ANNUAL REPORT 2012/2013
SCREENWEST ANNUAL REPORT | 2012/2013 SCREENWEST ANNUAL REPORT | 2012/2013
Table of Contents
Statement of Compliance...... 2 Notes to the Financial Statements...... 44
Overview of the Agency...... 4 Additional Key Performance Indicator Information...... 84
Executive Summary...... 4 Key Efficiency and Effectiveness Indicators...... 85
Operational Structure...... 11 Appendix 1.0 Assessment Meetings and Members 2012/2013...... 100 Agency Performance...... 21
Significant Issues Impacting the Agency...... 31 Appendix 2.0 Productions with ScreenWest funding 2012/2013...... 107 Disclosures and Legal Compliance...... 32
Independent Auditor’s Report...... 33 Appendix 3.0 Funding Commitments 2012/2013...... 122
Statement of Comprehensive Income...... 37
Statement of Financial Position...... 39
Statement of Changes in Equity...... 41
Statement of Cash Flows...... 42
SCREENWEST ANNUAL REPORT | 2012/2013 1
Statement of Compliance
Hon John Day MLA
Minister for Planning; Culture and the Arts; Manager of Government Business in the Legislative Assembly.
We hereby submit for your information and presentation to Parliament the Report of ScreenWest Inc for the financial year ending 30 June 2013.
The Report has been prepared in accordance with the provisions of the Financial Management Act 2006.
Yours sincerely
Peter Rowe CHAIRMAN SCREENWEST
26 August 2013
2 SCREENWEST ANNUAL REPORT | 2012/2013
Acronyms
37 South MIFF 37° South Market MIFF Melbourne International Film Festival AACTA Australian Academy Cinema Television Arts MIPCOM Marché Internationale de Programmes AAMELP Asia Australia Media Executive Leadership Communications Program MIPTV Marché Internationale de Programmes de ABC Australian Broadcasting Corporation Television ACS Australian Cinematographers Society PFC WA Perth Film Crew (WA) ACTF Australian Children’s Television Foundation PGA Production Grant Agreement ADG Australian Directors Guild PIA Production Investment Agreement AFCA Australian Film Critics Association SAFC South Australian Film Corporation AFI Australian Film Institute SBS Special Broadcasting Service AFTRS Australian Film Television and Radio School SFF Sydney Film Festival AIDC Australian International Documentary Conference SMA Screen Music Awards AIEP Audience and Industry Engagement Program SPAA Screen Producers Association of Australia AIMC Australian International Movie Convention SXSW South by Southwest Film Festival AMCOS Australasian Mechanical Copyright Owners Society TIFF Toronto International Film Festival APDG Australian Production Design Guild TVC Television Commercial APRA The Australasian Performing Rights Association WA Western Australia(n) ASE Australian Screen Editors Guild WAnimate Western Australian Animation Association ASP Association of Screen Professionals Inc. WASA’s Western Australian Screen Awards ASSG Australian Screen Sound Guild XML X|Media|Lab ASTRA Australian Subscription and Television and Radio Association ATOM Australian Teachers of Media AWG Australian Writers’ Guild DCA Department of Culture and the Arts DIA Development Investment Agreement FACB First Australian Completion Bond Company FTI Film and Television Institute (WA) MDA Media Development Authority, Singapore
SCREENWEST ANNUAL REPORT | 2012/2013 3
Overview of the Agency
1.1 Executive Summary
It has been a record year for the local screen industry. In the last financial year 32 projects entered principle photography with ScreenWest support. These projects included 10 documentary series, two feature length documentaries, three feature films, one telemovie and a television drama series.
The productions included Murdoch (Electric Pictures), Comic Book Heroes (Little Star Productions), The Reckoning (Filmscope Entertainment), Serangoon Road (Great Western Entertainment), These Final Hours (8th In Line Productions) and Seasons (Joined Up Films) to name An Accidental Soldier just a few.
ScreenWest invested $7.35 million in per financial year. production, which leveraged a value of production totalling $59.88 million. Importantly, Western Australian Government investment (through ScreenWest) leveraged This is the highest level of production a higher amount of production value in 2012/13 than in many previous years. For every ScreenWest has been involved in since one dollar invested by ScreenWest in 2012/13, $8.15 was leveraged in Western Australian our establishment. This level of production productions. In addition to the significant economic impact, the Western Australian brings the three-year rolling average of screen industry was also recognised at various events and festivals the world over with production in the state to $37.35 million local practitioners being acknowledged and rewarded for their craft, skills and talent.
4 SCREENWEST ANNUAL REPORT | 2012/2013 KEY INDUSTRY ACHIEVEMENTS worked on with producer Liz Kearney. • Crime thriller, Son of a Gun directed Transmission was made as part of by Western Australian expat Congratulations to all the nominees and Screen Australia’s Springboard short Julius Avery filmed in Perth, Kalgoorlie winners throughout the year who have film initiative. This led to the team and Rottnest Island during February had their dedication and skills celebrated. securing funding for their feature film, and March of 2013. The film, which stars These Final Hours, which premiered Ewan McGregor, Brenton Thwaites at the Melbourne International Film and Alicia Vikander is a tautly paced Feature film highlights Festival in August 2013. Transmission heist thriller which tells the story of a • The feature film Drift, set in the garnered much success on the festival young man’s apprenticeship to public State’s Margaret River region, opened circuit, winning numerous awards at the enemy number one. Son of a Gun will nationally across 140 screens. The St Kilda Film Festival and screening at be released in 2014. film has had festival screenings at the Tribeca Film Festival in New York The Hamptons, Rincon in Puerto Rico in 2012. (winning the festival and audience award) and Newport in the United • Western Australian Indigenous drama, States (Australian Spotlight Film, Satellite Boy, received wide acclaim Achievement in Filmmaking Award). on the international film festival circuit, Drift opened in cinemas in the United premiering at the Toronto International States (July and August 2013) and Italy Film Festival, the Abu Dhabi Film (June 2013). Theatrical releases have Festival and then having its Australian also been confirmed in Japan, South premiere at the Perth International Korea and Germany. Arts Festival’s (PIAF) Lotterywest Film Festival, an occasion which marked the first time that a Western Australian • Western Australian writer/director, film had been selected to screen in the Zak Hilditch was awarded Best program. The film went on to screen Screenplay in a Short Film at the 2nd at the Berlin International Film Festival Australian Academy of Cinema and in the Generation Kplus competition. Television Arts (AACTA) Awards in Satellite Boy was released in selected January 2013. Zak won the award for cinemas nationally on 20 June 2013. his short film Transmission which he Zak Hilditch with his AACTA Award for Best Screenplay in a Short Film
SCREENWEST ANNUAL REPORT | 2012/2013 5 Television highlights: California for single documentary Jack • West Australian Australian Teachers the Ripper and documentary series, of Media (ATOM) Award nominations • Western Australian production Outback Truckers. Outback Truckers included the documentary Life company Artemis International was was also awarded a Gold Remi at the Architecturally, documentary series named Documentary Producer of the Houston International Worldfest in Who Do You Think You Are? – Series Year after receiving the prestigious April 2013. 4, and children’s television series, award for The Bombing of Darwin: Mal.com. An Awkward Truth at the Screen • Documentary Series Who Do You Producers Association of Australia’s Think You Are? – Series 4 was • The premiere of the documentary (SPAA) gala night in November 2012. nominated at the 2012 Logie Awards Chateau Chunder from Electric Established in 2001, the SPAA Awards for Most Outstanding Factual Program Pictures recorded a strong audience are presented to SPAA members and Most Popular Factual Program. for the Australian Broadcasting who have produced an outstanding project or body of work that has contributed to the advancement of the independent production industry. The Bombing of Darwin: An Awkward Truth aired on Foxtel’s History Channel in February 2012, which marked the 70th anniversary of the event.
• Outback Truckers from Western Australian production company, Prospero Productions recorded a strong performance on Channel 7’s digital channel, 7mate. Episode 3 was the 4th top show across all free to air digital channels on 3 November 2012. Prospero Productions received two Gold Awards for Documentary at the Prestige Film Awards in Eureka, The Bombing of Darwin: An Awkward Truth
6 SCREENWEST ANNUAL REPORT | 2012/2013 Corporation (ABC). The documentary was one of the highest rated programs for the ABC in the Tuesday night timeslot and had its UK premiere on BBC4 on 13 November 2012.
• Two-part documentary series Desert War from Western Australian production company, Electric Pictures and London based, Nutopia, premiered on the ABC on Anzac Day in April 2013 and received strong reviews from the press and audience alike.
• An impressive crowd were in attendance for the premiere of Yagan, a locally made contemporary documentary from Spear Point Productions which tells the story of the conflict between the Swan River colony and the Noongar people where a young warrior named Yagan emerged. The one-hour Desert War documentary premiered at Movies by Burswood in December 2012 and was also showcased as part of the PIAF’s Great Southern program in Albany. The documentary is set to be broadcast on the ABC in the second half of 2013.
SCREENWEST ANNUAL REPORT | 2012/2013 7 AGENCY ACHIEVEMENTS provides investment funding of up to support to WA production companies that $100,000 for drama producing production have identified opportunities to expand Partnering with Lotterywest companies or $50,000 for factual their business. producing production companies over one financial year. Lotterywest’s sustained commitment Industry Enhancement Fund over 22 years has been paramount to ScreenWest providing ongoing The Fund saw almost $900,000 committed The Industry Enhancement Fund provides development and funding opportunities to to 12 Western Australian production financing to seed entrepreneurial industry the Western Australian screen industry. companies. opportunities that will generate significant screen industry outcomes. This will help The agency secured additional funding SuperDoc Fund build the independent screen content support in 2012/13 from Lotterywest. In production capacity of the Western 2012/13 the agency received $7,023,370 - The scheme recognises the nature of Australian industry and position WA as a an increase of $1,523,370 on the funding major documentary companies highly leader within the Australian film, television received in 2011/12. The increase in structured business plans and allows and digital media landscape. funding enabled the agency to develop successful applicants more freedom the new business development funds and to develop beyond the limitation of the programs as outlined below. traditional screen industry’s funding cycles. The SuperDoc Fund will provide Slate Development Investment Fund documentary company/ies with the ability to access funding support in a few lump A new initiative, the Slate Development sums rather than applying for funding on Investment Fund provides funding for an ad hoc basis through the year. established drama producers and factual production companies to increase the Screen Business Development Fund marketability of their slate by financially supporting the sourcing, generation and To create higher levels of sustainability creative development of projects. within the Western Australian film and television industry the Screen Business The Slate Development Investment Fund Development Fund will provide funding
8 SCREENWEST ANNUAL REPORT | 2012/2013 Review of Funding Programs the agency looks forward to seeing the The Best Practice award is based upon: production results in 2014. In 2013 ScreenWest undertook a number • clear opinion on financial statements, of significant reviews of its Development, Screen Industry Infrastructure Needs controls and key performance Digital and West Coast Visions programs. Assessment Report indicators The revised guidelines/programs aim to increase the opportunities available In conjunction with Department of Culture • timeliness, submitting information to to emerging and established Western and the Arts (DCA) ScreenWest engaged audit within the agreed timeframe Australian practitioners and generally research consultancy, Hames Sharley increase the level of Western Australian Strategic Services to undertake the first • management resolution of accounting creatives involved in production in WA. stage of a Screen Industry Infrastructure standards and presentation issues, Needs Assessment Review. Hames and 3 to 1 Digital Crowdfunding Initiative Sharley has been tasked with researching existing infrastructure (human, technical • key staff available during the audit In a global first for a screen agency, and built) in the State in order to determine process. this digital crowdfunding initiative saw what infrastructure already exists and what ScreenWest offer Western Australian the industry’s long-term demand drivers digital content creators, media producers are so that appropriate service delivery This is the fourth consecutive year that and production companies three dollars in models and asset and non-asset solutions ScreenWest has been recognised as funding for every one dollar raised by the can be considered. a best practice agency by the Auditor creative teams with funds distributed on a General. ‘first past the post’ basis. Top 20 Best Practice Agencies
The initiative incentivised film practitioners ScreenWest was listed by the Auditor to engage communities through a General as one of the top 20 Best Practice crowdfunding model by offering projects Agencies in the small agency category for that successfully raised 25 per cent of their 2011/12. The bar for the ‘award’ was raised budget from the community the remaining in 2011/12, with 82 agencies recognised 75 per cent from ScreenWest until a as best practice in 2010/11 and only 40 in funding pool of $250,000 was depleted. 2011/12. The initiative was very successful and
SCREENWEST ANNUAL REPORT | 2012/2013 9
Our thanks
ScreenWest and the Board would like to acknowledge the support We would also like to acknowledge the hard work of the ScreenWest of the Western Australian screen industry from the Minister for staff who dedicate themselves to developing a thriving, distinctive Culture and the Arts, the Hon John Day MLA. and world-class screen industry in Western Australia.
We would also like to acknowledge the ongoing support and commitment from our key partner, Lotterywest, whose additional funding support over this past financial year has made many projects possible.
Thank you also to the federal screen agency, Screen Australia, whose support to Western Australian practitioners and their Peter Rowe Ian Booth projects has been instrumental.
CHAIRMAN CHIEF EXECUTIVE Our sincere thanks go to outgoing Board members including SCREENWEST SCREENWEST Chairman Erica Smyth who provided instrumental advice and guidance to the agency and the local screen industry during her six year tenure. Her passion, knowledge and insight were greatly appreciated.
Thanks to all our national and international market partners including: ABC, Special Broadcasting Service, 7 Network, Channel 9, Hopscotch Films, National Geographic, ITV UK, Discovery United Kingdom, Discovery European Union and NOVA.
We would also like to thank members of the WA screen industry and our many partners including the industry associations such as SPAA, Australian Writers’ Guild, Australian Directors Guild, Australian Cinematographers Society, Australian Screen Editors Guild, Association of Screen Professionals Inc. and the WA Professional Film Crew.
10 SCREENWEST ANNUAL REPORT | 2012/2013
Operational Structure
ENABLING LEGISLATION Mission ScreenWest’s structure is based on the following operational divisions: ScreenWest is an incorporated association, ScreenWest exists to partner with the under the Associations Incorporation Western Australian screen industry to Executive and Corporate Services Act 1987 (WA) and is governed by its produce and promote quality storytelling Provides leadership and operational Constitution. that delivers multiple cultural and economic benefits to the Western Australian management of ScreenWest including RESPONSIBLE MINISTER community. strategic and operational planning, budget planning, corporate governance The Hon John Day, MLA, Minister for Objectives and compliance reporting to major Planning; Culture and the Arts; Manager stakeholders. ICT, finance and human of Government Business in the Legislative Within the context of a rapidly evolving resource services are provided in Assembly. industry in terms of digital production, collaboration with the DCA and the Office distribution and changing audiences, of Shared Services. ORGANISATIONAL STRUCTURE ScreenWest will, in partnership with the Western Australian screen industry: Funding Program Our Vision Designs, implements and administers 1. Enhance the industry’s capability; ScreenWest is the partner of choice, funding initiatives to support and develop enabling a thriving, distinctive and world- 2. Increase funding to the industry; Western Australian screen industry class Western Australian screen industry. practitioners and productions, and build 3. Strengthen the positioning of the a sustainable screen industry in Western industry; and Australia. We aim to be the partner of choice with 4. Operate as a leading best practice stakeholders in Australia and abroad to agency. Communications underpin the growth and success of the Western Australian screen industry; an Promotes ScreenWest and the Western industry with flexible, entrepreneurial Australian screen industry to increase its companies and distinctive, innovative, profile and achievements, fosters the WA world-class screen content, recognised community’s engagement with screen nationally and internationally. content and the local screen industry, and liaises with and keeps key stakeholders informed.
SCREENWEST ANNUAL REPORT | 2012/2013 11 Organisational Chart Minister for Culture and the Arts
Department of Culture and the Arts
ScreenWest Board Finance and Audit Sub-Committee
Chief Executive
Director Production Director Manager Corporate Communications Investment Development Services Manager
Investment Business Manager Industry Indigenous Communications and Film Location Development Development Affairs Projects and Engagement Services Project Officer Services Manager Manager Manager Programs Manager Manager Manager Manager
Funding Funding Funding Financial Administration Administration Administration Administration Administration Assistant Officer Officer Officer Officer
12 SCREENWEST ANNUAL REPORT | 2012/2013 ScreenWest Board ALAN LINDSAY STEPHEN LANGSFORD
Appointed November 2007; Reappointed Appointed January 2008; Term expires Board members are appointed by the 2012; Term expires 31 December 2015. 31 December 2013. Minister Culture and the Arts for a three- year period. Members are appointed Mr Lindsay is the producer, writer and Mr Langsford is a Western Australian according to their expertise and experience director of 140 plus productions, genre businessman and entrepreneur having in areas relevant to ScreenWest’s activities. drama, comedy, documentary and founded successful businesses in a recently transmedia. Mr Lindsay has been number of high growth sectors, including PETER ROWE, CHAIRMAN awarded the Asian Broadcasting Union information technology, new media and Special Award for Innovation, Silver World entertainment. He has a finance and Appointed February 2011; Appointed Medal New York Film Festival, the ABU/ business management background Chairman 1 January 2013; Term expires CASBBA/ UNICEF Award and UNESCO and enjoys working in start-up and high 31 December 2015; Chairman of the Awards among others. Twenty three years growth environments. Mr Langsford is Board and Chairman of the Finance and ago Mr Lindsay established (with producer Founder, Chairman and CEO of Quickflix Audit Sub-Committee. Helen Clucas) Vue Group - a production Limited, Australia’s leading online movie company based in Melbourne, making rental subscription company, which is Director, Gryphon Management Australia, drama and blue-chip documentary and listed on the Australian Stock Exchange Mr Rowe has 25 years’ experience in 2004 a production company and visual (ASX:QFX). in corporate communications, issues effects unit in Perth. management and strategic advice with extensive negotiation experience in a Three years ago Vue Group was broad range of areas. He is also National transformed into a digital content creation President of the Australian Federation of studio, doing animation, visual effects, AIDS Organisations. large format attractions, animated and live action movies and series. It is a private/ public initiative in Bunbury based in a ‘smart building complex’ in South Western Australia with great connectivity and a military grade data suite on site.
SCREENWEST ANNUAL REPORT | 2012/2013 13 AIDAN O’BRYAN AMANDA HIGGS SUE TAYLOR
Appointed January 2008; Term expires Appointed December 2011; Term Expires Appointed December 2011; Term Expires 31 December 2013. 31 December 2014. 31 December 2014.
C h i e f C r e a t i v e O f fi c e r o f W B M C , Ms Higgs is an independent TV producer Ms Taylor has been a filmmaker for over Mr O’Bryan is an experienced producer with a 13 part series, The Time of Our 25 years. Working across all types of and media innovator. Mr O’Bryan Lives, which screened in June 2013 on productions ranging from documentaries, established WBMC as a collaborative, ABC1. Previously, Ms Higgs co-created children’s drama, adult drama and feature creative production company focussed and produced the first three series of the films. She established her own production on the production of high quality film and television drama The Secret Life of Us. company in 2001 and has been nominated television and digital production at the The series won three Logies for Most for numerous AFI, Logie and Critics Circle forefront of innovation. Recent production Outstanding Drama Series and was Awards for projects, which include the credits include feature films Son of a Gun nominated for a number of Australian Film children’s series Minty and Time Trackers, and Wasted on the Young, rockumentary Institute (AFI) and Australian Writers Guild the adult mini-series The Shark Net, the Something in the Water, television series (AWGIE) Awards. The series also went telemovie, 3 Acts of Murder, and the My Generation and the PIAF digital media on to receive a Bronze Medal at the New feature films Last Train To Freo and The project ReFace. York Festival Awards for Best Television Tree. Program. Ms Higgs has worked at ABC TV Drama as an Executive Producer, NINGALI LAWFORD-WOLF The Tree, an Australia / France co- and Acting Head of Drama in late 2009. production starring Charlotte Gainsbourg Appointed February 2011; Term expires Ms Higgs script edited The Slap and was was selected to close the Cannes Film 31 December 2013 executive producer on SLiDE for Fox8. Festival in 2010 and has now screened She has also been on the board of the around the world with sales to 40 countries. AACTA (formerly the AFI). Ms Lawford-Wolf is a Walmajarri, Most recently Ms Taylor completed Wankatjungka and Gooniyandi woman the telemovie An Accidental Soldier, a from the Fitzroy Valley area in the co-production with Goalpost Pictures, Kimberley Region. A renowned theatre directed by Rachel Ward. and screen actor, Ms Lawford-Wolf is Ms Taylor is also Vice President of SPAA also involved in developing understanding and a Board member of Screenrights. between Indigenous and non-Indigenous people.
