aligned, and output. Over 400 artists, allowing for the same gaps production and technical crew and crooked pieces found in and over 100 support staff real life bricks, and textures worked on the film. such as scratches, dirt and Bigger in scale and scope, the even fingerprints were added film’s Gotham City setting to individual bricks. Tiny decal

28 ABOUT THE PDV DATA SHOWCASE Companies identified as providing PDV services to feature film and TV drama projects Logan (Rising Sun Pictures) report income earned on individual projects to Screen Australia through an online survey, with data aggregated for publication. Reuniting with director James Mangold, wounds and body part replacements with Total PDV expenditure is determined by adding RSP undertook PDV work on Logan, the live action elements. foreign PDV-only income to PDV expenditure final Wolverine instalment in the X-Men for domestic and shoot titles. To allow for RSP was also tasked with making the easier referencing in this report, income from series. Darker in tone and style, Logan mysterious Transigen building look more reveals a declining population of X-Men PDV-only projects has been referred to as ominous and secure by lighting and expenditure. and a weary Logan with diminishing dressing a live action plate with CG props powers. such as cameras, gatehouses and security PDV is defined as a set of activities rather The team contributed 230 shots to the fencing. than a stage in the production process (see Key terms on page 4). film, including the opening limo fight RSP’s most visually arresting and scene near the U.S./Mexico border, in ambitious sequence involved the “psionic To provide a sense of the ongoing business which Logan is confronted by a gang blast”, a vortex of violent energy emitted activity of PDV companies in a given financial of thugs. The complex and fast- paced by a mentally declining Professor X whose year (rather than according to an annual slate sequence involved integrating visual telepathic seizures have devastating of productions or titles), expenditure has been effects such as CG claws, blood, gore, consequences for those around him. assigned to the year it was spent rather than allocated to the start of the shoot or PDV work in Australia. As a result, the figures in this section may include projects that commenced shooting or PDV work in previous financial years and cannot be compared with figures in previous sections of the report, which are based on principal photography or PDV start date. SHOWCASE PDV expenditure figures include predicted spend on titles still undertaking work and are Game of Thrones series 7: therefore subject to revision in subsequent years as final figures are made available. “The Spoils of War” (Iloura) This data relates only to feature film, TV drama and online drama titles and therefore does not cover all PDV activity in Australia. This season, HBO’s Game of Thrones and create full CG shots -- some with The most recent data from the Australian episode four, “The Spoils of War,” saw thousands of soldiers in hand-to-hand Bureau of Statistics indicates that Australian Daenerys and her Dothraki horde engage combat. They also created extensive set companies received income of $428.4 million the Lannister army in a fiery fray. extensions and CG smoke and fire, and in 2015/16 from the provision of PDV services Reteaming with VFX Supervisor Joe composited sequences with assets from across all audiovisual production, with 58 per Bauer and VFX Producer Steve Kullback, multiple vendors seamlessly. cent accounted for by feature films and TV drama. Other areas of PDV activity include Iloura’s Glenn Melenhorst and Josh To achieve the detailed crowd work, commercials and other TV productions. Simmonds led a team of 120 artists Iloura built custom animation tools for who worked for 10 months to craft the close-ups and tightly choreographed visuals for 200 shots. Iloura’s work was action with full cloth and hair simulations, recognized with the VFX Emmy® Award so artists could refine assets quickly and for last season’s “Battle of the Bastards” achieve epic aerial shots, passing through episode. clouds of FX smoke to reveal the battle Iloura drew upon their previously-honed below; many created from scratch using crowd pipeline and tools to handle the set scans and matte paintings as a base. enormous datasets required for huge scenes featuring mounted riders and infantry, to augment filmed elements