14 SCREENWEST ANNUAL REPORT | 2012/2013 PROFESSOR DAX CALDER JANELLE MARR Board Members retired in 2012/13 Appointed January 2013; Term Expires Appointed January 2013; Term Expires 31 31 December 2015. December 2015. ERICA SMYTH, CHAIRMAN Professor Dax Calder is a Specialist Mrs Marr is Founder and Managing Appointed Chairman January 2006; Term Periodontist having founded West Perth Director of StepBeyond, a consultancy expired 31 December 2012. Periodontics in 1997. He is also involved specialising in strategy and sustainability in post-graduate teaching and research across a range of sectors including at the University of Western Australia and health and community services; energy After a successful career as a geologist the University of Sydney. and resources; and environmental and senior executive in the mining and management. She is an experienced petroleum industry, Ms Smyth’s current focus is as a Board Director. She is Professor Calder also holds directorships strategist and facilitator with over 15 years’ a Fellow of the Australian Institute of with Southbank Day Hospital and OMR Pty experience providing advisory services in Company Directors and is currently Ltd, a not-for-profit consultancy for Venture Perth, Melbourne and London and brings Chairman of Toro Energy Ltd, Scitech and Capital, Philanthropic Organisations and considerable management consulting the Diabetes Research Foundation WA. individuals seeking to invest in the listed experience having worked in the advisory ASX Biotechnology Sector. arms of both KPMG and Ernst & Young. Ms Smyth is also Board Director for various organisations, including the Australian Mr Calder is also a majority shareholder Ms Marr is also a graduate of the Australian Nuclear Science and Technology of Patrys Pty Ltd (ASX:PAB) an ASX Institute of Company Directors and holds Organisation, the Royal Flying Doctor listed Australian biotechnology company a Master of Business Administration Service - Western Operations and Emeco focused on the development of novel from Mt Eliza Business School. She Holdings Ltd. antibodies for the treatment of aggressive has held a range of directorships human cancers. across social services including her current directorship with Diabetes WA. Finance and Audit Committee Ms Marr was recently awarded a coveted The Finance and Audit Committee 40Under40 WA Business News Award for assists the ScreenWest Board to her contribution to community services discharge its responsibility to exercise through StepBeyond. due care, diligence and skill in relation
SCREENWEST ANNUAL REPORT | 2012/2013 15 to ScreenWest’s reporting of financial investment of numerous screen Shark Net and Marking Time. A lawyer by information, internal audit process and productions and strong growth in the local background, he ran his own law practice risk management programs. film and television industry. specialising primarily in film and television law and also established the production The 2012/13 Finance and Audit Committee His tenure has seen investment by company Sassafras Films. Members: ScreenWest in a number of feature film successes, including Bran Nue Dae, Mad DEFRIM ISAI, DIRECTOR • Peter Rowe (Chairman); Bastards, Red Dog and Drift and award winning television productions, including PRODUCTION • Stephen Langsford; and Cloudstreet, Who Do You Think You Are, Lockie Leonard, Jandamarra’s War, Defrim Isai joined ScreenWest in August SAS: Search for Warriors, The Great Mint 2011 after serving as General Manager • Alan Lindsay Swindle and the recently screened Desert of Development and Investment at the War and Murdoch. South Australian Film Corporation (SAFC) Senior Officers for six years. Prior to the SAFC, Mr Isai was a Project Manager at Pacific Film Mr Booth previously worked as Business and Television Commission (PFTC - IAN BOOTH LLB, CHIEF EXECUTIVE Affairs Manager for Drama and Comedy at now Screen Queensland) and also co- the ABC in Melbourne, where he worked Appointed 2007; Reappointed 2012 produced the features Blurred and Under on projects including Kath & Kim, MDA, the Radar. The Glasshouse, Enough Rope, The Western Australian filmmaker and RIKKI LEA BESTALL, DIRECTOR entertainment lawyer Ian Booth has been DEVELOPMENT Chief Executive of ScreenWest for six years and has overseen the successful Rikki Bestall commenced as Director Development in October 2011. Prior to joining ScreenWest, Ms Bestall was Vice President at Krasnoff/Foster Entertainment in Los Angeles. During her time in Los Angeles Ms Bestall developed numerous feature and television projects and co-produced two studio feature films
16 SCREENWEST ANNUAL REPORT | 2012/2013 The Soloist (DreamWorks) and When in D u r i n g h e r t i m e i n L o s A n g e l e s , Rome (Disney). Ms Carpenter was Vice President at Krasnoff/Foster Entertainment, which had Prior to moving to Los Angeles Ms Bestall a first look deal with Paramount Pictures. spent several years working in various Prior to that, Ms Carpenter worked as production capacities in Australian film a Creative Executive and assistant for and television. producer Gary Foster on the films The Soloist (DreamWorks) and When in Rome (Disney). Prior to working on KRISTA CARPENTER, A/DIRECTOR these productions, Ms Carpenter worked DEVELOPMENT as an assistant to Stacey Snider (CEO, DreamWorks) for several years. Krista Carpenter commenced as acting Director Development in March 2013. Ms Carpenter relocated to Perth, Australia ADMINISTERED LEGISLATION in July 2012 to join ScreenWest as a Nil. Development Manager after working in the entertainment industry in Los Angeles for 15 years.
SCREENWEST ANNUAL REPORT | 2012/2013 17 Other Key Legislation Impacting on ScreenWest’s Activities
In the performance of its functions, ScreenWest complies with the following relevant written laws: • Salaries and Allowances Act 1975 • Industrial Relations Act 1979 • Workers’ Compensation and Injury Management Act 1981 • Equal Opportunity Act 1984 • Occupational Safety and Health Act 1984 • Associations Incorporation Act 1987 • State Supply Commission Act 1991 • Freedom of Information Act 1992 • Superannuation Guarantee (Administration) Act 1992 (Cth) • Disability Services Act 1993 • Minimum Conditions of Employment Act 1993 • Public Sector Management Act 1994 • State Records Act 2000 • Criminal Code, Crimes and Misconduct Commissions Act 2001 • Public Interest Disclosure Act 2003 • Auditor General Act 2006 • Financial Management Act 2006
18 SCREENWEST ANNUAL REPORT | 2012/2013 1.3.1 Outcome Based Service: Management Framework Screen Production Industry Support. ScreenWest delivers services to achieve the agency level desired outcome, which ultimately contributes to meeting the Government’s goals. Agency Level Outcome Key Efficiency Indicators Delivery of strategic support and Average cost per grant application ScreenWest’s key efficiency indicator funding to advance the development processed. monitors the relationship between the of the screen production industry in service delivered and the resources Western Australia. used to produce the service. The key effectiveness indicators measure the extent of impact of the delivery of services on the achievement of desired Government Desired Outcome Key Effectiveness Indicators outcomes. A creative, sustainable and accessible culture and arts sector. Proportion of funding applicants The table to the right sets out the satisfied with the key elements of relationship to the Government’s goal ScreenWest’s funding program. outcome based management framework. Proportion of Western Australians that perceive culture and the arts sector Government Goal - Outcomes (including the Screen Industry) events Based Service Delivery to be accessible. Greater focus on achieving results Perceived value of culture and the in key service delivery areas for the arts (including the Screen Industry) to benefit of all Western Australians. the Western Australian Community.
SCREENWEST ANNUAL REPORT | 2012/2013 19 1.3.2 Changes to Outcome 1.3.3 Shared Responsibilities Based Management Framework with Other Agencies
The Model Statutory Authority’s Outcome ScreenWest is solely responsible for Based Management Framework did not delivering the service of screen production change during 2012/13. i n d u s t r y s u p p o r t . H o w e v e r , t h e G o v e r n m e n t Desired Outcome and some of the Key Effectiveness Indicators, as specified above in 1.3.1, are contributed to by the work of the DCA and its portfolio agencies - the Art Gallery of Western Australia, State Library of Western Australia, Perth Theatre Trust, State Records Office and the Western Australian Museum.
20 SCREENWEST ANNUAL REPORT | 2012/2013
Agency Performance
2.1 Report on ScreenWest’s To reflect the strategic plan, ScreenWest’s • Advance the industry’s business 2012/13 Funding Program funding and support programs are capability; and designed to: ScreenWest’s Strategic Plan 2011-16 • Form partnerships to develop a vibrant seeks to provide a strategic, concise and • Support the development of world- screen culture in Western Australia. practical guide to ScreenWest’s operations class practice and craft excellence and inform how the agency will support the across developed and emerging In 2012/13 the Funding Program focused Western Australian screen industry over a platforms; on five core areas: five year period. • Production • Facilitate the screen industry to • Development take advantage of innovation and technology developments; • Indigenous • Digital; and • Screen Culture.
2.1.1 Funding Application Assessment Meetings and Members
During 2012/13, ScreenWest convened 31 assessment meetings. ScreenWest uses a combination of ScreenWest and external industry experts to assess funding applications.
For a full list of assessment meetings and members see Appendix 1.0.
Satellite Boy
SCREENWEST ANNUAL REPORT | 2012/2013 21 2.1.2 Funding Program 2.1.3 Funding Program Key ScreenWest support for these projects Allocations Outcomes and Highlights under these schemes during the financial year totalled $4,195,492. In 2012/13, ScreenWest approved grants PRODUCTION and investment funds totalling over During the year ScreenWest funded $12 million through its funding program, productions screened to significant an increase of almost $2.5 million from In July 2012 ScreenWest launched separate Documentary and Drama national and international acclaim. Award 2011/12. The majority (53 per cent) of this and television highlights are located on funding was allocated to Production. Production Investment Funds, replacing the catch-all General Production Fund. page 5. Both funds support feature film and For a list of the ScreenWest funded television productions with strong market In 2012/13 the Agency also allocated productions that have entered principal attachments and cross-media projects $40,000 to Periscope Productions to photography in 2012/13 refer to Appendix with significant third-party funding and complete two documentaries, Hunter – 2.0. broad audience reach. For The Record (part funded through the crowdfunding platform, Pozible) and For a list of all 2012/13 funding These new funds encourage producers Zed, about the late Western Australian committments refer to Appendix 3.0. to engage Western Australian screen Hip Hop musician Robert Hunter. The practitioners, equipment hire facilities and feature length Hunter – For The Record post-production houses by incentivising screened as part of the 2013 Revelation Qualifying Western Australian Expenditure Perth International Film Festival. (QWAE), the employment of resident directors and key heads of department, and local post-production spend.
During 2012/13 three feature films, 10 documentary series, seven stand-alone documentaries and two feature length documentaries commenced principal photography.
22 SCREENWEST ANNUAL REPORT | 2012/2013 Matched Primetime Television Industry Enhancement Fund Locations and Film Services Production Fund The Industry Enhancement Fund provides In 2012/13 ScreenWest allocated both The ScreenWest/ABC Matched Primetime financing for individuals or companies with financial and human resources to expand Television Production Fund provides an international track record in the business and develop its Locations and Film Services matched production funding for primetime or financing sector to realise visionary role to the industry and film production projects produced in Western Australia activities that will generate significant sector, to help maintain and develop an with a broadcast commitment from the screen industry outcomes and help build economically viable production sector and ABC. the independent screen content production industry infrastructure in Western Australia. capacity of the Western Australia industry During 2012/13 ScreenWest funded 20 In 2012/13, ScreenWest invested and position Western Australia as a leader script breakdowns/image presentations $1,292,172 worth of funding to four within the Australian film, television and for producers considering shooting their documentary projects with a total digital media landscape. The inaugural projects in Western Australia, ten hosted production budget of $7.9 million. These round supported two proposals including location scouts, three self-guided location projects will be completed in 2013/14 and the Catalina financing proposal from scouts, and facilitated nine meetings include one major docu-drama series, two Larrikin Entertainment and Story Beach between producers and WA key creatives. short run series and a one hour special. proposal from VueDC.
SuperDoc Fund Screen Business Development Fund
The creation of the new SuperDoc Fund ScreenWest’s new Screen Business in 2012/13 supports Western Australia Development fund facilitates Western documentary companies in building their Australian production businesses production capacity on an international to expand and become sustainable scale by engaging in new financing models, within the Australian screen production production opportunities and markets to landscape. One round has been held and help achieve long term sustainability. One the outcomes of this will be known in the round has been held and the outcomes of 2013/14 financial year. this will be known in the 2013/14 financial year.
SCREENWEST ANNUAL REPORT | 2012/2013 23 DEVELOPMENT (President at Red Hour Films), and Aaron Travel Assistance Ginsburg (Writer for various networks Feature Film Development and including CBS, NBC, FOX, ABC Family). ScreenWest provides a contribution TV/Documentary Development saw towards the costs of travel to enable ScreenWest commit almost $290,000 in Feature and Tele-Navigator Programs Western Australian production companies funding across 13 drama and three factual and film practitioners to attend relevant The Navigator programs are ScreenWest’s projects. markets, conferences, festivals, awards and skills and project development programs professional development opportunities for television drama and feature film. held interstate or internationally. During An additional $235,000 was committed 2012/13 ScreenWest provided 84 travel through Matched and Emergency Feature Navigator focuses on screenplay assistance grants totalling over $260,000. Development funding toward features and development and marketing and aims television across three drama projects and to take drama feature projects from seven factual projects. ScreenWest also provided a contribution story development through to financing. to established Western Australian Six teams participated in the 2012/13 production companies to attend relevant A key strategic objective of ScreenWest is Feature Navigator consultation week, markets, conferences, festivals and to support the development of high quality with one project selected for ScreenWest awards held interstate or internationally. practice and craft excellence across development investment funding. During 2012/13, ScreenWest allocated developed and emerging platforms. 2012/13’s funding recipient was Jules more than $140,000 for Travel Assistance: Duncan, for his project Bogan Wedding. Established Production Companies To help achieve this goal, ScreenWest grants. secured a number of international and Tele-Navigator is aimed at assisting national guests to act as mentors and scripted narrative television projects to LINK and hyperLINK presenters for a selection of the agency’s move from concept development through to 2012/13 project and skills development broadcaster commissioning. ScreenWest The Film and Television Institute (FTI) programs. presented the program in association with provides a range of programs and services the Australian Writers’ Guild. In 2012/13, to support emerging and early career Guests included David Petrarca (Game of six creative teams took part in a workshop independent screen creators. In 2012/13 Thrones, Boardwalk Empire, True Blood), as part of the program. FTI delivered the LINK and hyperLINK Lila Rawlings (Executive Producer from programs on ScreenWest’s behalf. The Left Bank Pictures), Deborah Liebling LINK initiative is a competitive grant
24 SCREENWEST ANNUAL REPORT | 2012/2013 scheme designed as a developmental hyperLINK is designed to support vital, INDIGENOUS opportunity for early career Western original and stylish projects from early Australian filmmakers to gain the required career filmmakers, promoting career Almost $710,000 was committed to skills and working knowledge to take their advancement through production and funding Indigenous programs, initiatives future projects to the next funding level. project management. One hyperLINK and projects in 2012/13. grant is awarded per year, with this year’s The successful recipients for 2012/13 were: successful recipient, The Legend of Gavin ScreenWest’s main focus was on high Barrow (producers, Peter Gurbiel, Stuart Tanner (producer, Lauren Elliott; director level skills development for Indigenous Mackenzie and Wade K Savage; director, Henry Inglis; writer Matt Lovkis). key creatives, provided by the best Wade K. Savage; writers, Peter Gurbiel documentary and drama script consultants and Wade K Savage); Similar & Familiar available. (producer, Wendi Graham; director, Noah Norton; writers, Noah Norton and David New guidelines were launched in line with Smyth). ScreenWest’s commitment to provide ongoing opportunities for the Western Australia Indigenous screen sector.
2012/13 Highlights:
ScreenWest/ABC Factual Television Initiative: Seasons
ScreenWest partnered with the ABC TV Indigenous Department on a new short documentary development and production initiative to produce contemporary, positive and inspirational stories encapsulating the theme of Seasons.
ScreenWest organised for The Australian Film, Television and Radio Schools These Final Hours
SCREENWEST ANNUAL REPORT | 2012/2013 25 (AFTRS) to deliver a development ScreenWest/National Filmmakers; Dot West, Kelli Cross and workshop with filmmaker Dr Tom Murray; Indigenous Television (NITV) Factual Ngaire Pigram’s short drama projects Media, Music, Communication and Television Initiative were selected to go through to production. Cultural Studies Macquarie University. Dr Spear Point Productions, producer Murray provided ongoing script support to A new factual development and production Kelrick Martin and executive producers the filmmakers. Joined Up Films guided initiative to produce distinctive stories, Tania Chambers and David Jowsey were the filmmakers through the production culminating in entertaining, and informative selected to produce this Short Drama workshop and managed the production of 26-minute factual films with the theme Initiative. four exceptional mini documentaries. Defining Moments to air on NITV in 2014. Feature Film Development Initiative The initiative uncovered new talent in Short Drama Initiative first time filmmakers Perun Bonsor and Karla Hart along with filmmakers On completion of an online feature Dot West, Kim West and Tyson Mowarin. UK short film specialist Paul Welsh of treatment course, screenwriters The Seasons series was broadcast before Edge City Films & DigiCult, delivered an Jub Clerc, Debbie Carmody, the 7pm ABC News during NAIDOC week intensive and high-level short film drama Dennis Simmons and Dot West with July 2013. and skills development program to six Jimmy Chi and Peter Docker worked with Indigenous filmmakers. LA based screenwriter/producer Paul Chitlik to complete their first draft feature scripts. These scriptwriters continued the feature development program with script consultant Regina Lee, a Los Angeles- based script consultant and script editor; previously a development executive at Seed – Hugh Jackman’s company.
Ngurra Wanggagu, from the Seasons Indigenous mini documentary initative
26 SCREENWEST ANNUAL REPORT | 2012/2013 Satellite Boy
Satellite Boy was the first Western Australian produced feature film in the 60 year history of PIAF to be selected in the 2013 film program and also a community screening at Movies by Burswood. The film was selected in competition in the Toronto and Berlin Film Festivals and was released nationally by Hopscotch Pictures.
Yagan
Spear Point Production’s ABC documentary Yagan premiered to a full audience at Movies by Burswood and screened as part of PIAF’s Albany film program. Yagan In the Air
Ramu Productions ABC short drama In the Air screened at the 2012 Brisbane International Film Festival. Dennis Simmons’ short film Ace of Spades was selected to the 2013 St Kilda Film Festival and both of these films were selected as part of the Get Your Shorts On! program at the 2013 Revelation Film festival.
SCREENWEST ANNUAL REPORT | 2012/2013 27 DIGITAL Digital Workshops • Digital Media Presentation, with Mike Rosenstein (Red Hour Films, Head of During the financial year ScreenWest • From Here to Fraternity Digital Digital) February 2013. Digital Program highlights included: Workshop, with digital producers Amy Broadfoot, Aaron Kennedy, Edwin • Digital Media Presentation, with 3 to 1 Digital Crowdfunding Initiative Lynch, Justin McArdle, Matt McEwen, Guy Gadney (The Project Factory) In a global first for a screen agency, and Michelle Milton September 2012. February 2013. this digital crowdfunding initiative saw ScreenWest offer Western Australian digital content creators, media producers and production companies three dollars in funding for every one dollar raised by the creative teams with funds distributed on a ‘first past the post’ basis.
The initiative incentivised film practitioners to engage communities through a crowdfunding model by offering projects that successfully raised 25 per cent of their budget from the community the remaining 75 per cent from ScreenWest until a $250,000 pool was depleted. The initiative was very successful and the agency looks forward to seeing the production results in 2014.
3 to 1 project, Factory 293
28 SCREENWEST ANNUAL REPORT | 2012/2013 SCREEN CULTURE Audience and Industry Engagement In 2012/13, six audience engagement Program activities ran throughout the state that ScreenWest aims to increase awareness received $122,000 in funding from the of the Western Australian screen ScreenWest’s Audience Engagement and AIEP program. A total of 24,300 audience industry and create a vibrant Screen Industry Engagement Program (AIEP) is members purchased tickets or registered Culture in Western Australia through designed to foster the Western Australian their attendance at these activities. activities including the Audience and communities’ engagement with screen Industry Engagement Program, industry content and the Western Australian Activities supported included: conferences and facilitating screening screen industry. AIEP seeks to support opportunities. the expansion of the Western Australian BIG SCREEN 2012 screen industry through projects that These activities are designed to develop encourage and facilitate dialogue and The BIG SCREEN Australian Film Festival a well-informed and actively engaged interaction between the screen industry is a touring film festival of Australian community who seek out Western and the Western Australian public. feature films throughout regional Australia. Australian screen content. The National Film and Sound archive coordinated the BIG SCREEN tour through Broome, Kununurra and the Gascoyne in 2012.
The program included Western Australia short films and film Not Suitable for Children, which was directed by a Western Australian filmmaker, Peter Templeman.
Revelation Perth International Film Festival
Revelation Perth International Film Festival is an independent film festival that runs annually in Perth. In 2012, 54 Australian
The audience gets ready to watch Get Your Shorts On! as part of the Revelation Perth International Film Festival films were screened including six Western
SCREENWEST ANNUAL REPORT | 2012/2013 29 Australian short films as part of Get Your Flickerfest • Screen Producers Association Shorts On! Five sessions incorporating Australia Conference 2012 (Sydney) panels, sessions and master classes were Flickerfest is a touring short film Festival also conducted for the industry. that tours throughout Australia. In 2013 • Australian International Documentary the number of screening venues in Conference 2013 (Adelaide) CinéfestOZ Western Australia increased to 10 with • Perth Writers’ Festival HBO Sessions new venues in Karratha, Carnarvon, (Perth) CinéfestOZ is a French-Australian film Denmark, Exmouth and Bunbury added. festival that runs in the South West All programs were supported with a • Emergence Creative Festival of Western Australia in late August Western Australia short film. (Margaret River) annually. In 2012 CinéfestOZ attendances grew by over 20 per cent from 2011. Perth Actors Collective Script Lab • Australian Writers’ Guild Conference (Melbourne) Western Australian documentary Chateau Chunder and Western Australian Perth Actors Collective Script Lab, bi- short films were screened. • Melbourne International Film Festival monthly script readings predominantly held (MIFF) 37ºSouth Market & Accelerator in Subiaco. In 2012/13 six script reading (Melbourne); and Rottofest’s Funniest Shorts labs were held and a successful script reading was also held during CinéfestOZ. • Various events organised by the Rottofest’s Funniest Shorts is a film Australian Writers’ Guild WA. festival of short humorous films, held at Industry Conferences and Events Rottnest as part of Rottofest. In 2012, people attended film screenings of works ScreenWest also supports key by Western Australian and Australian conferences, markets and screen events filmmakers. to further develop the Western Australian screen industry.
During the year, ScreenWest provided support to the following national conferences and events:
30 SCREENWEST ANNUAL REPORT | 2012/2013
Significant Issues Impacting the Agency
ScreenWest and the screen industry face potential way to develop the screen industry infrastructure and its long-term a range of significant issues that are or industry in Western Australia and demand drivers, so that appropriate could have an impact on the achievement utilise the co-production arrangements service delivery models and asset and of the agency’s strategic outcomes, polices between international territories and non-asset solutions can be considered. and operational targets. the Australian Government is a key part of ScreenWest’s Strategic Plan Current and emerging issues and 2011-16. trends • ScreenWest continues to take a • Film and television financing remains leadership position to assist the difficult as audiences shift to new ways industry to capitalise on innovation and of accessing screen content, disrupting technology developments in terms of traditional distribution pathways. digital production, distribution channels and audience needs. • The high level of the Australian dollar and the cost of living and labour makes The agency recently reviewed its digital Australia an expensive destination for funding programs and commissioned production. a report to determine the scale, shape and focus of the Western Australian ScreenWest is working closely with independent games sector to help local and international producers to identify the type and level of State develop more production opportunities. Government support that may be There are a number of major producers required to best improve its long term and investors interested in filming viability. in Western Australia in 2013/14 and ScreenWest is continuing its efforts to • Appropriate infrastructure - people and secure funding for these projects. physical assets - is needed to ensure the growth of the Western Australian • Developing stronger links with screen industry. ScreenWest has international partners, especially in the commissioned a report on the current UK, USA, Singapore and China as a state of Western Australia screen The Turning
SCREENWEST ANNUAL REPORT | 2012/2013 31
Disclosures and Legal Compliance
4.1 Financial Statements
ScreenWest Inc
Certification of Financial Statements
For the year ended 30 June 2013
The accompanying financial statements of ScreenWest Inc have been prepared in compliance with the provisions of the Financial Management Act 2006 from proper accounts and records to present fairly the financial transactions for the financial year ended 30 June 2013 and the financial position as at 30 June 2013.
At the date of signing we are not aware of any circumstances, which would render any particulars included in the financial statements misleading or inaccurate.
32 SCREENWEST ANNUAL REPORT | 2012/2013
Independent Auditor’s Report
Treasurer’s Instructions, and for such internal control as the Board determines is necessary to enable the preparation of financial statements that are free from material misstatement, whether due to fraud or error. Auditor General Auditor’s Responsibility INDEPENDENT AUDITOR’S REPORT INDEPENDENT AUDITOR’S REPORT As required by the Auditor General Act 2006, my responsibility is to express an opinion on the financial statements based on To the ParliamentTo the of Parliament Western Australia of Western Australia my audit. The audit was conducted in accordance with Australian Auditing Standards. Those Standards require compliance with SCREENWEST INC relevant ethical requirements relating to audit engagements and SCREENWEST INC Report on the Financial Statements that the audit be planned and performed to obtain reasonable I have audited the accounts and financial statements of ScreenWest Inc. assurance about whether the financial statements are free from Report on the Financial Statements material misstatement. The financialI statements have audited comprise the the accounts Statement andof Financial financial Position statements as at 30 June of 2013An audit, the involves performing procedures to obtain audit evidence Statement of Comprehensive Income, Statement of Changes in Equity and Statement of Cash Flows for theScreenWest year then ended,Inc. and Notes comprising a summary of significant accountingabout the amounts and disclosures in the financial statements. policies and other explanatory information. The procedures selected depend on the auditor’s judgement, including the assessment of the risks of material misstatement of The financial statements comprise the Statement of Financial the financial statements, whether due to fraud or error. In making Board’s ResponsibiliPositionty as for atthe 30Financial June 2013, Statements the Statement of Comprehensive The Board is responsible for keeping proper accounts, and the preparation those and fair risk assessments, the auditor considers internal control Income, Statement of Changes in Equity and Statement of presentation of the financial statements in accordance with Australian Accounting Standardsrelevant to the ScreenWest’s preparation and fair presentation Cash Flows for the year then ended, and Notes comprising a and the Treasurer’s Instructions, and for such internal control as the Board determinesof the isfinancial statements in order to design audit procedures summary of significant accounting policies and other explanatory necessary to enable the preparation of financial statements that are free from that material are appropriate in the circumstances. An audit also includes information. misstatement, whether due to fraud or error. evaluating the appropriateness of the accounting policies used Auditor’s Responsibility and the reasonableness of accounting estimates made by the As required Board’sby the Auditor Responsibility General Act for 2006,the Financial my responsibility Statements is to express an opinionBoard, on the as well as evaluating the overall presentation of the financial statements based on my audit. The audit was conducted in accordancefinancial with statements. Australian AuditingThe Board Standards. is responsible Those for Standards keeping requireproper accounts,compliance andwith the relevant ethical preparation and fair presentation of the financial statements I believe that the audit evidence obtained is sufficient and requirements relating to audit engagements and that the audit be planned and performedappropriateto to provide a basis for my audit opinion. obtain reasonablein accordance assurance with about Australian whether Accounting the financial Standards statements and are the free from material misstatement.
An audit involves performing procedures to obtain audit evidence about the amounts and disclosures in the financial statements. The procedures selected depend on the auditor’s SCREENWEST ANNUAL REPORT | 2012/2013 33 judgement, including the assessment of the risks of material misstatement of the financial statements, whether due to fraud or error. In making those risk assessments, the auditor considers internal control relevant to the ScreenWest’s preparation and fair presentation of the financial statements in order to design audit procedures that are appropriate in the circumstances. An audit also includes evaluating the appropriateness of the accounting policies used and the reasonableness of accounting estimates made by the Board, as well as evaluating the overall presentation of the financial statements.
I believe that the audit evidence obtained is sufficient and appropriate to provide a basis for my audit opinion.
Opinion In my opinion, the financial statements are based on proper accounts and present fairly, in all material respects, the financial position of ScreenWest Inc at 30 June 2013 and its financial performance and cash flows for the year then ended. They are in accordance with Australian Accounting Standards and the Treasurer’s Instructions.
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7th Floor Albert Facey House 469 Wellington Street Perth MAIL TO: Perth BC PO Box 8489 Perth WA 6849 TEL: 08 6557 7500 FAX: 08 6557 7600 Opinion Auditor’s Responsibility In my opinion, the financial statements are based on proper As required by the Auditor General Act 2006, my responsibility is accounts and present fairly, in all material respects, the financial to express an opinion on the controls exercised by ScreenWest position of ScreenWest Inc at 30 June 2013 and its financial Inc based on my audit conducted in accordance with Australian performance and cash flows for the year then ended. They are Auditing and Assurance Standards. in accordance with Australian Accounting Standards and the An audit involves performing procedures to obtain audit evidence Treasurer’s Instructions. about the adequacy of controls to ensure that ScreenWest complies with the legislative provisions. The procedures selected depend on the auditor’s judgement and include an evaluation of Report on Controls the design and implementation of relevant controls. I have audited the controls exercised by ScreenWest Inc during the year ended 30 June 2013. I believe that the audit evidence obtained is sufficient and appropriate to provide a basis for my audit opinion. Controls exercised by ScreenWest Inc are those policies and procedures established by the Board to ensure that the receipt, expenditure and investment of money, the acquisition and Opinion disposal of property, and the incurring of liabilities have been in In my opinion, the controls exercised by ScreenWest Inc are accordance with legislative provisions. sufficiently adequate to provide reasonable assurance that the receipt, expenditure and investment of money, the acquisition and Board’s Responsibility for Controls disposal of property, and the incurring of liabilities have been in accordance with legislative provisions during the year ended 30 The Board is responsible for maintaining an adequate system June 2013. of internal control to ensure that the receipt, expenditure and investment of money, the acquisition and disposal of public and other property, and the incurring of liabilities are in accordance Report on the Key Performance Indicators with the Financial Management Act 2006 and the Treasurer’s I have audited the key performance indicators of ScreenWest Inc Instructions, and other relevant written law. for the year ended 30 June 2013. The key performance indicators are the key effectiveness indicators and the key efficiency indicators that provide information on outcome achievement and service provision.
34 SCREENWEST ANNUAL REPORT | 2012/2013 Board’s Responsibility for the Key Performance Indicators Opinion The Board is responsible for the preparation and fair presentation In my opinion, the key performance indicators of ScreenWest of the key performance indicators in accordance with the Financial Inc are relevant and appropriate to assist users to assess the Management Act 2006 and the Treasurer’s Instructions and for ScreenWest’s performance and fairly represent indicated such controls as the Board determines necessary to ensure performance for the year ended 30 June 2013. that the key performance indicators fairly represent indicated performance. Independence In conducting this audit, I have complied with the independence Auditor’s Responsibility requirements of the Auditor General Act 2006 and Australian As required by the Auditor General Act 2006, my responsibility is Auditing and Assurance Standards, and other relevant ethical to express an opinion on the key performance indicators based requirements. on my audit conducted in accordance with Australian Auditing and Assurance Standards. Matters Relating to the Electronic Publication of the Audited An audit involves performing procedures to obtain audit evidence Financial Statements and Key Performance Indicators about the key performance indicators. The procedures selected depend on the auditor’s judgement, including the assessment This auditor’s report relates to the financial statements and key of the risks of material misstatement of the key performance performance indicators of ScreenWest Inc for the year ended 30 indicators. In making these risk assessments the auditor considers June 2013 included on ScreenWest’s website. The ScreenWest’s internal control relevant to the Board’s preparation and fair management is responsible for the integrity of ScreenWest’s presentation of the key performance indicators in order to design website. This audit does not provide assurance on the integrity audit procedures that are appropriate in the circumstances. An of ScreenWest’s website. The auditor’s report refers only to the audit also includes evaluating the relevance and appropriateness financial statements and key performance indicators described of the key performance indicators for measuring the extent of above. It does not provide an opinion on any other information which outcome achievement and service provision. may have been hyperlinked to/from these financial statements or key performance indicators. If users of the financial statements I believe that the audit evidence obtained is sufficient and and key performance indicators are concerned with the inherent appropriate to provide a basis for my audit opinion. risks arising from publication on a website, they are advised to refer to the hard copy of the audited financial statements and key performance indicators to confirm the information contained in this
SCREENWEST ANNUAL REPORT | 2012/2013 35 An audit involves performing procedures to obtain audit evidence about the key performance indicators. The procedures selected depend on the auditor’s judgement, including the assessment of the risks of material misstatement of the key performance indicators. In making these risk assessments the auditor considers internal control relevant to the Board’s preparation and fair presentation of the key performance indicators in order to design audit procedures that are appropriate in the circumstances. An audit also includes evaluating the relevance and appropriateness of the key performance indicators for measuring the extent of outcome achievement and service provision.
I believe that the audit evidence obtained is sufficient and appropriate to provide a basis for my audit opinion.
Opinion In my opinion, the key performance indicators of ScreenWest Inc are relevant and appropriate to assist users to assess the ScreenWest’s performance and fairly represent indicated performance for the year ended 30 June 2013.
Independence In conducting this audit, I have complied with the independence requirements of the Auditor General Act 2006 and Australian Auditing and Assurance Standards, and other relevant ethical requirements.
Matters Relating to the Electronic Publication of the Audited Financial Statements and Key Performance Indicators This auditor’s report relates to the financial statements and key performance indicators of ScreenWest Inc for the year ended 30 June 2013 included on ScreenWest’s website. The ScreenWest’s management is responsible for the integrity of ScreenWest’s website. This audit does not provide assurance on the integrity of ScreenWest’s website. The auditor’s report refers only to the financial statements and key performance indicators described above. It does not provide an opinion on any other information which may have been hyperlinked to/from these financial statements or key performance indicators. If users of the financial statements and key performance indicators are concerned with the inherent risks arising from publication onwebsite a website, version they of are the advised financial to refer statements to the hard and copy key ofperformance the audited financial statements and keyindicators. performance indicators to confirm the information contained in this website version of the financial statements and key performance indicators.
DON CUNNINGHAME ASSISTANTDON CUNNINGHAME AUDITOR GENERAL ASSURANCE SERVICES Delegate of the Auditor General for Western Australia Perth, Western Australia 20ASSISTANT August 2013 AUDITOR GENERAL ASSURANCE SERVICES Delegate of the Auditor General for Western Australia Perth, Western Australia 20 August 2013
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36 SCREENWEST ANNUAL REPORT | 2012/2013 STATEMENT OF COMPREHENSIVE INCOME for the year ended 30 June 2013 Note 2013 2012 $000 $000 COST OF SERVICES
Expenses Employee benefits expense 5 2,044 1,781 Supplies and services 6 529 395 Depreciation expense 7 2 2 Accommodation expenses 8 173 122 Grants and loans expense 9 12,113 9,620 Other expenses 10 127 278 Total cost of services 14,988 12,198
Income
Revenue Returns on funding activities 11 501 357 Interest revenue 12 520 573 Lapsed commitments 13 1,570 1,626 Other revenue 14 152 164 Total Revenue 2,743 2,720
Total income other than income from State Government 2,743 2,720 NET COST OF SERVICES 12,245 9,478
SCREENWEST ANNUAL REPORT | 2012/2013 37 STATEMENT OF COMPREHENSIVE INCOME for the year ended 30 June 2013
Income from State Government 15 Service grant 2,002 2,002 State grant and subsidies 1,250 320 Lotterywest grant 7,023 5,500 Services received free of charge 1,280 1,173 Total income from State Government 11,555 8,995
DEFICIT FOR THE PERIOD (690) (483)
OTHER COMPREHENSIVE INCOME
Items not reclassified subsequently to profit or loss
Changes in asset revaluation surplus 0 0
Total other comprehensive income 0 0
TOTAL COMPREHENSIVE INCOME FOR THE PERIOD (690) (483)
The Statement of Comprehensive Income should be read in conjunction with the accompanying notes.
38 SCREENWEST ANNUAL REPORT | 2012/2013 STATEMENT OF FINANCIAL POSITION as at 30 June 2013 Note 2013 2012 ASSETS $000 $000
Current Assets Cash and cash equivalents 24 11,355 10,137 Receivables 16 107 189 Other current assets 17 9 4 Total Current Assets 11,471 10,330
Non-Current Assets Amounts receivable for services 18 34 32 Furniture and equipment 19 1 3
Total Non-Current Assets 35 35
TOTAL ASSETS 11,506 10,365
LIABILITIES
Current Liabilities Payables 21 134 156 Loans and grants payable 22 9,806 7,825 Total Current Liabilities 9,940 7,981
Non-Current Liabilities Loans and grants payable 22 1,004 1,132 Total Non-Current Liabilities 1,004 1,132 TOTAL LIABILITIES 10,944 9,113
NET ASSETS 562 1,252
SCREENWEST ANNUAL REPORT | 2012/2013 39 STATEMENT OF FINANCIAL POSITION as at 30 June 2013
EQUITY 23 Contributed equity 150 150 Accumulated surplus 412 1,102 TOTAL EQUITY 562 1,252
The Statement of Financial Position should be read in conjunction with the accompanying notes.
40 SCREENWEST ANNUAL REPORT | 2012/2013 STATEMENT OF CHANGES IN EQUITY for the year ended 30 June 2013
Contributed Accumulated Total Note equity surplus equity $000 $000 $000
Balance at 1 July 2011 23 150 1,585 1,735
Total comprehensive income for the year (483) (483)
Total 0 (483) (483)
Balance at 30 June 2012 150 1,102 1,252
Balance at 1 July 2012 150 1,102 1,252
Total comprehensive income for the year (690) (690)
Total 0 (690) (690)
Balance at 30 June 2013 150 412 562
The Statement of Changes in Equity should be read in conjunction with the accompanying notes.
SCREENWEST ANNUAL REPORT | 2012/2013 41 STATEMENT OF CASH FLOWS for the year ended 30 June 2013 Note 2013 2012 $000 $000 CASH FLOWS FROM STATE GOVERNMENT Service grant 2,000 2,320 State grant and subsidies 1,250 320 Lotterywest grant 7,023 5,500 Net cash provided by State Government 10,273 7,820
Utilised as follows:
CASH FLOWS FROM OPERATING ACTIVITIES
Payments Employee benefits (867) (628) Supplies and services (411) (338) Accommodation (203) (82) Grants and loans (8,684) (7,436) GST payments on purchases (966) (764) GST payments to taxation authority (565) (362) Other payments (142) (286)
Receipts Returns on funding activities 575 323 Interest received 593 629 GST receipts on sales 856 600 GST receipts from taxation authority 609 557 Other receipts 150 128 Net cash (used in) operating activities 24 (9,055) (7,659)
42 SCREENWEST ANNUAL REPORT | 2012/2013 STATEMENT OF CASH FLOWS for the year ended 30 June 2013
CASH FLOWS FROM INVESTING ACTIVITIES
Net increase in cash and cash equivalents 1,218 161 Cash and cash equivalents at the beginning of the period 10,137 9,976
CASH AND CASH EQUIVALENTS AT THE END OF THE PERIOD 24 11,355 10,137
The Statement of Cash Flows should be read in conjunction with the accompanying notes.
SCREENWEST ANNUAL REPORT | 2012/2013 43 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
Note 1. Australian Accounting Standards
General
ScreenWest Inc’s financial statements for the year ended 30 June 2013 have been prepared in accordance with Australian Accounting Standards. The term ‘Australian Accounting Standards’ includes Standards and Interpretations issued by the Australian Accounting Standard Board (AASB).
ScreenWest Inc has adopted any applicable, new and revised Australian Accounting Standards from their operative dates.
Early adoption of standards
ScreenWest Inc cannot early adopt an Australian Accounting Standard unless specifically permitted by TI 1101Application of Australian Accounting Standards and Other Pronouncements. There has been no early adoption of Australian Accounting Standards that have been issued or amended [but not operative] by ScreenWest Inc for the annual reporting period ended 30 June 2013.
Note 2. Summary of significant accounting policies
(a) General statement
ScreenWest Inc is a not-for-profit reporting entity that prepares general purpose financial statements in accordance with Australian Accounting Standards, the Framework, Statements of Accounting Concepts and other authoritative pronouncements of the AASB as applied by the Treasurer’s Instructions. Several of these are modified by the Treasurer’s Instructions to vary application, disclosure, format and wording.
The Financial Management Act and the Treasurer’s Instructions impose legislative provisions that govern the preparation of financial statements and take precedence over the Australian Accounting Standards, the Framework, Statements of Accounting Concepts and other authoritative pronouncements of the AASB.
44 SCREENWEST ANNUAL REPORT | 2012/2013 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
(b) Basis of preparation
The financial statements have been prepared on the accrual basis of accounting using the historical cost convention.
The accounting policies adopted in the preparation of the financial statements have been consistently applied throughout all periods presented unless otherwise stated.
The financial statements are presented in Australian dollars and all values are rounded to the nearest thousand dollars ($’000).
Note 3 ‘Judgements made by management in applying accounting policies’ discloses judgements that have been made in the process of applying ScreenWest Inc’s accounting policies resulting in the most significant effects on amounts recognised in the financial statements.
(c) Reporting entity
The reporting entity comprises ScreenWest Inc, it has no related bodies.
(d) Contributed equity
AASB Interpretation 1038 Contributions by Owners Made to Wholly-Owned Public Sector Entities requires transfers in the nature of equity contributions, other than as a result of a restructure of administrative arrangements, to be designated by the Government (the owner) as contributions by owners (at the time of, or prior to transfer) before such transfers can be recognised as equity contributions. Capital grants have been designated as contributions by owners by TI 955 Contributions by Owners made to Wholly Owned Public Sector Entities and have been credited directly to Contributed equity.
The transfer of net assets to/from other agencies, other than as a result of restructure of administrative arrangements, are designated as contributions by owners where the transfers are non-discretionary and non-reciprocal.
SCREENWEST ANNUAL REPORT | 2012/2013 45 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
(e) Income
Revenue recognition Revenue is recognised and measured at the fair value of consideration received or receivable. The following specific recognition criteria must also be met before revenue is recognised for the major business activities as follows:
Sale of goods Revenue is recognised from the sale of goods and disposal of other assets when the significant risks and rewards of ownership transfer to the purchaser and can be measured reliably.
Provision of services Revenue is recognised on delivery of the service to the client or by reference to the stage of completion of the transaction.
Interest Revenue is recognised as the interest accrues.