The Drama Report 2016/17 | Screen Australia 29 Titles in the 16/17 slate

AUSTRALIAN FEATURES - DOMESTIC

Premiered SA Title Production Company as of Oct 2017? Funded 1% Ticket To Ride Pty Ltd N Y Australia Day Hoodlum Entertainment and Hoodlum Active Pty Ltd Y Y The BBQ Revolution Partners Pty Ltd N Y The Butterfly Tree Midwinter Films Pty Ltd N N Cargo Causeway Films HQ Pty Ltd N Y Chasing Comets Off The Ground Productions Pty Limited N Y Choir Girl Choir Girl Film Pty Ltd, Nexus Production Group, Golden Gate Productions N N The Empyrean 357 Film Pty Ltd N Y Enter Sanctum Amazing People Pictures Pty Ltd N N Event Zero Deadrock Films Pty Ltd Y Y The Gateway Filmscope Entertainment Pty Ltd N N The Green Door Three Feet Of Film N N The Hard Road Trademark Films Pty Ltd N N Harmony Film Grit N N Hotel Mumbai Hotel Mumbai Double Guess Productions Pty Ltd N Y In Like Flynn 308 Ent N N Jirga Felix Media Pty Ltd N Y Living Space Tru Dot Productions Pty Ltd N N My Pet Dinosaur Little Monster Productions Pty Ltd Y N The Nightingale Causeway Films HQ Pty Ltd, Nightingale Pictures Pty Ltd N Y Occupation SparkeFilms Pty Ltd N N Peter Rabbit Animal Logic, Olive Bridge Entertainment, Columbia Pictures, PR Productions N N Rabbit Projector Films Pty Ltd, Longshot N N Reaching Distance ScreenInkMedia, Deli Agency N N Rip Tide The Steve Jaggi Company Y N The School Bronte Pictures, Lunar Pictures Pty Ltd N N The Second Sense and Centsability Pty Ltd, Second Films N N Shambhala Xeitgeist Entertainment Group N N Sibling Rivalry Bison Films Pty Ltd, Jason Byrne Productions Pty Ltd N Y Stem Goalpost Pictures Australia Pty Ltd N N Sweet Country Bunya Productions Pty Ltd, Sweet Country Films Pty Ltd N Y Swinging Safari Wildheart Films Pty Ltd, See Pictures Pty Limited N Y Three Summers Three Summers Films Productions Pty Ltd N Y Tracy Thirsty Films, DFUA Productions Pty Ltd N N Undertow Undertow pty Ltd N Y West of Sunshine Exile Productions Pty Ltd N Y The Wheel The Wheel Production Pty Ltd N N Winchester Blacklab Entertainment Pty Ltd N Y AUSTRALIAN FEATURES - CO-PRODUCTION

Premiered Title Production Company as of Oct 2017? The Longest Shot HUAXIA Film Disitribution Co. Ltd, Saints Entertainment Corporation, Dog Fight N (Australia/China) Productions Pty Ltd, Lightstream Pictures Pty Ltd Mary Magdalene See-Saw Films (UK), Porchlight Films Pty Ltd N (Australia/UK) Maya 2: The Honey Games Buzz Studios Pty Limited, Studio 100 Media GmbH N (Australia/Germany) FOREIGN FEATURES

Title Production Company Aquaman Warner Bros Pictures, a Warner Bros Entertainment Company Bad Genius GDH 559 Bleeding Steel Village Roadshow Pictures Asia, Heyi Pictures, Sparkle Roll Media Pacific Rim: Uprising Legendary Entertainment, Universal Pictures, Perfect World Pictures, Double Dare You Parindey Unknown Thor: Ragnarok Walt Disney Productions, Marvel Enterprises

FOREIGN FEATURES: PDV-ONLY

Title Production Company 1922 (US) Campfire 24 Hours to Live (US) Fundamental Films, Thunder Road Pictures, Film Afrika Worldwide Black Panther (US) Marvel Studios Bright (US) Clubhouse Pictures (II), Overbrook Entertainment, Netflix The Commuter (France/US/UK) Ombra Films, StudioCanal, The Picture Company Geostorm (US) Warner Bros. Pictures, Electric Entertainment, Jerry Bruckheimer Films, Skydance Media Ghost in the Shell (US) DreamWorks Pictures, Reliance Entertainment, Arad Productions John Wick: Chapter 2 (US) Thunder Road Pictures, 87Eleven, Lionsgate Jumanji: Welcome to the Jungle Columbia Pictures, Matt Tolmach Productions, Radar Pictures, Seven Bucks Productions (US) Logan (US) Donners' Company, Kinberg Genre, Marvel Entertainment, TSG Entertainment Patriots Day (US) Bluegrass Films, Closest to the Hole Productions Spider-Man: Homecoming (US) Columbia Pictures, Marvel Studios, Pascal Pictures A Wrinkle in Time (US) Walt Disney Pictures, Whitaker Entertainment *Three titles cannot be named for confidentiality reasons