Service grants Service grants are recognised as revenues at fair value in the period in which ScreenWest Inc gains control of the granted funds. ScreenWest Inc gains control of the grant funds at the time those funds are deposited to the bank account or credited to the ‘Amounts receivable for services’ (holding account) held at Treasury.
Grants, donations, gifts and other non-reciprocal contributions
Revenue is recognised at fair value when ScreenWest Inc obtains control over the assets comprising the contributions, usually when cash is received.
Other non-reciprocal contributions that are not contributions by owners are recognised at their fair value. Contributions of services are only recognised when a fair value can be reliably determined and the services would be purchased if not donated.
Royalties for Regions funds are recognised as revenue at fair value in the period in which ScreenWest Inc obtains control over the funds. ScreenWest Inc obtains control of the funds at the time the funds are deposited into ScreenWest Inc’s bank account.
46 SCREENWEST ANNUAL REPORT | 2012/2013 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
Gains Realised or unrealised gains are usually recognised on a net basis. These include gains arising on the disposal of non-current assets and some revaluations of non-current assets.
(f) Furniture and equipment
Capitalisation/expensing of assets Items of furniture and equipment costing $5,000 or more are recognised as assets and the cost of utilising assets is expensed (depreciated) over their useful lives. Items of furniture and equipment costing less than $5,000 are immediately expensed direct to the Statement of Comprehensive Income (other than where they form part of a group of similar expensed items which are significant in total).
Initial recognition and measurement All items of furniture and equipment are initially recognised at cost.
For items of furniture and equipment acquired at no cost or for nominal cost, the cost is the fair value at the date of acquisition.
Subsequent measurement Furniture and equipment are stated at historical cost less accumulated depreciation and accumulated impairment losses.
SCREENWEST ANNUAL REPORT | 2012/2013 47 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
Depreciation All non-current assets having a limited useful life are systematically depreciated over their estimated useful lives in a manner that reflects the consumption of their future economic benefits.
Depreciation is calculated using the straight line method, using rates which are reviewed annually. Estimated useful lives for each class of depreciable asset are:
Furniture and equipment 4 to 10 years
(g) Impairment of assets
Furniture and equipment are tested for any indication of impairment at the end of each reporting period. Where there is an indication of impairment, the recoverable amount is estimated. Where the recoverable amount is less than the carrying amount, the asset is considered impaired and written down to the recoverable amount and an impairment loss is recognised. As ScreenWest Inc is a not-for-profit entity, unless an asset has been identified as a surplus asset, the recoverable amount is the higher of an asset’s fair value less costs to sell and depreciated replacement cost.
The risk of impairment is generally limited to circumstances where an asset’s depreciation is materially understated, where the replacement cost is falling or where there is a significant change in useful life. Each relevant class of assets is reviewed annually to verify that the accumulated depreciation reflects the level of consumption or expiration of asset’s future economic benefits and to evaluate any impairment risk from falling replacement costs.
The recoverable amount of assets identified as surplus assets is the higher of fair value less costs to sell and the present value of future cash flows expected to be derived from the asset. Surplus assets carried at fair value have no risk of material impairment where fair value is determined by reference to market-based evidence. Where fair value is determined by reference to depreciated replacement cost, surplus assets are at risk of impairment and the recoverable amount is measured. Surplus assets at cost are tested for indications of impairment at each reporting period.
48 SCREENWEST ANNUAL REPORT | 2012/2013 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
(h) Leases
ScreenWest Inc holds operating leases for a motor vehicle. Lease payments are expensed on a straight line basis over the lease term as this represents the pattern of benefits derived from the leased property.
(i) Financial instruments
In addition to cash, ScreenWest Inc has two categories of financial instrument:
* Receivables; and * Financial liabilities measured at amortised cost.
Financial Instruments have been disaggregated into the following classes:
Financial Assets: * Cash and cash equivalents * Receivables * Amounts receivable for services
Financial Liabilities: * Payables * Loans and grants payable
Initial recognition and measurement of financial instruments is at fair value which normally equates to the transaction cost or the face value. Subsequent measurement is at amortised cost using the effective interest method.
The fair value of short-term receivables and payables is the transaction cost or the face value because there is no interest rate applicable and subsequent measurement is not required as the effect of discounting is not material.
SCREENWEST ANNUAL REPORT | 2012/2013 49 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
(j) Cash and cash equivalents For the purpose of the Statement of Cash Flows, cash and cash equivalent (and restricted cash and cash equivalent) assets comprise cash on hand and short- term deposits with original maturities of three months or less that are readily convertible to a known amount of cash and which are subject to insignificant risk of changes in value, and bank overdrafts.
(k) Accrued salaries
Accrued salaries (see note 21 ‘Payables’) represent the amount due to staff but unpaid at the end of the financial year, as the pay date for the last pay period for that financial year does not coincide with the end of the financial year. Accrued salaries are recognised by the Department of Culture and the Arts. The expense is recognised in the Statement of Comprehensive Income of ScreenWest Inc with a corresponding resource received free of charge.
(l) Amounts receivable for services (holding account)
ScreenWest Inc receives grants from the Department of Culture and the Arts partly in cash and partly as asset (holding account receivable). The accrued amount appropriated is accessible on the emergence of the cash funding requirement to cover leave entitlements and asset replacement.
(m) Receivables
Receivables are recognised and carried at original invoice amount less an allowance for any uncollectible amounts (i.e. impairment). The collectability of receivables is reviewed on an ongoing basis and any receivables identified as uncollectible are written-off against the allowance account. The allowance for uncollectible amounts (doubtful debts) is raised when there is objective evidence that ScreenWest Inc will not be able to collect the debts. The carrying amount is equivalent to fair value as it is due for settlement within 30 days.
(n) Payables
Payables are recognised when ScreenWest Inc becomes obliged to make future payments as a result of a purchase of assets or services. The carrying amount is equivalent to fair value, as settlement is generally within 30 days.
50 SCREENWEST ANNUAL REPORT | 2012/2013 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
(o) Assets and services received free of charge or for nominal cost
Assets or services received free of charge or for nominal cost are recognised as income at the fair value of the assets and/or the fair value of those services that can be reliably measured and that ScreenWest Inc would otherwise pay for. A corresponding expense is recognised for services received. Receipts of assets are recognised in the Statement of Financial Position.
Assets or services received from other State Government agencies are separately disclosed under Income from State Government in the Statement of Comprehensive Income.
(p) Comparative figures
Comparative figures are, where appropriate, reclassified to be comparable with the figures presented in the current financial year.
(q) Department of Culture and the Arts
The Department provides staff and other support to agencies in the Culture and the Arts portfolio. The Department receives an appropriation for salary costs, superannuation, fringe benefits tax and minor equipment as part of the PC replacement program. These resources, provided to ScreenWest Inc, but paid for by the Department, have been treated as ‘Resources received free of charge’ in the Statement of Comprehensive Income under the item ‘Income from State Government’.
In addition the Department also provides shared corporate services to ScreenWest Inc which are not recognised in the Statement of Comprehensive Income.
SCREENWEST ANNUAL REPORT | 2012/2013 51 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
Note 3. Judgements made by management in applying accounting policies
The preparation of financial statements requires management to make judgements about the application of accounting policies that have a significant effect on the amounts recognised in the financial statements. ScreenWest Inc evaluates these judgements regularly.
Operating lease commitments
ScreenWest Inc has entered into a commercial lease for a motor vehicle and has determined that the lessor retains substantially all the significant risks and rewards of ownership of the property. Accordingly, this lease has been classified as an operating lease.
Note 4. Disclosure of changes in accounting policy and estimates
Initial application of an Australian Accounting Standard
ScreenWest Inc has applied the following Australian Accounting Standard effective for annual reporting periods beginning on or after 1 July 2012 that impacted on ScreenWest Inc.
52 SCREENWEST ANNUAL REPORT | 2012/2013 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
AASB 2011-9 Amendments to Australian Accounting Standards – Presentation of Items of Other Comprehensive Income [AASB 1, 5, 7, 101, 112, 120, 121, 132, 133, 134, 1039 & 1049]
This Standard requires to group items presented in other comprehensive income on the basis of whether they are potentially reclassifiable to profit or loss subsequently (reclassification adjustments). There is no financial impact.
Future impact of Australian Accounting Standards not yet operative ScreenWest Inc cannot early adopt an Australian Accounting Standard unless specifically permitted by TI 1101 Application of Australian Accounting Standards and Other Pronouncements. Consequently, ScreenWest Inc has not applied early any of the following Australian Accounting Standards that have been issued that may impact ScreenWest Inc. Where applicable, ScreenWest Inc plans to apply these Australian Accounting Standards from their application date.
Operative for reporting periods beginning on/after
AASB 9 Financial Instruments 1 Jan 2015 This Standard supersedes AASB 139 Financial Instruments: Recognition and Measurement, introducing a number of changes to accounting treatments.
AASB 2012-6 Amendments to Australian Accounting Standards – Mandatory Effective Date of AASB 9 and Transition Disclosures amended the mandatory application date of this Standard to 1 January 2015. ScreenWest (Inc) has not yet determined the application or the potential impact of the Standard.
SCREENWEST ANNUAL REPORT | 2012/2013 53 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
AASB 10 Consolidated Financial Statements 1 Jan 2014 This Standard supersedes AASB 127 Consolidated and Separate Financial Statements and Int 112 Consolidation – Special Purpose Entities, introducing a number of changes to accounting treatments.
Mandatory application of this Standard was deferred by one year for not-for-profit entities by AASB 2012-10 Amendments to Australian Accounting Standards – Transition Guidance and Other Amendments. ScreenWest Inc has not yet determined the application or the potential impact of the Standard.
AASB 11 Joint Arrangements 1 Jan 2014 This Standard supersedes AASB 131 Interests in Joint Ventures, introducing a number of changes to accounting treatments.
Mandatory application of this Standard was deferred by one year for not-for-profit entities by AASB 2012-10. ScreenWest Inc has not yet determined the application or the potential impact of the Standard.
54 SCREENWEST ANNUAL REPORT | 2012/2013 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
AASB 12 Disclosure of Interests in Other Entities 1 Jan 2014 This Standard supersedes disclosure requirements under AASB 127 Consolidated and Separate Financial Statements and AASB 131 Interests in Joint Ventures.
Mandatory application of this Standard was deferred by one year for not-for-profit entities by AASB 2012-10. The Authority has not yet determined the application or the potential impact of the Standard.
AASB 13 Fair Value Measurement 1 Jan 2013 This Standard defines fair value, sets out a framework for measuring fair value and requires additional disclosures about fair value measurements. There is no financial impact.
AASB 127 Separate Financial Statements 1 Jan 2014 This Standard supersedes AASB 127 Consolidated and Separate Financial Statements, introducing a number of changes to accounting treatments.
Mandatory application of this Standard was deferred by one year for not-for-profit entities by AASB 2012-10. ScreenWest Inc has not yet determined the application or the potential impact of the Standard.
SCREENWEST ANNUAL REPORT | 2012/2013 55 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
AASB 128 Investments in Associates and Joint Ventures 1 Jan 2014 This Standard supersedes AASB 128 Investments in Associates, introducing a number of changes to accounting treatments.
Mandatory application of this Standard was deferred by one year for not-for-profit entities by AASB 2012-10. ScreenWest Inc has not yet determined the application or the potential impact of the Standard.
AASB 1053 Application of Tiers of Australian Accounting Standards 1 Jul 2013 This Standard establishes a differential financial reporting framework consisting of two tiers of reporting requirements for preparing general purpose financial statements. There is no financial impact.
AASB 1055 Budgetary Reporting 1 Jul 2014 This Standard specifies the nature of budgetary disclosures, the circumstances in which they are to be included in the general purpose financial statements of not-for- profit entities within the GGS. ScreenWest Inc will be required to disclose additional budgetary information and explanations of major variances between actual and budgeted amounts, though there is no financial impact.
56 SCREENWEST ANNUAL REPORT | 2012/2013 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
AASB 2010-2 Amendments to Australian Accounting Standards arising from Reduced 1 Jul 2013 Disclosure Requirements [AASB 1, 2, 3, 5, 7, 8, 101, 102, 107, 108, 110, 111, 112, 116, 117, 119, 121, 123, 124, 127, 128, 131, 133, 134, 136, 137, 138, 140, 141, 1050 & 1052 and Int 2, 4, 5, 15, 17, 127, 129 & 1052]
This Standard makes amendments to Australian Accounting Standards and Interpretations to introduce reduced disclosure requirements for certain types of entities. There is no financial impact.
AASB 2010-7 Amendments to Australian Accounting Standards arising from AASB 9 (December 1 Jan 2015 2010) [AASB 1, 3, 4, 5, 7, 101, 102, 108, 112, 118, 120, 121, 127, 128, 131, 132, 136, 137, 139, 1023 & 1038 and Int 2, 5, 10, 12, 19 & 127]
This Standard makes consequential amendments to other Australian Accounting Standards and Interpretations as a result of issuing AASB 9 in December 2010. ScreenWest Inc has not yet determined the application or the potential impact of the Standard.
AASB 2012-6 amended the mandatory application date of this Standard to 1 January 2015. ScreenWest Inc has not yet determined the application or the potential impact of the Standard.
SCREENWEST ANNUAL REPORT | 2012/2013 57 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
AASB 2011-2 Amendments to Australian Accounting Standards arising from the Trans-Tasman 1 Jul 2013 Convergence Project – Reduced Disclosure Requirements [AASB 101 & AASB 1054]
This Standard removes disclosure requirements from other Standards and incorporates them in a single Standard to achieve convergence between Australian and New Zealand Accounting Standards for reduced disclosure reporting. There is no financial impact.
AASB 2011-7 Amendments to Australian Accounting Standards arising from the Consolidation and 1 Jan 2013 Joint Arrangements Standards [AASB 1, 2, 3, 5, 7, 101, 107, 112, 118, 121, 124, 132, 133, 136, 138, 139, 1023 & 1038 and Int 5, 9, 16 & 17]
This Standard gives effect to many consequential changes arising from the issuance of AASB 10, AASB 11, AASB 127 Separate Financial Statements and AASB 128 Investments in Associates and Joint Ventures. For not-for-profit entities it applies to annual reporting period beginning on or after 1 January 2014. ScreenWest Inc has not yet determined the application or the potential impact of the Standard.
AASB 2011-8 Amendments to Australian Accounting Standards arising from AASB 13 [AASB 1, 2, 3, 1 Jan 2013 4, 5, 9, 7, 101, 102, 108, 110, 116, 117, 118, 119, 120, 121, 128, 131, 132, 133, 134, 136, 138, 139, 140, 141, 1004, 1023 & 1038 and Int 2, 4, 12, 13, 14, 17, 19, 131 & 132]
This Standard replaces the existing definition and fair value guidance in other Australian Accounting Standards and Interpretations as the result of issuing AASB 13 in September 2011. There is no financial impact.
58 SCREENWEST ANNUAL REPORT | 2012/2013 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
AASB 2011-10 Amendments to Australian Accounting Standards arising from AASB 119 (September 1 Jan 2013 2011) [AASB 1, 8, 101, 124, 134, 1049 & 2011-8 and Int 14]
This Standard makes amendments to other Australian Accounting Standards and Interpretations as a result of issuing AASB 119 Employee Benefits in September 2011. There is no financial impact.
AASB 2011-11 Amendments to AASB 119 (September 2011) arising from Reduced Disclosure 1 Jul 2013 Requirements.
This Standard gives effect to Australian Accounting Standards – Reduced Disclosure Requirements for AASB 119 (September 2011). There is no financial impact.
AASB 2012-1 Amendments to Australian Accounting Standards - Fair Value Measurement - Reduced 1 Jul 2013 Disclosure Requirements [AASB 3, 7 , 13, 140 & 141]
This Standard establishes and amends reduced disclosure requirements for additional and amended disclosures arising from AASB 13 and the consequential amendments implemented through AASB 2011-8. There is no financial impact.
SCREENWEST ANNUAL REPORT | 2012/2013 59 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
Note 5. Employee benefits expense 2013 2012 $000 $000 Wages and salaries (a) 1,852 1,600 Superannuation - defined contribution plans (b) 161 139 Other related expenses 31 42 2,044 1,781
(a) Includes the value of the fringe benefit to the employee plus the fringe benefits tax component, leave entitlements including superannuation contribution component.
(b) Defined contribution plans includes West State, Gold State and GESB Super Scheme (contributions paid by DCA).
Employment on-costs such as workers compensation insurance are included at note 10 ‘Other Expenses’.
Note 6. Supplies and services 2013 2012 $000 $000 Communications 15 13 Consultants 94 25 Board fees 44 24 Travel 63 66
60 SCREENWEST ANNUAL REPORT | 2012/2013 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
Printing and advertising 15 21
Lease - equipment and vehicles 21 29 Entertainment 30 32 Legal fees 171 85 Consumables 21 25 Insurance 5 4 Membership subscriptions 3 10 Other 47 61 529 395
Note 7. Depreciation expense 2013 2012 $000 $000 Depreciation Furniture and equipment 2 2 Total depreciation 2 2
Note 8. Accommodation expenses 2013 2012 $000 $000 Rent 151 101 Other 22 21 173 122
SCREENWEST ANNUAL REPORT | 2012/2013 61 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
Note 9. Grants and loans expense 2013 2012 $000 $000 Project Assistance 8,049 8,441 Production Company Support 3,120 273 Practitioner Development 416 363 Industry & Screen Culture 528 543 12,113 9,620
Note 10. Other expenses 2013 2012 $000 $000 Panels and assessment costs 69 88 Sponsorship 36 169 Employment on-costs 0 0 Refund of previous years’ revenue 0 0 Audit fees 22 21 Other 0 0 127 278
Note 11. Returns on funding activities 2013 2012 $000 $000 Funding program 501 357 501 357
62 SCREENWEST ANNUAL REPORT | 2012/2013 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
Note 12. Interest revenue 2013 2012 $000 $000 Commonwealth Bank (CBA) operating account 10 12 Bankwest term deposits 510 561 520 573
Note 13. Lapsed commitments 2013 2012 $000 $000 Project Assistance 1,549 1,614 Production Company Support 15 9 Practitioner Development 6 2 Industry & Screen Culture 0 1 1,570 1,626
Note 14. Other revenue 2013 2012 $000 $000 Management fees 63 51 Other 89 113 152 164
SCREENWEST ANNUAL REPORT | 2012/2013 63 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
Note 15. Income from State Government 2013 2012 $000 $000 Grants received during the year: Service grant (a) 2,002 2,002 State grant and subsidies (b) 1,250 320 Lotterywest grant 7,023 5,500 10,275 7,822
Resources received free of charge (c) Determined on the basis of the following actuals provided by Department of Culture and the Arts: (i) Payroll expenditure 1,280 1,158 (ii) Minor equipment 0 15 1,280 1,173
11,555 8,995
(a) Service grants fund the net cost of services delivered. Grant revenue comprises a cash component and a receivable (asset). The receivable (holding account held by the Department of Culture and the Arts) comprises the depreciation expense for the year and any agreed increase in leave liability during the year. The grant is provided by the Department of Culture and the Arts.
(b) State grant and subsidies relates to the funding ScreenWest secured for the ABC Matched Primetime Television Fund. The grant was provided by the Department of Culture and the Arts.
(c) Assets or services received free of charge or for nominal cost are recognised as revenue at fair value of the assets and/or services that can be reliably measured and which would have been purchased if they were not donated. Contribution of assets or services in the nature of contributions by owners are recognised direct to equity.
64 SCREENWEST ANNUAL REPORT | 2012/2013 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
Note 16. Receivables 2013 2012 $000 $000 Current Receivables 39 89 Interest 27 100 GST receivable 41 0 107 189
Note 17. Other current assets 2013 2012 $000 $000 Current Prepayments 9 4
Total current 9 4
Note 18. Amounts receivable for services (Holding Account) 2013 2012 $000 $000 Non-current 34 32 34 32
Represents the non-cash component of service grants. It is restricted in that it can only be used for asset replacement or payment of leave liability.
SCREENWEST ANNUAL REPORT | 2012/2013 65 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
Note 19. Furniture and equipment 2013 2012 $000 $000 Furniture and equipment At cost 12 11 Accumulated depreciation (11) (8) 1 3
Reconciliations of the carrying amounts of furniture and equipment at the beginning and end of the reporting period are set out below.
2013 2012 $000 $000
Furniture and Furniture and Equipment Equipment Reconciliations: Carrying amount at start of year 3 5 Additions 0 0 Depreciation (2) (2) Carrying amount at end of year 1 3
Note 20. Impairment of assets
The were no indications of impairment of furniture and equipment at 30 June 2013.
66 SCREENWEST ANNUAL REPORT | 2012/2013 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
Note 21. Payables 2013 2012 $000 $000 Current Trade payables 35 22 Accrued expenses 99 109 GST payable 0 25 134 156
Note 22. Loans and grants payable 2013 2012 $000 $000 Current Project Assistance 7,049 7,566 Production Company Support 2,594 195 Practitioner Development 106 42 Industry & Screen Culture 57 22 Total current 9,805 7,825
Non-current Project Assistance 795 1,132 Production Company Support 209 0 Industry & Screen Culture 0 0 Total non-current 1,004 1,132
SCREENWEST ANNUAL REPORT | 2012/2013 67 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
Note 23. Equity
The Government holds the equity interest in ScreenWest Inc on behalf of the community. Equity represents the residual interest in the net assets of ScreenWest Inc.
Contributed equity 2013 2012 $000 $000
Balance at start of period 150 150
Contributions by owners Capital grant 0 0 Total contributions by owners 0 0
Balance at end of period 150 150
Accumulated surplus 2013 2012 $000 $000 Balance at start of period 1,102 1,585 Result for the period (690) (483)
Balance at end of period 412 1,102
Total Equity at end of period 562 1,252
68 SCREENWEST ANNUAL REPORT | 2012/2013 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
Note 24. Notes to the Statement of Cash Flows
Reconciliation of cash Cash at the end of the financial year as shown in the Statement of Cash Flows is reconciled to the related items in the Statement of Financial Position as follows:
2013 2012 $000 $000 Commonwealth Bank operating account 168 91 Bankwest term deposits 11,187 10,046 11,355 10,137
Reconciliation of net cost of services to net cash flows used in operating activities 2013 2012 $000 $000 Net cost of services (12,245) (9,478) Non-cash items: Depreciation expense (note 7) 2 2 Resources received free of charge (note 15) 1,280 1,173
(Increase)/decrease in assets: Current receivables (a) 123 7 Other current assets (5) (2) Increase/(decrease) in liabilities: Current payables (a) 3 44 Loans and grants payable 1,853 564
Net GST receipts / (payments) (b) (66) 31 Change in GST in receivables / payables (c) 0 0 Net cash (used in) operating activities (9,055) (7,659)
SCREENWEST ANNUAL REPORT | 2012/2013 69 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
(a) Note that the Australian Taxation Office (ATO) receivable/payable in respect of GST and the receivable/payable in respect of the sale/purchase of non-current assets are not included in these items as they do not form part of the reconciling items. (b) This is the net GST paid/received, ie. cash transactions. (c) This reverses out the GST in receivables and payables.
At the end of the reporting period, ScreenWest Inc had fully drawn down on all financial facilities, details of which are disclosed in the financial statements.
70 SCREENWEST ANNUAL REPORT | 2012/2013 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
Note 25. Commitments
The commitments below are inclusive of GST where relevant.
Non-cancellable operating leases 2013 2012 $000 $000 Commitments in relation to leases contracted for at the end of the reporting period but not recognised in the financial statements are payable as follows:
Within 1 year 6 0
Later than 1 year and not later than 5 years 12 0 18 0 Representing:
Non-cancellable operating leases 18 0 18 0
The motor vehicle lease is non-cancellable with payments made monthly in advance.
SCREENWEST ANNUAL REPORT | 2012/2013 71 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
Grant commitments 2013 2012 $000 $000 Grant commitments contracted for at the end of the reporting period but not recognised as liabilities, are payable as follows:
Within 1 year 409 804
Later than 1 year and not later than 5 years 110 0 519 804
72 SCREENWEST ANNUAL REPORT | 2012/2013 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
Note 26. Events occurring after the end of the reporting period
There were no subsequent events brought to account.
SCREENWEST ANNUAL REPORT | 2012/2013 73 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
Note 27. Explanatory statement Significant variations between estimates and actual results for 2013 and between actual results for 2012 and 2013 are shown below. Significant variations are considered to be those greater than 10% or $100,000. Significant variances between estimated and actual result for 2013 2013 2013 Estimate Actual Variation $000 $000 $000 Employee benefits expense 2,375 2,044 (331) Grants and loans expense 11,358 12,113 755 Returns on funding activities 365 501 136 Interest revenue 450 520 70 Lapsed commitments 1,162 1,570 408
Employee benefits expense The reduction in employee benefit expenditure was mainly attributable to Government FTE caps introduced in September 2012.
Grants and loans expense During the year ScreenWest successfully secured additional funding. This funding was directed back into the funding program and committed. Monies from lapsed commitments were also directed back into the funding program and committed.
Returns on funding activities ScreenWest is a minority investor in most productions and prioritises returns to producers to strengthen Western Australian production companies. Returns were higher than initially estimated due to the commercial success of the content produced by Western Australian production companies in the marketplace.
Interest revenue Interest revenue is forecast conservatively. The increased interest revenue is also reflective of the difficult financial environment the screen industry is operating in, with productions taking longer than previously to fully finance and commence production.
Lapsed commitments The variance is a result of large grant commitments lapsing during the year. As ScreenWest is a minority investor production investment decisions made by ScreenWest rely on funding commitments from third parties which are difficult to coordinate and from time to time projects lapse before full finance is achieved. These funds are then committed back into grants and loan expense.
74 SCREENWEST ANNUAL REPORT | 2012/2013 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
Significant variances between actual results for 2012 and 2013 2013 2012 Variance $000 $000 $ 000 Income Returns on funding activities 501 357 144 State grant and subsidies 1,250 320 930 Lotterywest grant 7,023 5,500 1,523 Expenses Employee benefits expense 2,044 1,781 263 Supplies and services 529 395 134 Accommodation expense 173 122 51 Grants and loans expense 12,113 9,620 2,493 Other expenses 127 278 (151)
Returns on funding activities Returns were higher than due to the commercial success of the content produced by Western Australian production companies in the marketplace.
State grant and subsidies Variance can be attributed to the funding ScreenWest secured for the ABC Matched Primetime Television Fund.
Lotterywest grant The variance represents an increase in Lotterywest funding which contributed to the increase in the grants and loans expense.
Employee benefits expense The variance can be attributed to the WA Public Sector wage increase and level increment increases.
SCREENWEST ANNUAL REPORT | 2012/2013 75 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
Supplies and services Variance can be attributed to increased legal expenditure proportionate to an increased level of contracting and the Screen Industry Infrastructure Needs Assessment project.
Accommodation expense Variance can be attributed to overall increases in accommodation costs associated with the move to the new building.
Grants and loans expense This increase is proportionate to the increase in Lotterywest grant funding and the amount of lapsed commitments during the year, all of these funds are committed back into
Other expenses The variance can be attributed to the change in timing of an industry conference, it is now being held in a future financial year.
Note 28. Financial instruments
(a) Financial risk management objectives and policies Financial Instruments held by ScreenWest Inc are cash and cash equivalents, receivables, payables and loans and grants payable. ScreenWest Inc has limited exposure to financial risks. ScreenWest Inc’s overall risk management program focuses on managing the risks identified below.
Credit risk Credit risk arises when there is the possibility of ScreenWest Inc’s receivables defaulting on their contractual obligations resulting in financial loss to ScreenWest Inc.
The maximum exposure to credit risk at end of the reporting period in relation to each class of recognised financial assets is the gross carrying amount of those assets inclusive of any provisions for impairment as shown in the table at Note 28(c) ‘Financial Instruments Disclosures’ and Note 16 ‘Receivables’.
76 SCREENWEST ANNUAL REPORT | 2012/2013 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
Credit risk associated with ScreenWest Inc’s financial assets is minimal. For receivables other than Government ScreenWest Inc trades only with recognised, creditworthy third parties. ScreenWest Inc has policies in place to ensure that sales of products and services are made to customers with an appropriate credit history. In addition, receivable balances are monitored on an ongoing basis with the result that ScreenWest Inc’s exposure to bad debts is minimal. At the end of the reporting period there were no significant concentrations of credit risk.
Liquidity risk Liquidity risk arises when ScreenWest Inc is unable to meet its financial obligations as they fall due.
ScreenWest Inc is exposed to liquidity risk through its trading in the normal course of business.
ScreenWest Inc has appropriate procedures to manage cash flows including drawdowns of grants by monitoring forecast cash flows to ensure that sufficient funds are available to meet its commitments.
Market risk Market risk is the risk that changes in market prices such as foreign exchange rates and interest rates will affect ScreenWest Inc income or value of its holdings of financial instruments. ScreenWest Inc does not trade in foreign currency and is not materially exposed to other price risks. ScreenWest Inc does not have any exposure to market risk for changes in interest rates.
(b) Categories of financial instruments
In addition to cash and bank overdraft, the carrying amounts of each of the following categories of financial assets and financial liabilities at the end of the reporting period are: 2013 2012 $000 $000 Financial Assets Cash and cash equivalents 11,355 10,137 Loans and receivables (a) 100 221
Financial Liabilities Financial liabilities measured at amortised cost 10,843 9,088
(a) The amount of loans and receivables excludes GST recoverable from the ATO (statutory receivable).
SCREENWEST ANNUAL REPORT | 2012/2013 77 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
(c) Financial Instrument Disclosures Credit Risk
The following table discloses ScreenWest Inc’s maximum exposure to credit risk and the ageing analysis of financial assets. ScreenWest Inc’s maximum exposure to credit risk at the end of the reporting period is the carrying amount of the financial assets as shown below. The table discloses the ageing of financial assets that are past due but not impaired and impaired financial assets. The table is based on information provided to senior management of the ScreenWest Inc.
ScreenWest Inc does not hold any collateral as security or other credit enhancements relating to the financial assets it holds.
Ageing analysis of financial assets
Past due but not impaired Carrying Not past due and Up to 1 3 months to Amount not impaired month 1-3 months 1 year 1-5 Years More than 5 years Impaired financial assets
$000 $000 $000 $000 $000 $000 $000 $000 2013 Cash and cash equivalents 11,355 11,355
Loans and receivables (a) 66 66 1
Amounts receivable for services 34 34
11,455 11,455 0 0 1 0 0 0
2012 Cash and cash equivalents 10,137 10,137
Loans and receivables (a) 189 189 27 55
Amounts receivable for services 32 32
10,358 10,358 27 55 0 0 0 0
(a) The amount of receivables excludes GST recoverable from the ATO (statutory receivable).
78 SCREENWEST ANNUAL REPORT | 2012/2013 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
Liquidity Risk and interest rate exposure The following table details ScreenWest Inc’s interest rate exposure and contractual maturity analysis of financial assets and financial liabilities. The maturity analysis section includes interest and principal cash flows. The interest rate exposure section analyses only the carrying amounts of each item.
Interest rate exposures and maturity analysis of financial assets and financial liabilities (a)
Interest rate exposure Maturity dates Weighted Average Fixed Variable Non interest Nominal Up to 1-3 3 months 1-5 More than Effective Interest Rate Carrying Amount interest rate interest rate bearing amount 1 month months to 1 year years 5 years
% $000 $000 $000 $000 $ 000 $000 $000 $000 $000 $000 2013
Financial Assets Cash and cash equivalents 3.55% 11,355 11,187 168 11,355 3,316 8,039 Loans and receivables (a) - 107 107 107 73 Amounts receivable for services - 34 34 34 34 11,496 11,187 168 141 11,496 3,389 8,039 0 0 34 Financial Liabilities Payables - 35 35 35 35 Grants and loans payable - 10,810 10,810 10,810 639 2,831 6,336 1,004 10,845 0 0 10,845 10,845 674 2,831 6,336 1,004 0 2012 Financial Assets Cash and cash equivalents 5.06% 10,137 10,046 91 10,137 2,484 5,259 2,394 Loans and receivables (a) - 189 189 189 0 Amounts receivable for services - 32 32 32 32 10,358 10,046 91 221 10,358 2,484 5,259 2,394 0 32
Financial Liabilities Payables - 131 131 131 131 Grants and loans payable - 8,957 8,957 8,957 2,067 2,241 3,517 1,132
9,088 0 0 9,088 9,088 2,067 2,241 3,517 1,132 0
(a) The amounts of receivables excludes GST recoverable from the ATO (statutory receivable).
SCREENWEST ANNUAL REPORT | 2012/2013 79 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
Interest rate sensitivity analysis The following table represents a summary of the interest rate sensitivity of ScreenWest Inc’s financial assets and liabilities at the end of the reporting period on the surplus for the period and equity for a 1% change in interest rates. It is assumed that the interest rates are held constant throughout the reporting period.
-100 basis points +100 basis points Carrying amount Surplus Equity Surplus Equity 2013 $ 000 $ 000 $ 000 $ 000 $ 000
Financial Assets Cash and cash equivalents 168 (2) (2) 2 2 (2) (2) 2 2
-100 basis points +100 basis points
Carrying amount Surplus Equity Surplus Equity 2012 $ 000 $ 000 $ 000 $ 000 $ 000
Financial Assets Cash and cash equivalents 91 (1) (1) 1 1 (1) (1) 1 1
Fair Values All financial assets and liabilities recognised in the Statement of Financial Position, whether they are carried at cost or fair value, are recognised at amounts that represent a reasonable approximation of fair value unless otherwise stated in the applicable notes.
80 SCREENWEST ANNUAL REPORT | 2012/2013 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
Note 29. Remuneration of members of ScreenWest Inc and senior officers
Remuneration of members of ScreenWest Inc
The number of board members of ScreenWest Inc whose total of fees, salaries, superannuation, non-monetary benefits and other benefits for the financial year, fall within the following bands are:
$ 2013 2012
0 - 10,000 9 8
$000 $000 Base remuneration and superannuation Annual leave and long service leave accruals Other benefits The total remuneration of all members of ScreenWest Inc 44 24
The total remuneration includes the superannuation expense incurred by ScreenWest Inc in respect of board members of ScreenWest Inc. Remuneration of senior officers The number of senior officers, other than senior officers reported as members of ScreenWest Inc, whose total of fees, salaries, superannuation, non-monetary benefits and other benefits for the financial year, fall within the following bands are:
$ 2013 2012 110,001 - 120,000 0 1 140,001 - 150,000 0 1 150,001 - 160,000 1 0 180,001 - 190,000 1 1 190,001 - 200,000 1 0
SCREENWEST ANNUAL REPORT | 2012/2013 81 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
$000 $000 Base remuneration and superannuation 493 446 Annual leave and long service leave accruals 31 (6) Other benefits 0 -
The total remuneration of senior officers 524 440
The total remuneration includes the superannuation expense incurred by ScreenWest Inc in respect of senior officers other than senior officers reported as board members of ScreenWest Inc
Note 30. Remuneration of auditor
Remuneration paid or payable to the Auditor General in respect to the audit for the current financial year is as follows:
2013 2012 $000 $000 Auditing the accounts, financial statements and key performance indicators 25 24
Note 31. Related bodies
At the reporting date, ScreenWest Inc had no related bodies as defined by TI 951 Related and Affiliated Bodies.
Note 32. Affiliated bodies
Australian Writers Guild (WA) is a government affiliated body that received administrative support and a grant of $127,014 ($114,853: 2012) from ScreenWest Inc. Australian Writer’s Guild (WA) is not subject to operational control by ScreenWest Inc.
82 SCREENWEST ANNUAL REPORT | 2012/2013 NOTES TO THE FINANCIAL STATEMENTS for the year ended 30 June 2013
Note 33. Supplementary financial information
(a) Write-offs There was no public property written off during the financial year.
(b) Losses through theft, defaults and dther causes There were no losses of public moneys and public and other property through theft or default during the financial year.
(c) Gift of public property There were no gifts of public property provided by ScreenWest Inc.
Note 34. Schedule of income and expenses by service
ScreenWest Inc operates under one service called Screen Production Industry Support.
SCREENWEST ANNUAL REPORT | 2012/2013 83
Additional Key Performance Indicator Information
4.2.1 Certified Performance Indicators 2012/13
The Independent Auditor’s Opinion is located under Section 4.1.
ScreenWest Inc
Certification of Performance Indicators
For the year ended 30 June 2013
We hereby certify that the performance indicators are based on proper records, are relevant and appropriate for assisting users to assess ScreenWest Inc’s performance, and fairly represent the performance of ScreenWest Inc for the financial year ending 30 June 2013.
Peter Rowe Chairman of Accountable Authority Member of Accountable Authority
84 SCREENWEST ANNUAL REPORT | 2012/2013
Key Efficiency and Effectiveness Indicators
KEY EFFICIENCY INDICATOR
Government Goal ScreenWest Inc contributes to the achievement of the Government Goal: Greater focus on achieving results in key service delivery areas for the benefit of all Western Australians.
And the Government Desired Outcome: A creative, sustainable and accessible culture and arts sector.
Key efficiency and effectiveness indicators have been developed in accordance with Treasurer’s Instruction 904 to evaluate ScreenWest Inc’s performance in achieving the Government Desired Outcome.
2011/12 2012/13 2012/13 2013/14 Actual Target Actual Target
Average cost per grant application1 processed 2,739 2,989 3,304 4,876
The cost per grant application processed calculation excludes the Department of Culture and the Arts overheads.
1Number of grant applications figure reflects the number of applications received for grants administered through ScreenWest’s Funding Program, scripts read by ScreenWest staff for the provision of script advice, applications for participation in industry workshops that are received and assessed by ScreenWest staff, applications that are evaluated by ScreenWest for programs managed by industry partners and the assessment and follow up of project enquiries and applications for locations’ services funding.
SCREENWEST ANNUAL REPORT | 2012/2013 85 KEY EFFECTIVENESS INDICATORS The ‘Sustainability’ and ‘Accessibility’ indicators are measured by the Arts Monitor community survey instrument applied by Patterson Market Research. This is an annual community survey conducted using telephone interviewing techniques.
2010/11 2011/12 2012/13 2012/13 2013/14 Actual Actual Target Actual Target Notes Creativity (a) The 2012/13 Actual is based Proportion of funding applicants satisfied with the key elements of 99.6% 99.7% 99% 99.6% 99.6% on having received three the ScreenWest funding programs. complaints in 2012/13. (b) Sustainability 78% 84% 79% 76% 80% Perceived value of the screen industry to the WA community. Accessibility (c) Proportion of Western Australians that perceived the screen in- 58% 58% 59% 58% 60% dustry to be accessible.
(a) Creativity Approximately $10.27 million per annum was allocated to ScreenWest to fund its programs to produce ‘creative’ outcomes. Peer panels assess funding applications to ensure the proposed projects demonstrate significant and achievable ‘creative’ outcomes for the people of Western Australia. Comprehensive processes are in place to monitor and acquit the State’s investment in (creative) outcomes delivered via the funding programs. This Indicator measures the satisfaction of funding applicants with the funding process and provides an assessment of the film industry sector’s satisfaction with the creative outcomes being achieved through ScreenWest’s ‘creative’ funding programs. (b) Sustainability The ‘Sustainability’ KPI provides an assessment of the extent to which the community values the screen industry sector, a key element in the sustainability of the wider culture and arts sector. In relation to the Western Australian screen industry, the Arts Monitor 2013 survey indicated that 63% of the 76% who responded believe the industry is of ‘high value’, a decrease on the previous year (77%). The 2013 result (63%) is similar to results found in the years 2008-2011. (c) Accessibility The ‘Accessibility’ KPI provides an assessment of the extent to which the Western Australian community perceives film screening events and/or productions to be accessible. The Arts Monitor 2013 survey indicated that males were slightly more than females to report it being ‘easy’ to get access to Western Australian film and television productions (31% compared to 24%). No significant differences were found between respondents in the regional areas of Western Australia.
86 SCREENWEST ANNUAL REPORT | 2012/2013 ADDITIONAL INDICATORS
Key Effecve Indicators Value of Producon ($M) Value of ScreenWest Investment ($M) Hours of Producon
70 80
67.5 60 70
60 50
50 n 40 40
$ Millions 30 30 Hours of Produco 20 59.88 20 23.75 52.58 28.42 10 10 7.35 5.17 3.75 0 4.34 0 2009/102010/11 2011/122012/13 Financial Year
SCREENWEST ANNUAL REPORT | 2012/2013 87 DATA SOURCE
INDICATOR 2009/10 2010/11 2011/12 2012/13 Value of Production ($M) 52.58 28.42 23.75 59.88 Value of ScreenWest Investment ($M) 5.17 3.75 4.34 7.35 Ratio of ScreenWest Investment to the Total Value of Production ($) 1:10.18 1:7.57 1:5.47 1:8.14
INDICATOR 2009/10 2010/11 2011/12 2012/13 Hours of Production 67.5 39.41 47.23 70.52 Average Value of Production per Hour of Production $779,092 $721,058 $502,956 $849,079
Data is correct as at 30 June 2013. ‘Value of Production’ refers to the total contracted cost of feature films, television drama, documentaries and short films produced in Western Australia that have received ScreenWest funding and have commenced principal photography within the given financial year. ‘Value of ScreenWest Investment’ refers to the amount of funding provided by State Treasury and Lotterywest that is invested by ScreenWest for projects listed as entering principal photography in the 2012/13 financial year. ‘Ratio of ScreenWest Investment to the Total Value of Production’ compares the value of production to the value of ScreenWest investment. Calculations are based on actual figures and not the rounded data reported in the table. ‘Hours of Production’ refers to the total number of hours produced in Western Australia on feature films, television drama, documentaries and short films3 that have received ScreenWest production funding. It does not include Indigenous Community Stories recordings as these are up to eight hours each of unedited archival footage, or Digital Production Funding as each project is varied in its cross platform elements and would therefore not represent an accurate level of production hours. Year to year variances in the production statistics are affected by assigning a production to a given year on the basis of its production start date, rather than the year in which it was financed or the year in which a majority of production activity took place. As there is often a substantial time lapse between a ScreenWest commitment and the start of a production, a more useful picture can be obtained by considering two or three years together. It is not safe to draw any conclusion about trends from movements in the data in a single year. ‘Average Value of Production per Hour of Production’ divides the total value of production by the total number of hours of production per annum. Calculations are based on actual figures and not the rounded data reported in the table.