Event Zero AUSTRALIAN TV DRAMA - DOMESTIC - SERIES/SERIALS

Premiered SA Title Production Company Broadcaster as of Oct 2017? Funded Bent 101 Image Fusion Seven (7Flix) Y N The Chinaboy Show RKPix Pty Ltd ABC N Y The Edge of the Bush Guesswork Television Pty Ltd ABC Y Y The Ex-PM series 2 Cordell Jigsaw Productions Pty Ltd ABC N N The Family Law series 2 Matchbox Productions Pty Ltd SBS Y Y Get Krack!n Get Krack!n Series One Pty Ltd ABC Y N Here Come the Habibs! series Jungle FTV Pty Ltd, Habibs TV S2 Pty Ltd Nine Y Y 2 High Life More Sauce Pty Ltd Nine Y Y Home and Away series 30 Seven Network Operations Limited Seven Y N The Letdown The Letdown Pty Ltd ABC Y Y Neighbours series 34 FremantleMedia Australia Ten Y N Pitch Short Blacks Initiative Various ABC N Y Pigeon Fancier Productions, John & Josh International, Please Like Me series 4 ABC Y N Guesswork Television Pty Ltd Ronny Chieng: International Sticky Pictures Pty Ltd ABC Y Y Student Rosehaven series 2 Rosehaven Series 2 Pty Ltd ABC Y N Russell Coight's All Aussie Big Crack Productions Pty Ltd Ten N N Adventures The Slot The Slot Productions Pty Ltd Foxtel N N True Story with Hamish and Radio Karate ST Holdings, St Productions Pty Ltd Nine Y N Andy series 1 Utopia series 3 Utopia TV Pty Ltd ABC Y N The Warriors Arenamedia Pty Limited ABC Y Y Wham Bam Thank You Ma'am Skit Box Pty Ltd, Wham Bam Pty Ltd ABC Y Y Whose Line is it Anyway? Foxtel/ Roger That Pty Ltd Y N Australia Comedy Channel

Trip for Biscuits AUSTRALIAN TV DRAMA - DOMESTIC - MINI-SERIES

Premiered SA Title Production Company Broadcaster as of Oct 2017? Funded Chosen Playmaker Media Pty Ltd N N The Doctor Blake Mysteries December Media Pty Ltd ABC Y N series 5 Doctor Doctor series 2 Easy Tiger Nine Y Y Fighting Season Goalpost Pictures Australia Pty Ltd Foxtel Y Y Friday On My Mind Playmaker Media Pty Ltd ABC Y Y Glitch series 2 Matchbox Pictures Pty Ltd ABC N N Janet King: Playing Advantage Screentime Pty Ltd ABC Y N series 3 Love Child series 4 Playmaker Media LC4 SPV Pty Ltd Nine Y N Newton's Law Every Cloud Productions Pty Ltd ABC Y Y Offspring series 7 Endemol Shine Australia Pty Ltd Ten Y N Picnic at Hanging Rock FremantleMedia Australia Foxtel N Y A Place to Call Home series 5 Seven Productions Pty Limited Foxtel Y N Beyond Entertainment Pty Ltd, Pulse Productions S01 Pulse ABC Y Y Pty Ltd Safe Harbour Matchbox Productions Pty Ltd SBS N Y The Secret Daughter series 2 Screentime Pty Ltd Seven N Y Sunshine Carver Films Pty Ltd, Easy Tiger SBS Y Y Lingo Pictures Pty Ltd, Ten Network Light Entertainment Wake in Fright Ten Y Y Sydney, Endemol Shine Australia Pty Ltd Wentworth series 5 FremantleMedia Australia Foxtel Y N Wentworth series 6 FremantleMedia Australia Foxtel N N The Wrong Girl series 2 Playmaker Media Pty Ltd Ten Y Y

AUSTRALIAN TV DRAMA - DOMESTIC - TELEMOVIE

Premiered SA Title Production Company Broadcaster as of Oct 2017? Funded Olivia Newton-John: Hopelessly Devoted To You FremantleMedia Australia Seven N Y part 1 Olivia Newton-John: Hopelessly Devoted To You FremantleMedia Australia Seven N Y part 2 Sisters Shine Productions 3 Pty Ltd Ten Y Y