88 SCREENWEST ANNUAL REPORT | 2012/2013 4.3 Ministerial Directives
ScreenWest received no Ministerial directives in 2012/13 with the exception of the Minister’s decisions in relation to the approval of funding recommendations.
4.4 Other Financial Disclosures
4.4.1 PRICING POLICIES OF SERVICES PROVIDED
Not applicable to ScreenWest.
4.4.2 CAPITAL WORKS
No capital projects were completed during 2012/13.
SCREENWEST ANNUAL REPORT | 2012/2013 89 4.4.3 EMPLOYMENT AND INDUSTRIAL RELATIONS
ScreenWest’s staff are employed through the employing authority of the Department of Culture and the Arts (DCA). Employment conditions are governed by the Public Sector Management Act 1994 (WA), the Public Service Award 1992 (WA), and the Public Service and Government Officers General Agreement 2011 ( W A ) .
The following table summarises ScreenWest’s headcount as at 30 June 2013.
Figures include staff on paid leave and on fixed term contracts.
Employment Type Women Men Total Permanent Full-time 8 1 9 Permanent Part-time 2 0 2 Fixed Term Full-time 7 4 11 Fixed Term Part-time 1 0 1 Casual paid in previous 12 months 0 0 0 Other paid in previous 12 months 0 0 0 Total 18 5 23
90 SCREENWEST ANNUAL REPORT | 2012/2013 Managing Our People
The DCA human resources directorate provides services across the culture and arts portfolio to support workplace issues and needs, including the development and implementation of human resource policy, planning and development initiatives, industrial relations support and the offering of staff training. Significant activities undertaken by the DCA throughout the year included: The delivery of online Accountability and Ethical Decision Making training. This training is a compliance requirement included in the WA Public Sector Commissioner’s Instructions. The training commenced in the second half of 2012/13. All ScreenWest staff successfully completed the training with a minimum pass mark of 80%, by 30 June 2013. A Manager Induction programme for all Managers across the culture and arts portfolio. The program objectives were to: • Develop an understanding of the legislative and policy framework within Culture and Arts and the WA Public Sector, • Understand the Manager’s role and the responsibilities related to operational performance, financial and non-financial reporting and compliance, • Create awareness of the internal processes relevant to the execution of Manager’s responsibilities.
New ScreenWest staff members attend the DCA’s comprehensive Portfolio Induction Program. The Portfolio Induction Program has been developed to assist new employees settle into their environment and understand their public sector responsibilities.
4.5 Governance Disclosures
4.5.1 INTERESTS OF SENIOR OFFICERS
At the date of reporting, other than normal contracts of employment of service, no senior officers, or firms of which senior officers are members, or entities in which senior officers have substantial interests, had any interests in existing or proposed contracts with ScreenWest and senior officers.
SCREENWEST ANNUAL REPORT | 2012/2013 91 4.6 Other Legal Requirements
4.6.1 EXPENDITURE ON ADVERTISING, MARKET RESEARCH, POLLING AND DIRECT MAIL
In accordance with Section 175ZE of the Electoral Act 1907, ScreenWest incurred the following expenditure in advertising, market research, polling, direct mail and media advertising: • Total expenditure for 2012/13 was $7,147.24.
Expenditure was incurred in the following areas:
Expenditure Area Total Amount ($) Supplier Sub Total ($) Advertising agencies 0.00 - 0.00 Market research organisations 7,147.24 - 7,147.24 Polling organisations 0.00 - 0.00 Direct mail organisations 0.00 - 0.00 Media advertising organisations Job vacancies Adcorp Australia Ltd 197.90 Grapevine Jobs Ltd 100.00
Advertising Adcorp Australia Ltd 6,262.69 Reed Business 457.50 Sensis Melbourne 90.42 The Location Guide 38.73
92 SCREENWEST ANNUAL REPORT | 2012/2013 4.6.2 DISABILITY ACCESS AND INCLUSION PLAN OUTCOMES
ScreenWest recognises the universal value of culture and the arts to the wider community. Culture and arts are fundamental to human existence, especially to our history, identity, creativity and desire for play and enjoyment. Participation in arts and cultural experience, as a right for all people, has the potential to improve all areas of human endeavour.
The Culture and Arts Portfolio has adopted a Disability Access and Inclusion Plan 2013–2017 (DAIP) to ensure that the Portfolio’s services, information and facilities are accessible for people with disability. The 2013–2017 DAIP builds on work done under the Portfolio’s 2007–2012 DAIP and is in response to the Government requirement to review DAIPs every five years.
Strategies to Improve Access and Inclusion 2013 – 2017 are as follows:
Outcome 1
People with disabilities have the same opportunities as other people to access the services of, and any events organised by, the Portfolio.
1.1 Build awareness, capacity and sustainability within the Portfolio’s funded arts and cultural organisations to enhance access for people with disability. 1.2 Encourage the Portfolio’s funded arts and cultural organisations to develop strategies to improve access for people with disability to mainstream programs and services. 1.3 Improve access for people with disability to arts funding programs, processes and timelines. 1.4 Ensure Portfolio funded events are accessible. 1.5 Ensure individuals and organisations contracted by the Portfolio to provide services comply with DAIP requirements.
SCREENWEST ANNUAL REPORT | 2012/2013 93 Outcome 2 People with disabilities have the same opportunities as other people to access the buildings and other facilities of the Portfolio.
2.1 Ensure the Portfolio’s buildings and facilities meet access standards. 2.2 Ensure access is monitored and maintained to ensure our buildings and facilities continue to meet the needs of people with disability and their families and carers. 2.3 Ensure community consultation on access standards is a requirement in the design, planning, and construction of any buildings and facilities.
Outcome 3
People with disabilities receive information from the Portfolio in a format that will enable them to access the information, as readily as other people are able to access it.
3.1 Ensure information provided for people with disability complies with State Government Access Guidelines for Information, Services and Facilities. 3.2 Make available upon request alternative format versions of public documents. 3.3 Make available plain English versions of key public documents relevant to people with disability. 3.4 Ensure staff are aware of accessible information needs and how to obtain information in other formats.
Outcome 4
People with disabilities receive the same level and quality of service from the staff of the Portfolio as other people receive from the staff of the Portfolio.
4.1 Ensure staff have the knowledge and skills to provide an equal level and quality of service to people with disability and their families and carers.
94 SCREENWEST ANNUAL REPORT | 2012/2013 Outcome 5
People with disabilities have the same opportunities as other people to make complaints to the Portfolio.
5.1 Review the complaints process to ensure it meets the needs of people with disability. 5.2 Ensure people with disability are aware of the complaints process. 5.3 Ensure staff handling complaints have sufficient knowledge and understanding of people with disability to adequately respond to complaints.
Outcome 6
People with disabilities have the same opportunities as other people to participate in any public consultation by the Portfolio.
6.1 Ensure public consultation processes are inclusive. 6.2 Increase opportunities for people with disability, their family, and carers to be involved in public consultation.
Outcome 7
People with disabilities have the same opportunities as other people to seek employment with the Portfolio.
7.1 Ensure recruitment policies and practices are inclusive. 7.2 Develop strategies to improve attraction, recruitment and retention of employees with disability. 7.3 Ensure Portfolio staff with disability are supported to undertake their employment responsibilities.
SCREENWEST ANNUAL REPORT | 2012/2013 95 4.6.3 COMPLIANCE WITH PUBLIC SECTOR STANDARDS AND ETHICAL CODES
Compliance with the Public Sector Standards and Ethical Codes are assessed regularly by the DCA’s human resources directorate. The Public Sector Commission investigates and determines the outcome of breach claims, should they occur.
In accordance with Section 31 of the Public Sector Management Act 1994, the following is a report of the extent to which the ScreenWest has complied with Public Sector Standards, the Western Australian Public Sector Code of Ethics and the Culture and the Arts Portfolio Code of Conduct.
COMPLIANCE ISSUE SIGNIFICANT ACTION TAKEN TO MONITOR AND ENSURE COMPLIANCE
Code of Conduct Staff are required to acknowledge receipt of their own copies of the Culture and the Arts Portfolio Code Nil breaches of Conduct at the time they sign their initial employment contract. Accountable and Ethical Decision Making training was undertaken by all ScreenWest staff in 2012/13.
Public Sector Standards Information about Public Sector Standards is included on the DCA intranet and incorporated into the Nil breaches DCA’s Portfolio Induction Program. The DCA continually reviews its human resources policies and guidelines to ensure ongoing compliance with the Public Sector Standards.
Western Australian Training on the Code of Ethics and Code of Conduct continues to be covered in the Culture and the Arts Public Sector Code of Portfolio Induction Program. Ethics Staff are required to acknowledge receipt of their own copies of the Culture and the Arts Portfolio Code Nil breaches of Conduct at the time they sign their initial employment contract. Accountable and Ethical Decision Making training was undertaken by all ScreenWest staff in 2012/13.
96 SCREENWEST ANNUAL REPORT | 2012/2013 4.6.4 RECORDKEEPING PLANS
In accordance with Section 19 of the State Records Act 2000 ScreenWest has a Recordkeeping Plan in place that has been approved by the State Records Commission.
ScreenWest utilises the DCA’s records management policy and system and its electronic information management system, TRIM. During the year the DCA provided ScreenWest staff with training on TRIM; additional training is provided as required.
The DCA’s Portfolio Induction Program provides new employees with information on their record management responsibilities under the State Records Act 2000.
4.7 Government Policy Requirements
4.7.1 SUBSTANTIVE EQUALITY
In the 2011/12 financial year, the DCA established the Substantive Equality Reference Group which continues to provide advice to the portfolio on substantive equality and targeting community based arts and culture needs. In the 2012/13 financial year, the new policy and communication plan for substantive equality progressed satisfactorily, helping guide the portfolio towards a clear regulatory framework to support community based projects.
Equity and Diversity
ScreenWest is committed to equity and diversity by encouraging the employment of Indigenous Australians, young people, people with disabilities, people from culturally diverse backgrounds and women. As of June 2013 the Culture and Arts Portfolio Equal Employment Opportunity (EEO) objectives have been incorporated into the Strategic Workforce Plan 2012 – 2017.
SCREENWEST ANNUAL REPORT | 2012/2013 97 4.7.2 OCCUPATIONAL SAFETY, HEALTH AND INJURY MANAGEMENT
Commitment
ScreenWest recognises that the safety and health of its employees is primarily management’s responsibility. The agency is committed to providing a safe and healthy workplace for all its employees by developing and implementing safe systems of work and by identifying hazards and controlling risks as far as practicable.
The Culture and Arts Occupational Safety and Health (OSH) Framework sets out specified policies, work practices and procedures that have been prepared to address hazards and hazardous work processes. Information is made available through the Department’s intranet.
An audit of both the Culture and the Arts Portfolio agencies (including the DCA) was completed using the WorkSafe Plan as the benchmark, with an implementation plan developed for 2013-2015 to focus on recommendations in the areas of management commitment, planning, consultation, hazard management and training.
Mechanisms for Consultation with Staff
The formal mechanisms for consultation with employees on OSH and injury management matters are primarily via line management. Staff are made aware of this process at their staff induction and by having access to the same information on the intranet.
98 SCREENWEST ANNUAL REPORT | 2012/2013 Compliance with Injury Management Requirements
ScreenWest demonstrates its commitment to assist employees to return to work after a work-related injury or disease through the Culture and Arts Portfolio Injury Management Policy. Information on workers’ compensation and injury management is provided to staff at the Portfolio induction and via the intranet. The Portfolio engages in formal, documented programs for employees requiring modified duties or equipment upon returning to work after an injury. Such programs are compliant with theWorkers’ Compensation and Injury Management Act 1981 (WA).
Workers Compensation
ScreenWest is committed to adhering to the requirements of the Workers’ Compensation and Injury Management Act 1981 (WA) and the Workers’ Compensation Code of Practice (Injury Management) 2005 (WA) in the event of a work-related injury. Specified policies, work practices and procedures are available for staff on the DCA’s intranet.
No workers’ compensation claims arose during 2012/13.
Indicator Target 2011/12 2012/13 Number of fatalities Zero (0) 0 0 Lost time injury/disease (LTI/D) incidence rate Zero (0) or 10% reduction on the previous three years 0 0 Lost time injury severity rate Zero (0) or 10% reduction on the previous three years 0 0 Percentage of injured workers returned to work: Actual percentage result to be reported (i) 0.00% (i) 0.00% within 13 weeks (ii) 0.00% (ii) 0.00% within 26 weeks Greater than or equal to 80% Percentage of managers trained in occupational Greater than or equal to 80% 50% 50% safety, health and injury management responsibilities
SCREENWEST ANNUAL REPORT | 2012/2013 99 APPENDICES
Appendix 1.0 Assessment Meetings and Members 2012/2013
Assessor’s Key * ScreenWest Staff Member ** ScreenWest Board Member
Funding Initiative Assessed Meeting Date Assessors
Documentary Production Investment 25-July-2012 Defrim Isai* Ryan Hodgson* Aidan O’Bryan** Andrew Lewis Kelrick Martin
Tele-Navigator 25-July-2012 Rikki Lea Bestall* Krista Carpenter* Victor Gentile
Audience and Industry Engagement 01-August-2012 Jane Simpson* Rebecca Wheatley* Madeline Bates
Rebecca Coakley
100 SCREENWEST ANNUAL REPORT | 2012/2013 APPENDICES
Documentary Production Investment and Drama Production Investment 12-September-2012 Defrim Isai* Ryan Hodgson* Alan Lindsay** Alan Carter David Lightfoot
Documentary and TV Development 10-September-2012 Rikki Lea Bestall* Krista Carpenter* Dan Brown Carmelo Musca
Feature Film Development - shortlisting 03-October-2012 Krista Carpenter* Victor Gentile
Feature Navigator Consultation Week 11-October-2012 Krista Carpenter* Barbara Connell
Digital Development 22-October-2012 Michelle Glaser* Ross Hutchens Jennifer Wilson
SCREENWEST ANNUAL REPORT | 2012/2013 101 APPENDICES
Feature Film Development 22-October-2012 Krista Carpenter* Adam Isitt Regina Lee
Audience and Industry Engagement 07-November-2012 Rebecca Wheatley* Tamara Small* Daniel High
Documentary Production Investment and Drama Production Investment 21-November-2012 Defrim Isai* Ryan Hodgson* Alan Lindsay** Jacqueline Willinge Nelson Woss
Documentary and TV Development 05-December-2012 Krista Carpenter* Jodie De Barros Adam Bishop*
Documentary Production Investment and Drama Production Investment 16-January-2013 Defrim Isai* Ryan Hodgson* Aidan O’Bryan** Dan Brown Ross Hutchens
102 SCREENWEST ANNUAL REPORT | 2012/2013 APPENDICES
Feature Film Development - shortlisting 11-February-2013 Krista Carpenter* Adam Bishop* Aidan O’Bryan**
Feature Film Development 05-March-2013 Adam Bishop* Aidan O’Bryan** Erin Stam
Industry Enhancement Fund - Stage One 07-March-2013 Ian Booth* Defrim Isai* Peter Rowe** Dax Calder** Janelle Marr** Amanda Higgs**
Digital Innovation Production 22-March-2013 Michelle Glaser* Gareth Lockett Amanda Morrison
Feature Navigator - Project Development 26-March-2013 Adam Bishop* Barbara Connell
SCREENWEST ANNUAL REPORT | 2012/2013 103 APPENDICES
Documentary and TV Development 27-March-2013 Adam Bishop* Victor Gentile John Rapsey
Documentary Production Investment and Drama Production Investment 10-April-2013 Defrim Isai* Ryan Hodgson* Sue Taylor** Tania Chambers Julia Overton
Audience and Industry Engagement 22-April-2013 Kathryn Ogilvie* Rebecca Wheatley* Colin Walker
Indigenous Short Drama Production - shortlisting 02-May-2013 Krista Carpenter* Nadine Redmond* Debra Miller* Aidan O’Bryan **
Indigenous Short Drama Production - Interviews 13-May-2013 Krista Carpenter* Nadine Redmond* Debra Miller* Aidan O’Bryan **
104 SCREENWEST ANNUAL REPORT | 2012/2013 APPENDICES
West Coast Visions - shortlisting 16-May-2013 Krista Carpenter* Adam Bishop* Tait Brady Victor Gentile Marian Macgowan
SuperDoc EOI - shortlisting 23-May-2013 Defrim Isai* Ian Booth* Peter Rowe** Dax Calder** Janelle Marr** Kim Dalton
Industry Enhancement Fund - Stage Two 27-May-2013 Ian Booth* Defrim Isai* Peter Rowe** Dax Calder** Amanda Higgs** Janelle Marr**
Slate Development 28-May-2013 Ian Booth* Krista Carpenter*
SCREENWEST ANNUAL REPORT | 2012/2013 105 APPENDICES
Amanda Higgs** Sue Milliken
Feature Film Development 04-June-2013 Adam Bishop* Zyra McAuliffe Sarah Shaw
Documentary Production Investment and ABC Matched Primetime 05-June-2013 Defrim Isai* Production Ryan Hodgson* Stephen Langsford** Jodie De Barros Carmelo Musca
West Coast Visions - Interviews 06-June-2013 Krista Carpenter* Adam Bishop* Tait Brady Marian Macgowan Lila Rawlings
Documentary and TV Development 24-June-2013 Adam Bishop* Dan Brown Drew Proffitt
106 SCREENWEST ANNUAL REPORT | 2012/2013 APPENDICES
Appendix 2.0 Productions with ScreenWest funding 2012/2013
The following projects entered principal photography in 2012/13.
Please note: For Digital Projects, the principal photography start date is listed as the date that the contract was fully executed, as the definition of “principal photography” differs for each digital project.
Disclaimer: All information was provided to ScreenWest by a representative of the Production Company.
FEATURE FILMS
Son of a Gun The Reckoning 1 x 110 min Feature 1 x 88 min Feature SOAG Productions Filmscope Entertainment Producer: Timothy White, Janelle Landers Producer: Deidre Kitcher Director: Julius Avery Director: John Soto Writer: Julius Avery Writer: John Soto DoP: Nigel Bluck DoP: Jason Thomas (WA) Editor: Veronica Jenet Editor: Regg Swarko (WA), Meredith Jeffrey (WA) Distributor: Hopscotch Films (ANZ) Distributor: Incubate ScreenWest ScreenWest Initiative: Drama Production Investment Fund Initiative: Drama Production Investment Fund
Synopsis: A young man is sent to prison where he becomes the Synopsis: A detective on the trail of a killer must track down two apprentice to public enemy number one. missing teenagers whose video footage contains the identity of the murderer.
SCREENWEST ANNUAL REPORT | 2012/2013 107 APPENDICES
The Turning The Turning 1 x 184 min Compendium Producer: Maggie Miles, Sue Italiano Arenamedia Director: Claire McCarthy Producers: Robert Connolly, Maggie Miles Writer: Claire McCarthy DoP: Denson Baker AC ScreenWest Funded Chapters: Editors: Beckett Broda
Abbreviation Commission Producer: Liz Kearney Producer: Maggie Miles Director: Jub Clerc Co-Producer: Tenille Kennedy Writer: Jub Clerc Director: David Wenham DoP: Geoffrey Simpson ACS Writer: David Wenham Editors: Merlin Cornish DoP: Andrew Commis ACS Editors: Nick Meyers Aquifer Producer: Maggie Miles, Tenille Kennedy Fog Director: Robert Connolly Producer: Maggie Miles Writer: Justin Monjo Co-Producer: Tenille Kennedy DoP: Denson Baker AC Director: Jonathan auf der Heide Editors: Andy Canny Writer: Jonathan auf der Heide DoP: Ellery Ryan ACS Editors: Billy Browne
108 SCREENWEST ANNUAL REPORT | 2012/2013 APPENDICES
Defender These Final Hours Producer: Rita Walsh 1 x 85 min Feature Co-Producer: Rose Grandile 8th In Line Productions Director: Ian Meadows Producer: Liz Kearney Writer: Ian Meadows Director: Zak Hilditch DoP: John Brawley Writer: Zak Hilditch Editors: Gabe Dowrick DoP: Bonnie Elliott Editor: Mick Meyers, Meredith Watson Jeffrey Broadcaster: ABC Distributor: Footprint Films, Celluloid Dreams ScreenWest Initiative: Stepping Stones Initiative ScreenWest Initiative: West Coast Visions Initiative Synopsis: Seventeen extraordinary Australian directors respond to the hauntingly beautiful collection of short stories by Tim Synopsis: A young man makes his way to the party to end all Winton. Spanning almost 30 years, these stories provide windows parties on the last day on Earth, but ends up saving the life of a into the lives of men and women in the small coastal town of little girl searching for her father, who ultimately leads him on the Angelus. Linking and overlapping, the stories create a stunning path to redemption. and disturbing portrait of a small coastal community in Western Australia. As befits the title of the film, the stories are preoccupied with the extraordinary turning points in ordinary people’s lives. Relationships irretrievably alter, resolves are made or broken, and lives change direction forever.