CO-PRODUCTIONS - TV DRAMA

Premiered SA Title Production Company Broadcaster as of Oct 2017? Funded Cleverman series 2 Goalpost Pictures Australia Pty Ltd, Pukeko Pictures ABC Y Y (Australia/New Zealand) Limited Partnership AUSTRALIAN TV DRAMA - CHILDREN’S

Premiered SA Title Production Company Broadcaster as of Oct 2017? Funded Get Grubby TV Mememe Productions Pty Ltd ABC N Y Guess How Much I Love You SLR Productions Pty Ltd ABC N N specials Jar Dwellers SOS series 2 Viskatoons Ten N N Justine Clarke's Ta Da! Fredbird CDK Pty Limited ABC N Y Kitty Is Not a Cat Kitty Is Not A Cat Productions Series Seven N N KuuKuu Harajuku series 3 Moody Street Kids Pty Ltd Ten N N Motown Magic Grace - A Storytelling Company Pty Limited Channel 7 N N Mustangs FC Matchbox Productions Pty Ltd ABC Y Y Random & Whacky Ambience Entertainment Pty Limited Ten Y N

CO-PRODUCTIONS - CHILDREN’S

Premiered SA Title Production Company Broadcaster as of Oct 2017? Funded The Deep series 2 A Stark Production Pty Ltd, DHX Media (Vancouver) Ltd. ABC N N (Australia/Canada) Nate is Late Watch Next Media Nine N N (Australia/France) Oh Yuck! Flying Bark Productions Seven Y N (Australia/Canada) The Legend of Monkey See-Saw Films (TV) Pty Ltd ABC N Y (Australia/New Zealand) FOREIGN TV DRAMA

Title Production Company The Bold and the Beautiful Buddy Films The Leftovers series 3 Underdown Productions Speed Ciwen Media Co Ltd

FOREIGN TV DRAMA: PDV ONLY

Title Production Company Game of Thrones series 7 Home Box Office (HBO), Television 360, Bighead Littlehead Outcast series 2 Circle of Confusion, Skybound Entertainment, Fox International Studios Philip K Dick’s Electric Channel 4, Sony Pictures Television, Tall Ship Productions, Left Bank Pictures Dreams *One title cannot be named for confidentiality reasons

AUSTRALIAN ONLINE DRAMA SERIES

Premiered SA Title Production Company Distributor as of Oct 2017? Funded Almost Midnight We’re Not Boys ABC iview N N Aussie Rangers Factor 30 Films Pty Ltd ABC iview N N Ambiance Entertainment Pty Ltd, Air Pig Productions Drop Dead Weird KidsOn7 Y Y Pty Ltd F###ing Adelaide Closer Productions Pty ltd ABC iview N Y Fresh Blood 2017 ABC Productions ABC iview N Y The Horizon series 7 and 8 Cobbstar Productions Pty Ltd YouTube Y Y Kiki and Kitty Porchlight Films Pty Ltd ABC iview N Y Let's Talk About series 2 New Town Films Pty Ltd Presto Y Y Lost in Pronunciation JDR Screen ABC iview Y N Method Fire Sky Films Pty Ltd YouTube Y Y Entertainment one Films Australia Pty Ltd, Aquarius The Other Guy Stan Y Y Films Pty Ltd, The Other Guy Productions Pty Ltd Other People's Problems Seymour Films ABC iview N Y Sexy Herpes Beyondedge Pty Ltd, Mad Dan Prouctions Pty Ltd YouTube N Y Small Town Hackers Mad Kids Pty Ltd YouTube N Y These New South Whales Born in The Sauce Pty Ltd, Princess Pictures Pty Ltd YouTube N Y series 2 Trip For Biscuits Robot Panther ABC iview Y Y

AUSTRALIA ONLINE SINGLE-EPISODE PROGRAM

Premiered SA Title Production Company Distributor as of Oct 2017? Funded Chaperones In Films Pty Ltd Stan N Y Home and Away: Seven Productions Pty Limited Presto Y N All or Nothing Home and Away: Revenge Seven Productions Pty Limited Presto Y N The Superwog Show Princess Pictures Pty Ltd YouTube Y Y Untitled Triptych Pictures Pty Ltd YouTube N Y Wrong Kind of Black Princess Pictures Holdings Pty Ltd ABC iview N Y

Cargo Methodology

With ongoing changes in audience consumption patterns and release strategies for Australian content, in 2017, Screen Australia undertook a review of the Drama Report in order to ensure that it remained relevant to stakeholders in an ever-changing media environment. The following methodology changes were made and it is advised that these be taken into consideration when undertaking any analysis of time-series data sets:

Changes Titles made up to 2016/17 Titles made 2016/17 onwards

Total duration 60 minutes in total 30 minutes in total – to accommodate a growing required for inclusion number of short-form drama series, particularly in the Drama Report comedy. Online Titles made for either a subscription VOD platform or Online drama according to this report encompasses ABC iview were counted as TV drama. single-episode or series programs with total durations Projects that were excluded were those exclusively of 30 minutes or more that have premiered in Australia released on dedicated websites or on platforms such online. Broadly speaking they cover titles released as YouTube or Vimeo, or only available via transactional via: SVOD (e.g. Stan), FVOD (e.g. ABC iview), AVOD services such as iTunes. (e.g. SBS on demand and YouTube), TVOD (e.g. iTunes). For titles that have a simultaneous TV broadcast and online release, they have been accounted for as TV drama.

Screen Australia acknowledges it is not possible to account for all titles made for and released online.

yy Compiled by Screen Australia using titles are often added to the relevant in this report do not correlate with data collected in the administration of production year data within future Drama expenditure reported by the Australian the Producer Offset, and incorporating Reports. Communications and Media Authority production data gathered by the Policy yy Spend in Australia may include some (ACMA) in the Broadcasting Financial & Research Unit through contact with expenditure on foreign production elements Results (BFR). This report analyses finance production companies and from publicly – for example, fees for non-Australian sources in place at the start of production available sources. PDV data is gathered actors or other individuals while working in while the BFR reports expenditure by through surveying PDV companies. Australia. Likewise, spend in a particular the commercial free-to-air broadcasters yy The following federal and state state may include fees for elements on screened programs during the year, government funding agencies provided data from outside the state such as foreign or and includes amortisation costs for on titles they have funded and, in the case interstate cast or crew. programs purchased in previous years and programs purchased after completion. of state agencies, titles shot and/or post- yy When analysing sources of finance, the For subscription television, ACMA reports produced in their state: Screen Australia ABC and SBS are categorised as film and annual expenditure by drama channels on (including the former Film Finance TV industry, rather than as government ‘eligible Australian drama’, including licence Corporation Australia and the Australian sources. This reflects industry perception fees, production expenses and limited pre- Film Commission), Create NSW, Film of the public broadcasters as part of the production costs. Expenditure on features Victoria, South Australian Film Corporation, broadcast sector rather than government may be apportioned across financial years. Screen Queensland, ScreenWest, Screen screen agencies. In addition to the federal, For both free-to-air and subscription Tasmania, Screen ACT and Screen state and territory screen agencies, television, the ACMA figures can include Territory. government sources may include direct expenditure on New Zealand programs, yy In some cases, estimates have been made finance from other government agencies following the ‘Australian content’ definition. where data was not available. and departments, including the Australian yy Sketch comedy programs are included in yy Foreign projects are included in the report Children’s Television Foundation and the line with ACMA’s definition of TV drama when a substantial amount is shot in Adelaide and Melbourne Film Festival under the Australian Content Standard. Australia or when PDV work is undertaken Funds. in Australia. Foreign shoot figures exclude yy Funding figures from government agencies yy In categorising titles as either mini-series those titles that spend less than 10 per may not correlate with the figures in this or series, Screen Australia has followed the cent of their total budgets in Australia. report because this report includes projects definitions set out in Division 10BA of the Income Tax Assessment Act 1936. yy Features with budgets under $500,000 according to the start date of principal are only included if they have had a cinema photography rather than contract dates. yy Series of, or related, telemovies are release or screening at a festival. These yy Contributions to TV drama by broadcasters counted as individual titles, as set out in a

36 The Family Law S2

broadcaster’s licence agreement. yy Data is updated on an ongoing basis, with the result that some discrepancies with previously published reports may appear. The discrepancies reflect new information or adjustments to methodology. yy Total budgets, amount spent in Australia and finance sources reflect data available at the time of production and may change as titles near completion. yy Figures may not total exactly due to rounding. yy Release strategies for titles reflect information available to Screen Australia at the time of publication.

The Drama Report 2016/17 | Screen Australia 37 38