SCREENWEST ANNUAL REPORT | 2012/2013 109 APPENDICES
DOCUMENTARY Dream House 6 x 26 min Comic Book Heroes Artemis International 2 x 27 min Executive Producers: Brian Beaton, Celia Tait Co-Production: Little Star Productions and Wild Fury Director: Ruth Cullen Producers: Nicholas Dunlop, Veronica Fury Post Director: Alan Carter Director: Nicholas Dunlop Writer: Ruth Cullen, Alan Carter Writer: Nicholas Dunlop DoP: Nathan Hayter DoP: Various (including Helen Barrow, Jenni Editors: Beckett Broda, Nick Dunlop, Meaney, Jim Frater, Nick Dunlop, David Fosdick Carmelo Musca) Broadcaster: ABC Editor: Nicholas Dunlop ScreenWest Initiative: ABC/ScreenWest Factual Broadcaster: ABC Entertainment Initiative ScreenWest Initiative: Documentary Production Investment Fund Synopsis: Follows three aspiring adults with intellectual disabilities as they leave home for the first time and move into shared house Synopsis: This documentary follows the adventures of two best to tackle one of life’s great rites of passage. mates / business partners as they, and their insanely talented group of Australian writers and artists, try to ‘make it’ in the American comic book industry. Filmed over two and a half years Hello Birdy in Australia, Japan, and the USA, Comic Book Heroes is a funny 6 x 27 min and poignant tale of art versus commerce, taking place against Sea Dog TV International the bizarre and spectacular backdrop of the San Diego Comic- Con. Producer: Leighton De Barros, Jodie De Barros Post Production
Series Producer: Andrea Ulbrick
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Director: Leighton De Barros, Randall Wood, Broadcaster: National Geographic Clare Thomson, Tosca Looby ScreenWest Writer: Leighton De Barros, Randall Wood, Initiative: General Production Fund Clare Thomson, Tosca Looby DoP: Leighton De Barros Synopsis: Life on the Edge; The Series continues a spectacular, engaging and thrilling voyage of discovery into the Bush Myth Editors: Johnathan Rowdon, vs. Maritime Legend. The coastal areas of Surfers Paradise, the Teresa Ashton Graham Whitsundays, the Cape York Peninsular and the 900 nautical Broadcaster: ABC miles from Queensland across the Top End to Northern WA, are ScreenWest Initiative: ScreenWest/ABC Matched explored to further reveal Australia’s marine and maritime world. Primetime Television Production Fund Murdoch
Synopsis: Well-known Aussie actor William McInnes fulfils a 2 x 52 min lifelong dream and travels the length and breadth of Australia Electric Pictures to get up close and personal with interesting Aussie birds (the Producer: Andrew Ogilvie, Dinah Lord, Kate Botting feathered type of course). Director: Janice Sutherland Writer: Janice Sutherland Life on the Edge; The Series DoP: Jim Frater 2 x 60 min Editor: Alex Archer Prospero Productions Broadcaster: SBS, ITV Producer: Julia Redwood, Ed Punchard ScreenWest Director: Russell Vines Initiative: General Production Fund Writer: Russell Vines DoP: Nathan Hayter Synopsis: The definitive account of how one man took control of the media and became one of the wealthiest, most powerful land Editor: Roland Smith, David Langlands feared figures in the world.
SCREENWEST ANNUAL REPORT | 2012/2013 111 APPENDICES
Outback Truckers 2 ScreenWest 12 x 44 min Initiative: General Production Fund
Prospero Productions Synopsis: Football players from WA’s Wooroloo Prison Farm step Producers: Ed Punchard, Julia Redwood outside the walls of jail once a week to prove that they are more Series Producer: Roger Power than just criminals - to the community and themselves. Field Director: Eliot Buchan, Cian O’Clery Recipes That Rock Writer: Roger Power 6 x 25 min Editor: David Langlands, Roland Smith Mago Films Broadcaster: 7Mate, Discovery UK, Discovery EU Producer: Marian Bartsch, Alun Bartsch ScreenWest Initiative: Documentary Production Investment Director: Carmelo Musca Fund Writer: Alun Bartsch Synopsis: Outback Truckers 2 hits the red dirt in another thrilling DoP: David LeMay season. Editor: John Carozzi Broadcaster: 7TWO, UK Food Network Outside Chance ScreenWest 5 x 24 min Initiative: Documentary Production Investment Fund Wild Fury and Spear Point Productions Producer: Kelrick Martin, Veronica Fury Synopsis: A rock’n’roll farmer and a rock’n’roll chef take a journey of discovery around the Margaret River region to discover unique Director: Kelrick Martin characters and events, music related craftspeople and musicians, Writer: Kelrick Martin surf and surfers plus discover wonderful natural attractions to coincide with the gourmet world descending on the region for DoP: Rodney Stratton, Torstein Dyrting, David Smith the first ever Margaret River Gourmet Escape, where music and Editor: Roland Smith, David Langlands television celebrities as well as celebrity chefs from around the Broadcaster: ABC world rub shoulders and exchange ideas.
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Who Do You Think You Are? 5.2 Who Do You Think You Are? Series 6 2 x 52 min 6 x 52 min Artemis International and Serendipity Productions Artemis International and Serendipity Productions Executive Producers: Brian Beaton, Margie Bryant Executive Producers: Brian Beaton, Celia Tait, Series Producer: Celia Tait Margie Bryant Directors: Russell Vines, Alan Carter, Series Producer: Bernice Toni Steve Peddie, Victoria Midwinter Pitt, Director: Steve Peddie, Ila Baré, Ili Baré, Kay Pavlou, Robert Wilkins, Lisa Matthews, Bernadine Lim Ruth Cullen, Claire Meech Writer: Steve Peddie, Ila Baré, Writers: Russell Vines, Alan Carter, Lisa Matthews, Bernadine Lim Steve Peddie, Victoria Midwinter Pitt, DoP: Ian Pugsley ACS, Uli Krafzik Ili Baré, Kay Pavlou, Robert Wilkins, Ruth Cullen, Claire Meech Editor: Beckett Broda, Teresa Ashton-Graham DoP: Ian Pugsley ACS, Uli Krafzik Broadcaster: SBS Editors: Beckett Broda, Roland Smith, Peter Pritchard ScreenWest Initiative: Documentary Production Investment Fund Broadcaster: SBS ScreenWest Initiative: Documentary Production Investment Synopsis: Well-known Australian identities play detective as they Fund go in search of their family genealogy.
Synopsis: Well-known Australian identities play detective as they go in search of their family genealogy. Z Special Unit 3 x 52 min Joined Up Films Producers: Dan Brown, Jacqueline Willinge, Anthony Willinge Director: Robert Wilkins
SCREENWEST ANNUAL REPORT | 2012/2013 113 APPENDICES
Writer: Robert Wilkins trilling 360-degree exploration by land, sea and air, of one of the Broadcaster: SBS most iconic locations on the planet. ScreenWest Initiative: Documentary Production Investment Fund Race for Beauty 1 x 52 min Synopsis: This is the secret history of Z Special Unit, an elite group Prospero Productions of highly trained men during world war 2, who would drop behind Japanese lines to bomb, ambush and entrap enemy forces. Producer: Julia Redwood, Ed Punchard Director: Julia Redwood Post Director: Rhian Skirving Sydney Harbour; Life on the Edge 1 x 60 min DoP: Jim Frater Prospero Productions Editor: Roland Smith Producer: Julia Redwood, Ed Punchard Broadcaster: SBS Director: Russell Vines ScreenWest Writer: Russell Vines Initiative: Documentary Production Investment Fund
DoP: Nathan Hayter Synopsis: As demand for cosmetic ‘enhancement’ explodes Editor: Roland Smith, David Langlands around the world, Race for Beauty explores the new and Broadcaster: National Geographic increasingly controversial phenomenon of ethnic plastic surgery. We join Anna Choy, actress, presenter and new Mum as she ScreenWest takes a personal and confronting journey to discover more about Initiative: General Production Fund the rising popularity of this type of cosmetic surgery.
Synopsis: The jewel in the crown of Australia’s magnificent coastline; the world famous Sydney Harbour, believed by many to be the most beautiful natural harbour on the planet. A team of experts go on a fascinating quest to reveal its mysteries in this
114 SCREENWEST ANNUAL REPORT | 2012/2013 APPENDICES
Stone Age Mystery Director: Adam Geiger 1 x 57 min Writer: Adam Geiger Electric Pictures DoP: Adam Geiger, Uli Krafzik Producer: Andrew Ogilvie, Claire Jager Editor: John Carozzi Director: Daniella Ortega Broadcaster: Channel 9, NOVA Writer: Daniella Ortega ScreenWest Initiative: Documentary Production Investment Fund DoP: Jim Frater
Editor: Lawrie Silvestrin ASE Synopsis: Just when you thought it was safe to go back into the Broadcaster: ABC water…..a series of fatal shark attacks in Western Australia shows ScreenWest it is anything but. The Real Jaws investigates why? Initiative: Documentary Production Investment Fund The Search for the Ocean’s Super Predator Synopsis: In March 2012, Australian and Chinese scientists announced the startling discovery of prehistoric human remains 1 x 57 min from a remote cave in China unlike any found before. With access Ocean’s Super Predator Films to an unfolding scientific investigation, we dramatically reconstruct Producer: Leighton De Barros, David Riggs, Michael Lynch the ancient lives and Ice Age world of the Red Deer Cave People and join an international team as it hunts for answers to solve the Director: Michael Lynch mystery: Who were the Red Deer Cave people and why did they Writer: Michael Lynch disappear? DoP: Leighton De Barros Editor: John Carozzi The Real Jaws Broadcaster: ABC 1 x 48 min ScreenWest Prospero Productions Initiative: Documentary Production Investment Fund Producers: Ed Punchard, Julia Redwood
SCREENWEST ANNUAL REPORT | 2012/2013 115 APPENDICES
Synopsis: In the hidden depths of Australia’s wild Southern The President vs. the Pirates Ocean a great white shark is savagely attacked one hundred 1 x 52 min meters below the sea’s surface by a far larger and faster mystery predator. An electronic tracking device attached to the great white Electric Pictures records a high-speed underwater chase six hundred meters deep Producer: Andrew Ogilvie, Claire Jager before the shark and its tag are savagely devoured. Two weeks later, after being carried in the belly of the unknown killer, the still Director: Victoria Midwinter-Pitt functioning tag is excreted and washed ashore, withholding clues Writer: Victoria Midwinter-Pitt that could reveal the identity of the shark’s super predator. This is DoP: Tim Wise the story of a super predator’s epic underwater attack that leads investigators to a mysterious and powerful natural phenomenon Editor: David Fosdick that, for a few short weeks each year, attracts the oceans most Broadcaster: SBS fearsome predators. ScreenWest Initiative: Documentary Production Investment Fund Trucking Hell
1 x 44 min Synopsis: Somali Australians have returned to their Puntland Prospero Productions homeland with a mission: to piece together their broken State and Producers: Ed Punchard, Julia Redwood set it on a path to becoming a modern African nation. Supervising Producer: Roger Power Field Director: Eliot Buchan, Cian O’Clery Hunter: for the Record Writer: Roger Power 1 x 81 min Feature Documentary Editor: David Langlands Periscope Pictures Broadcaster: 7Mate, Discovery UK, Discovery EU Producer: Alice Ross ScreenWest Initiative: Documentary Production Investment Director: Sam Field Fund Writer: Stefan A Radanovich Synopsis: Behind the wheel of monstrous road trains, daredevil DoP: Sam Field Aussie truckers put their lives on the line to drive some of the toughest roads in the world.
116 SCREENWEST ANNUAL REPORT | 2012/2013 APPENDICES
Editor: Stefan A Radanovich, Dominic Pearce whose natural reaction to mortality was to leave a lasting digital Festival: Revelation Film Festival and emotional imprint upon the world he left behind.
Zed, the Last Note The Frackman 1 x 41 min 1 x 90 min Periscope Pictures Aquarius Productions, Freshwater Pictures, Smith & Nasht Producer: Alice Ross Producer: Richard Todd, Trish Lake, Simon Nasht Director: Sam Field Director: Richard Todd Writer: Sam Field Writer: Sarah Rossetti, John Collee DoP: Sam Field DoP: Dan Schist, Richard Todd Editor: Pete Gleeson Distributor: Hopscotch ScreenWest ScreenWest Initiative: Documentary Production Investment Fund Initiative: Innovation Fund Synopsis: The adventures of The Frackman and his filmmaker Synopsis: When Hunter found out at age 35 that his time on earth mate as they take on some of the biggest coal seam gas multi- was to be cut cruelly short, he decided not to retreat inwards nationals in the world. but to use digital tools to share his physical, emotional and musical journey into uncharted territory. His fight was broadcast, primarily by Hunter himself, in a very public, networked, and an extraordinarily honest manner. What Hunter didn’t expect was just how his broadcasts would motivate a musical community to come out and support him in surprising ways. For Hunter himself, cancer became a lens through which the important things in life and his past regrets came sharply into focus. In a compelling mixture of Ob Doc, video diary and music, Hunter: For The Record documents a man driven to change, of a digital native
SCREENWEST ANNUAL REPORT | 2012/2013 117 APPENDICES
TELEMOVIES/ Writers: Michaeley O’Brien, Tony Morphett, Margaret Wilson, Christopher D Hackshaw, Justin Monjo, Kym Goldsworthy, An Accidental Soldier Timothy Lee, Andrew Ngin Chiang Meng 1 x 90 min DoP: Joseph H Pickering Goalpost Taylor Editor: Nicole La Macchia, Lawrence Silvestrin ASE Producer: Sue Taylor, Kylie du Fresne Broadcaster: ABC Director: Rachel Ward ScreenWest Writer: Blake Ayshford Initiative: ABC Matched Primetime Television Production Fund DoP: Germain McMicking Editor: Leanne Cole Synopsis: 1964- 65. Singapore is a city at the crossroads. Political Broadcaster: ABC and racial tensions are at fever pitch as a new nation is about to be born. The lights of Bugis Street never burned so bright, the famous ScreenWest Straits are filled with ships from around the world, strikers take to Initiative: ABC Matched Primetime Television the streets, the Cold War is hot in the tropics and Chinese triad Production Fund gangs prosper in the ‘interesting’ times. The Malayan Emergency is over but added new scars to the memories of colonial rule and Synopsis: A volunteer soldier sent to the Western Front in 1917 the Japanese occupation during WW2. The sun may have set on decides to desert and creates a new life with the French woman the Empire, but British and Australian troops are still in the middle who hides him from the authorities. of an intense four-year jungle war in neighbouring Borneo and in one year Indonesian terrorists will set of more than 29 bombs in Singapore itself. And then there are the Americans and that war Serangoon Road in Vietnam. This is the city of Sam Callaghan, Patricia Cheng, 10 x 53 min the CIA’s Conrad Harrison and the clients of the Cheng Detective Agency. Great Western Entertainment and Infinite Studios Producers: Paul Barron, Nick North Directors: Peter Andrikidis, Tony Tilse
118 SCREENWEST ANNUAL REPORT | 2012/2013 APPENDICES
DIGITAL intent to take decisive action. In the flurry to restore power before the inspectors arrive, a lost and half-frozen young soldier is rescued from the cold. FACTORY 293 1 x 19 min interactive narrative drama Tango Underpants FACTORY 293 1 x 10 min online short film Producers: Roderick MacKay, Michael Searle, Tango Underpants Justin Mcardle Producers: Tania Chambers, Stephen Van Mil, Director: Roderick MacKay Miranda Edmonds Writer/s: Roderick MacKay Production Executive: Susie Campbell Production Manager: Michael Searle Line Producer: Estelle Buzzard, Agustina Costa st 1 AD: Dan Wood Production Manager: Maya Kavanagh Digital VFX: Andrew Gordon Digital Producer/s: Maya Kavanagh, Miranda Edmonds DOP: Andrew Gordon Director: Miranda Edmonds, Khrob Edmonds Editor: Dominic Pearce Digital Director: Khrob Edmonds Script Editor: Stephen Lloyd Writer: John Collee Delivery Platform: Online DOP: Denson Baker ACS ScreenWest Initiative: 3 to 1 Digital Crowdfunding Initiative Editor: Lawrence Silvestrin ASE Delivery Platform: Online Synopsis: In a remote part of the dark and despondent world of Stalin’s war-torn Union of the Soviet Socialist Republic, Comrade ScreenWest Initiative: 3 to 1 Digital Crowdfunding Initiative Grigor, Manager of Munitions FACTORY293, faces the realities of his existence. Despite the infatuation of his female factory Synopsis: After a bad breakup and too long on the road, Carolyn, workforce, he is drawn to increasingly melancholy thoughts – a young Australian backpacker has completely lost her mojo. But Stalin, his leader, has abandoned him. With a howling blizzard that all changes when she reaches Argentina, land of the Tango. outside, the power is suddenly cut, rudely interrupting Grigor’s Here she not only discovers the wonders of the dance and the people, but also the vital importance of the right underwear!
SCREENWEST ANNUAL REPORT | 2012/2013 119 APPENDICES
Chronicle Scarborough LINK AND HYPERLINK Social history interactive website Inner Quality Storyfire 1 x 8 min Co-Producers: Janine Boreland, Liz Sideris Producer: Ethan Marrell Website Developer: Craig Harman, Harmonic New Media Director: Ethan Marrell Delivery Platform: Social History Interactive Writer: Ethan Marrell ScreenWest Initiative: Digital Breakout Production Fund DOP: Jim Frater Synopsis: Chronicle Scarborough is a community engagement Editor: Ethan Marrell program that enables people to share stories particular to their community, event or physical location. These stories are curated Synopsis: The story of two rival street buskers: a Homeless into a number of events, creating a strong sense of community Man and a Rich Kid. When jamming together they discover the and cultural identity. The project fosters cultural heritage, bringing rewards are greater. to life hidden social history through a web of personalised and interactive local stories. The Fan 1 x 10 min Producer: Emilia Jolakoska Director: Antony Webb Writer: Ben Sutton DOP: David Le May Editor: Antony Webb
Synopsis: Daniel leads a mundane life, until he discovers an unlikely new friend.
120 SCREENWEST ANNUAL REPORT | 2012/2013 APPENDICES
Rat Tale Graduation Afternoon 1 x 10 min 1 x 10 min Producer: Lauren Brunswick Producer: Kate Separovich Director: David Vincent-Smith Director: Alex von Hofmann Writer: David Vincent-Smith Writer: Alex von Hofmann DOP: Lewis Potts DOP: Jason Thomas Editor: Aaron Moss Editor: Beckett Broda
Synopsis: One afternoon a group of reckless friends receive a Synopsis: Its graduation afternoon and Jane is thinking about fatal lesson in the fragility of life. love, a career and her future. But everything is about to change.
Similar & Familiar The Legend of Gavin Tanner 2 x 7 min webisodes 5 x 7 min webseries Producer: Wendi Graham Producer: Lauren Elliott Director: Noah Norton Director: Henry Inglis Writer: Noah Norton, David Smyth Writer: Matthew Lovkis DOP: Nick Jackson DOP: David Le-May Editor: Noah Norton Editor: Henry Inglis
Synopsis: Similiar & Familiar won’t rest until they have destroyed Synopsis: The Legend of Gavin Tanner is about the misadventures the peaceful town of Akerstrom, however for one reason or another of a small-time dealer hell-bent on making the world a better place. the result of their plans always seem to leave the town better off.
SCREENWEST ANNUAL REPORT | 2012/2013 121 APPENDICES
Appendix 3.0 Funding Commitments 2012/2013
Amounts listed are funding commitments made during 2012/13 as at 30 June 2013 and may not be the final amounts contracted or paid.
Monetary amounts are rounded to the nearest dollar.
Project names are as at 30 June 2013 and may be working titles.
PRODUCTION INVESTMENT FUND
Recipient Project Format Amount
World Wide Mind Films Drift Feature 7,200
Filmscope Entertainment The Reckoning Feature 460,000
Arenamedia Paper Planes Feature 300,000
Unicorn Films and Gecko Driving Back From Dubbo Feature 400,000 Films
Feisty Dame Productions Kill Me Three Times Feature 600,000
Robyn Kershaw Productions Sucker Feature 401,856 and Jason Byrne Productions
Southern Light Films Son of a Gun Feature 650,000
Artemis International Who Do You Think You Are? 5.2 Documentary Series 123,034
Artemis International Who Do You Think You Are? Series 6 Documentary Series 34,000
122 SCREENWEST ANNUAL REPORT | 2012/2013 APPENDICES
Artemis International Who Do You Think You Are? 6.2 Documentary Series 129,530
Sea Dog TV International The Search for the Ocean’s Super Predator Documentary 113,000
Mago Films Recipes That Rock Documentary Series 45,648
Artemis International Watch this Space Documentary 112,344
Artemis International Dream House Documentary Series 27,744
Prospero Productions Race for Beauty Documentary 91,000
Little Star Productions Comic Book Heroes Documentary Series 70,000
Electric Pictures Saving Somalia Documentary 75,248
Electric Pictures Stone Age Mystery Documentary 111,448
The Film Company The Reef Documentary 150,000
Prospero Productions The Real Jaws Documentary 117,603
Joined Up Films Z Special Unit Documentary Series 288,000
Prospero Productions Trucking Hell Documentary 78,011
Prospero Productions Outback Truckers 2 Documentary Series 391,309
Aquarius Productions The Frackman Documentary Feature 156,403
Showrunner Productions 72 Documentary Series 60,000
TOTAL 4,993,378
SCREENWEST ANNUAL REPORT | 2012/2013 123 APPENDICES
ABC MATCHED PRIMETIME TELEVISION PRODUCTION FUND
Recipient Project Format Amount
Electric Pictures The War That Changed Us Documentary Series 600,000
Joined Up Films Who’s Been Sleeping In My House? Series 3 Documentary Series 346,247
Mago Films The Waler: Australia’s War Horse Documentary 165,925
Screentime Flying Miners Documentary Series 180,000
TOTAL 1,292,172
SUPERDOC FUND
Recipient Amount
TBC 1,600,000
TOTAL 1,600,000
124 SCREENWEST ANNUAL REPORT | 2012/2013 APPENDICES
INDUSTRY ENHANCEMENT FUND
Recipient Project Amount
Vue DC Story Beach 100,000
Larrikin Entertainment Catalina Capital 100,000
Leapfrog Films Leapfrog Films 20,000
TOTAL 220,000
SLATE DEVELOPMENT INVESTMENT FUND
Recipient Amount
Taylor Media 100,000
Beyond West 100,000
WBMC 100,000
Filmscope Entertainment 96,500
Woss Group Films 100,000
ZAC Toons 100,000
SCREENWEST ANNUAL REPORT | 2012/2013 125 APPENDICES
Artemis International 50,000
Electric Pictures 50,000
Joined Up Films 50,000
Mago Films 50,000
Prospero Productions 50,000
Sea Dog TV International 50,000
TOTAL 896,500
PROJECT DEVELOPMENT
Recipient Project Format Amount
Prospero Productions World War ll Underwater Documentary 14,500
Electric Pictures Asia Pacific Power Game Documentary 14,000
Goalpost Taylor Bugle Boy Feature 15,000
Macgowan Films Confessions of a Superman Feature 10,000
WBMC The Noble Path Feature 15,000
Southern Light Films Son of a Gun Feature 25,000
126 SCREENWEST ANNUAL REPORT | 2012/2013 APPENDICES
Media World Pictures Kal Television Series 14,170
Joined Up Films Z Special Unit Documentary Series 20,000
Animazing Productions Raffi James and the Summer Girls Television Series 25,000
Taylor Media Hot Brekky Television Series 24,825
Impian Films Shallows Feature 25,000
The Penguin Empire The Decayed Feature 10,000
Bellavision Media The Unlikeliest Hero Feature 12,500
Light Corporation Strange Objects Feature 25,000
Nakatomi Pictures Skool Nite Feature 13,000
Factor 30 Films Tide of Souls Feature 25,000
TOTAL 287,995
MATCHED DEVELOPMENT
Recipient Project Format Amount
Joined Up Films True Blue Documentary 22,500
Little Star Productions Comic Book Heroes Documentary 15,000
SCREENWEST ANNUAL REPORT | 2012/2013 127 APPENDICES
Prospero Productions Jazz Hands Documentary Series 15,000
Bardwell Partners Songs from the Inside Documentary 24,510
Perfectly Adequate Henry & Aaron Television Series 18,000
Mago Films The Waler: Australia’s Forgotten Anzacs Documentary 5,000
Vue DC The Crystal Boomerang Feature 15,000
Joined Up Films Z Special Unit Documentary Series 25,000
Joined Up Films Who’s Been Sleeping In My House? Series 3 Documentary Series 25,000
Feisty Dame Productions A Few Less Men Feature 25,000
TOTAL 190,010
EMERGENCY DEVELOPMENT
Recipient Project Format Amount
Joined Up Films Z Special Unit Documentary Series 20,000
Little Star Productions Comic Book Heroes Documentary Series 25,000
TOTAL 45,000
128 SCREENWEST ANNUAL REPORT | 2012/2013 APPENDICES
WEST COAST VISIONS DEVELOPMENT
Recipient Project Format Amount
Taylor Media The Children Feature 50,000
TOTAL 50,000
SHORT FORM PRODUCTION INITIATIVES
Recipient Project Amount
TBC Short Form Production Initiative 190,000
TOTAL 190,000
SCREENWEST ANNUAL REPORT | 2012/2013 129 APPENDICES
FEATURE NAVIGATOR
Recipient Project/Fund Format Amount
Screen Australia contribution to Feature Navigator 2012, Australian Writers Guild (WA) 39,615 2013
Australian Writers Guild (WA) Feature Navigator 2012 6,331
Jules Duncan Bogan Wedding Feature 20,000
TOTAL 65,946
TELENAVIGATOR
Recipient Fund Amount
Australian Writers’ Guild (WA) Tele-Navigator 2012 38,068
TBC Tele-Navigator 2013 70,000
TOTAL 108,068
130 SCREENWEST ANNUAL REPORT | 2012/2013 APPENDICES
INDIGENOUS PRACTITIONER DEVELOPMENT
Recipient Project / Description Format Amount
Spear Point Productions Business plan development 3,000
Ramu Productions Pre-development workshop for Broomerang 3,000
Goolarri Media Enterprises 14th National Remote Indigenous Media Festival, 2012 5,000
SB Films Satellite Boy - PIAF Launch, 2012 - Perth 3,500
Ace of Spades - travel to St Kilda Film Festival, 2013 - Dennis Simmons 1,500 Melbourne
TOTAL 16,000
INDIGENOUS PROJECT DEVELOPMENT
Recipient Project / Description Format Amount
Television Drama Dale Tilbrook Serpent Time 8,500 Series
Television Drama Ramu Productions Broomerang 15,000 Series
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Indigenous feature script assessments and consultation, Regina Lee 3,000 2013
TBC Indigenous Feature Development, Stage 2 40,000
Wawili Pitjas Big Spirit Country Documentary 15,000
Wawili Pitjas Sovereignty Documentary 15,000
TOTAL 96,500
INDIGENOUS PRODUCTION
Recipient Project / Description Amount
Spear Point Productions Indigenous Short Drama Production Initiative 150,000
TBC Indigenous Animation Series Initiative 185,000
TOTAL 10,302
132 SCREENWEST ANNUAL REPORT | 2012/2013 APPENDICES
INDIGENOUS MARKET PARTNER INITIATIVE
Recipient Project / Description Amount
ScreenWest/National Indigenous Television (NITV) TBC 250,000 Documentary Development and Production Initiative
TOTAL 250,000
INDIGENOUS INDUSTRY SUPPORT
Recipient Project / Description Amount
WA Indigenous Filmmakers (WAIF) meeting Chairman, Dot West 200 January 2013
ScreenWest/ABC Indigenous Mini Documentary Joined Up Films 7,102 Initiative, Seasons production management
Contribution to Media Ring (Reconciliation Industry Media Ring 3,000 Network Group), June 2013
TOTAL 10,302
SCREENWEST ANNUAL REPORT | 2012/2013 133 APPENDICES
DIGITAL PRODUCTION
Recipient Project / Description Amount
Prospero Productions Enter the Detention Centre 19,500
TOTAL 19,500
DIGITAL DEVELOPMENT
Recipient Project / Description Amount
WBMC Four Quarters 15,000
Storyfire The Village 5,000
The Workshop Productions 209 Days 15,000
TOTAL 35,000
134 SCREENWEST ANNUAL REPORT | 2012/2013 APPENDICES
DIGITAL INNOVATION FUND
Recipient Project / Description Format Amount
Periscope Pictures Beneath The Waves 5,000
Cubbihouse Entertainment Busy Port City 5,000
Showrunner Productions Cardboard Kingdom: Dreamtime 5,000
WBMC Hamlet P.I. 15,000
TBC Digital Innovation Fund - Production (Phase 2) 50,000
TOTAL 80,000
DIGITAL PROJECT AND PRACTITIONER DEVELOPMENT
Recipient Project / Description Amount
X Media Lab Jeff Gomez Transmedia Masterclass, 2013 7,500
Various recipients X Media Lab 2013, Lead Up Events 3,000
SCREENWEST ANNUAL REPORT | 2012/2013 135 APPENDICES
X Media Lab X Media Lab Conference 2013 50,000
TOTAL 60,500
LOCATIONS SCOUTING COMMISSIONS
Recipient Project / Description Amount
17 South WA Location recce 772
Ampco Films Shijiazhuang Animation Fair Delegation, China 9,500
Sunset Hospital Location image presentation of Sunset Hospital 1,020
Sunset Hospital Maintenance and repair 2012/13 8,664
Ausfilm International Ausfilm membership fees 11,617
Michael Wrenn Industry support and planning, 2012 488
Clayton Jauncey WA Location recce 5,600
Gecko Films and Unicorn WA Location recce 1,217 Films
David Dare Parker Location and marketing materials, 2012/13 1,500 Photographer
International Astronaut WA Location recces 19,940 Productions
136 SCREENWEST ANNUAL REPORT | 2012/2013 APPENDICES
John Fairhead WA Road Safety Legislation Update, 2012/2013 3,000
Megan Riley WA Location recce 400
Professional Film Crew (WA) Professional Film Crew (WA) website enhancement 2,000
Susie Campbell Provision production support services 170
Various recipients WA Location packs, 2012/13 348
WA Animated Shorts Screening Shanghai Cultural Sandbox 900 Festival, 2013
Tim Burns Productions WA Location recces 1,395
Various recipients Locations and film services materials, 2012/13 430
Various recipients Industry support, China Gateway Project 1,016
Various recipients WA Location recce 4,166
Various recipients Locations and film services support, 2012 367
Various recipients Australia China Film Industry Forum, June 2013 1,213
TOTAL 75,722
SCREENWEST ANNUAL REPORT | 2012/2013 137 APPENDICES
TRAVEL - ESTABLISHED PRODUCTION COMPANY
Recipient Project / Description Amount
Joined Up Films 27,281
Filmscope 16,258
Prospero Productions 35,000
Electric Pictures 26,744
Artemis International 35,000
TOTAL 140,283
TRAVEL ASSISTANCE
Recipient Project / Description Amount
WBMC MIFF 37º South 2012, Melbourne 1,500
8th In Line MIFF 37º South 2012, Melbourne 1,500
Factor 30 Films MIFF 37º South 2012, Melbourne 1,500
Taylor Media MIFF 37º South 2012, Melbourne 1,500
138 SCREENWEST ANNUAL REPORT | 2012/2013 APPENDICES
Lauren Cleary AFTRS Course: The Assistant Director 2012, Sydney 1,100
Woss Group Film Productions Red Dog DVD Launch, USA 6,250
Satellite Boy Premiere, Toronto Film Festival 2012, SB Films 4,600 Canada
7th Shijiazhuang City Animation Expo and Trade Show Siamese 1,800 2012, China
7th Shijiazhuang City Animation Expo and Trade Show Raging Pixel Productions 1,800 2012, China
7th Shijiazhuang City Animation Expo and Trade Show Symphonic Pictures 1,800 2012, China
7th Shijiazhuang City Animation Expo and Trade Show Vue DC 1,800 2012, China
Daniel Wood SPAA Conference 2012, Melbourne 1,000
Jules Duncan National Pitch Competition, SPAA Fringe 2012, Sydney 1,500
Perfectly Adequate TV Network Series Pitch Meeting, Los Angeles 3,827
Eoin O’Briain National Screenwriters Conference 2013, Melbourne 1,000
Interior Castle National Screenwriters Conference 2013, Melbourne 1,000
Jules Duncan National Screenwriters Conference 2013, Melbourne 1,000
WBMC National Screenwriters Conference 2013, Melbourne 1,000
SCREENWEST ANNUAL REPORT | 2012/2013 139 APPENDICES
Dan Osborn National Screenwriters Conference 2013, Melbourne 1,000
Factor 30 Films National Screenwriters Conference 2013, Melbourne 1,500
Alan Carter National Screenwriters Conference 2013, Melbourne 1,000
Liz Kearney Transmission - AACTA Awards nominee 2013, Sydney 1,000
Zak Hilditch Transmission - AACTA Awards nominee 2013, Sydney 1,000
Aaron Ginsburg Q&A and TV Writing for Half Hour Goolarri Media 1,000 Comedy Workshop 2013, Perth
DavisonBros. Productions Pixar Artist’s Masterclass 2013, Melbourne 1,000
Odin’s Eye Internship, Cannes Film Festival Market 2013, Tenille Kennedy 4,000 France
Christopher Hetherington MIPCOM 2012, France 6,250
Digital Media Arts MIPCOM 2012, France 4,000
Seaflower Holdings Beijing Conference and Forum 2012, China 1,000
Impian Films Film London Production Finance Market 2012, UK 5,250
Zac Toons American Film Market 2012, USA 4,716
WBMC Ausfilm Week and American Film Market 2012, USA 4,795
Vue DC Ausfilm Week and American Film Market 2012, USA 6,250
140 SCREENWEST ANNUAL REPORT | 2012/2013 APPENDICES
World Congress for Science and Factual Producers Mago Films 5,000 2012, USA
WBMC SPAA Conference 2012, Melbourne 1,500
Zac Toons SPAA Conference 2012, Melbourne 1,500
Feisty Dame Productions SPAA Conference 2012, Melbourne 1,500
Media World Pictures SPAA Conference 2012, Melbourne 1,500
Mediabox Productions Asian Television Forum 2012, Singapore 2,460
WBMC Screen Singapore 2012, Singapore 2,436
Vue DC Business travel 2012, China 5,480
WBMC Interaction 13 2013, Canada 3,620
Zac Toons Kidscreen Summit 2013, USA 4,796
Nicholas Dunlop AIDC 2013, Adelaide 1,000
Bardwell Partners AIDC 2013, Adelaide 1,500
Christopher Hetherington AIDC 2013, Adelaide 1,500
Spear Point Productions AIDC 2013, Adelaide 1,500
Juicy Films AIDC 2013, Adelaide 1,500
Mago Films AIDC 2013, Adelaide 1,500
SCREENWEST ANNUAL REPORT | 2012/2013 141 APPENDICES
Jag Productions AIDC 2013, Adelaide 1,500
Vue DC Business travel March 2013, China 6,220
Storyteller Digital MIPTV 2013, France 6,106
Showrunner Productions MIPTV 2013, France 5,411
Feisty Dame Productions Cannes Film Festival Market 2013, France 6,250
Impian Films Cannes Film Festival Market 2013, France 6,250
CM Film Productions Cannes Film Festival Market 2013, France 6,250
WBMC Cannes Film Festival Market 2013, France 4,444
Taylor Media Cannes Film Festival Market 2013, France 6,250
Christian Horgan Enterprises Cannes Film Festival Market 2013, France 4,000
Maya Kavanagh Cannes Film Festival Market 2013, France 4,000
Respiro Films Eleven Thirty - St Kilda Film Festival 2013, Melbourne 360
Factor 30 Films Producer Collaboration Sessions, AusFilm 2013, USA 6,250
Vue DC Producer Collaboration Sessions, AusFilm 2013, USA 6,250
Taylor Media Producer Collaboration Sessions, AusFilm 2013, USA 6,250
Filmscope Producer Collaboration Sessions, AusFilm 2013, USA 6,250
Woss Group Film Productions Producer Collaboration Sessions, AusFilm 2013, USA 6,250
142 SCREENWEST ANNUAL REPORT | 2012/2013 APPENDICES
Australian-China Film Industry Forum: Australian Vue DC 4,100 Delegation 2013, Shanghai
Australian-China Film Industry Forum, Australian CM Film Productions 4,100 Delegation 2013, Shanghai
Australian-China Film Industry Forum, Australian Zac Toons 2,030 Delegation 2013, Shanghai
Australian-China Film Industry Forum, Australian WBMC 1,900 Delegation 2013, Shanghai
Melbourne International Film MIFF 37° South - Post Script and Direct 2013, 2,350 Festival Melbourne
MIFF 37º South - Post Script and Direct 2013, Stuart Campbell 1,500 Melbourne
MIFF 37º South - Post Script and Direct 2013, Renee Petersen 1,500 Melbourne
MIFF 37º South - Post Script and Direct 2013, Paul Komadina 1,500 Melbourne
MIFF 37º South - Post Script and Direct 2013, Ben Young 1,500 Melbourne
MIFF 37º South - Post Script and Direct 2013, Antony Webb 1,500 Melbourne
MIFF 37º South - Post Script and Direct 2013, Aaron McCann 1,500 Melbourne
SCREENWEST ANNUAL REPORT | 2012/2013 143 APPENDICES
MIFF 37º South - Post Script and Direct 2013, Jules Duncan 1,500 Melbourne
CCG Expo, Shanghai Animation Market Delegation Turbine Midnight 10,000 2013, Shanghai
CCG Expo, Shanghai Animation Market Delegation Zac Toons 10,000 2013, Shanghai
CCG Expo, Shanghai Animation Market Delegation Vue DC 10,000 2013, Shanghai
TOTAL 260,801
SKILLS DEVELOPMENT - PROFESSIONAL PLACEMENTS, ATTACHMENTS AND MENTORSHIPS
Recipient Project / Description Amount
Producer Attachment to Thomas Mai at FanDependent, Annabelle Fouchard 3,000 Fox Studios, Sydney
Bridget Curran SBS Online Digital Internship, SBS Studios, Sydney 20,000
Barbara Connell 3 to 1 Digital Crowdfunding Initiative, Script Mentor 2,499
TOTAL 25,499
144 SCREENWEST ANNUAL REPORT | 2012/2013 APPENDICES
COURSES / WORKSHOPS
Recipient Project / Description Amount
Writing Hour Long Drama For TV and Writing Half Hour Various 1,598 Comedy for TV workshops, January 2013
Various Digital Workshop, February 2013 705
Various Directing Masterclass, February 2013 1,678
Venn Producers Networking Event, February 2013 218
Inspired Leadership and the Role of the Creative Various 133 Producer Seminar, June 2013
Various Film Financing Forum, Cinefest OZ, August 2013 22,533
TOTAL 26,865
RESOURCE ORGANISATIONS
Recipient Project / Description Format Amount
Australian Writers’ Guild (WA) 43,000
Australian Director’s Guild 6,000 (WA)
SCREENWEST ANNUAL REPORT | 2012/2013 145 APPENDICES
Film & Television Institute 347,520
Film & Television Institute FTI Strategic Review 10,000
Film & Television Institute WA Screen Awards, 2013 25,000
TOTAL 431,520
INNOVATION FUND
Recipient Project / Description Format Amount
ReAngle Pictures Girt by Sea Documentary 50,000
TBC ABC Short Arts Documentary Initiative 50,000
TOTAL 100,000
POST PRODUCTION AND PROMOTION FUND
Recipient Project / Description Format Amount
Cinema Des Antipodes Satellite Boy, French subtitling costs, 2013 Feature 2,961
Cinema Des Antipodes Drift, French subtitling costs, 2013 Feature 2,961
Mat De Koning and Brooke Meal Tickets Documentary 50,000 Silcox
146 SCREENWEST ANNUAL REPORT | 2012/2013 APPENDICES
CCG Expo Shanghai Animation Market Delegation Various 9,500 2012/13, translation and event costs, Shanghai
TOTAL 65,422
AUDIENCE AND INDUSTRY ENGAGEMENT PROGRAM
Recipient Project / Description Amount
Revelation Film Festival Revelation Perth International Film Festival 2013 55,000
Flickerfest Flickerfest 2013 7,000
Association of Screen PAC Script Lab 2013 8,000 Professionals
Geographe French Australian CinefestOZ 2013 55,000 Festivals
RTRFM We the Keepers, Music Documentary Festival 2013 10,000
National Film & Sound Archive Black Screen WA Tour 2013, Pilbara Region 5,000
Australian Teachers of Media ATOM Awards and WA Tour 2013/14 5,000 (ATOM)
TOTAL 145,000
TOTAL 2012/13 FUNDING COMMITMENTS 12,112,983
SCREENWEST ANNUAL REPORT | 2012/2013 147
Image Credits
FRONT COVER PAGE 4 PAGE 26 (From the top, left to right) An Accidental Soldier, Goalpost Taylor Ngurra Wanggagu, from the Seasons Pty Ltd. Indigenous mini documentary initiative. These Final Hours; 8th in Line Productions Pty Ltd. PAGE 5 PAGE 27 Photo by David Dare Parker. Zak Hilditch holding AACTA Award, Yagan, Spear Point Productions Pty Ltd. Yagan, Spear Point Productions. AACTA Awards 2013. PAGE 28 An Accidental Soldier, Goalpost Taylor Pty Ltd. PAGE 6 Factory 293, Meaning Maker. The Bombing of Darwin: An Awkward Drift, World Wide Mind Films. Truth, Artemis International Pty Ltd. PAGE 29 Serangoon Road, Great Western Entertainment. PAGE 7 Get Your Shorts On! event at Revelation Perth International Film Festival. Photo by Alison Rodrigues. The Turning, Arena Media Pty Ltd. Desert War, Electric Pictures
Australia: Life on the Edge, PAGE 21 PAGE 31 Prospero Productions. Satellite Boy, SB Films Pty Ltd. The Turning, Arena Media Pty Ltd. Desert War, Electric Pictures. PAGE 25
These Final Hours, 8th in Line Productions Pty Ltd. Photo by David Dare Parker.
148 SCREENWEST ANNUAL REPORT | 2012/2013