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Film & Television Production in Ireland Audiovisual Federation Review 2005

IBEC AUDIOVISUAL FEDERATION An affiliate association within IBEC | the Irish Business and Employers Confederation Confederation House, 84/86 Lower Baggot Street, Dublin 2 Tel: + 353 - 1 - 6601528, Fax: + 353 - 1 - 6381528 Email: [email protected] Website: www.ibec.ie

An affiliate association within IBEC | the Irish Business and Employers Confederation www.ibec.ie AUDIO VISUAL FEDERATION REVIEW 2005 in Ireland Review 2005 Federation Audiovisual Film & Television Production Film Television & Ibec AV Cover 05 Fin 1 12/12/05 1:36 pm Page 2 Page pm 1:36 1 12/12/05 Fin 05 Cover AV Ibec IBEC Audiovisual Federation

The Audiovisual Federation consists of IBEC member companies involved in Ireland’s audiovisual industry. These include broadcasters, producers, animation studios, facilities and other organisations supporting the sector.

The Federation has a number of objectives designed to support Ireland’s audiovisual production and distribution industry. These include promotion of the sector, representing the views of members to relevant bodies, submitting the industry view on relevant policy.

The Audiovisual Federation maintains an economic database for the Irish audiovisual production sector and publishes the results in an annual report with an economic analysis on the benefits of the audiovisual sector to the Irish economy. In order to sustain the growth and development within the sector during the last number of years the Federation has sought internationally competitive financial incentives and international co-production treaties. Together with Enterprise Ireland the Federation organises conferences, seminars, and workshops on relevant audiovisual issues.

The Audiovisual Federation is a member of the Irish Business Employers Confederation (IBEC) and is affiliated to ICT Ireland - The Voice of Technology within IBEC.

Chair: John Cummins, Agtel Ltd Vice Chair: Pádhraic Ó Ciardha, TG4

Secretariat: Tommy McCabe, Director Angela Mollo, Executive Michael Forde, Executive Carolyn Doumeni, Personal Assistant Tel: 01-605 1528 Fax:01-638 1528 email: [email protected] Web: www.ibec.ie/

- 1 - Ireland in their words

"If I have to leave home to make a film, let it please be Ireland. The crews there are top notch, the scenery is spectacular and the people are so generous and warm-spirited. Over the course of two summers I had the privilege of making two films, "Laws of Attraction" and "The Honeymooners" there. I now consider Dublin my second home and I look forward to coming back."

David Friendly, Producer - The Honeymooners, Laws of Attraction David Friendly

"PURE MULE supported by RTE was shot totally on location in County Offaly on High Definition and using local services and talent wherever possible. Eugene O'Brien's scripts have given a new voice to modern rural Ireland. And not only has it proved a major hit with Irish viewers, it has also attracted significant international interest.

David Collins, Producer - “Pure Mule” Accomplice Television David Collins

"I was incredibly fortunate working on location in Ireland for the first time to have had a great AD, an astonishingly resourceful camera and lighting crew and a very efficient production office all of whom literally made the impossible possible."

Charles Sturridge, Director – Lassie Charles Sturridge

The first twelve part series of F.F.C. marked a new beginning for comedy production in the Donegal Gaeltacht. Spreag Teo, the production company cooperated with TG4 and Údarás na Gaeltachta to train local new writers and technicians as part of the production of the first series. Some of these trainees are now working as writers and technicians on the second series. In an area suffering from the recent downturn in manufacturing this new initiative is of tremendous economic and cultural benefit.

Seán Mac Fhionnghaile, Executive Producer - Fiosruchan Faoi Cheilt (F.C.C) Seán Mac Fhionnghaile

"It is great to see RTE working with independent producers on challenging, high quality drama for Irish audiences that can compete internationally and we look forward to similar collaborations in the future."

Dominic Wright, Executive Producer - “Proof Series 2” Subotica Entertainment Dominic Wright

"We've been involved in a number of film and television projects over the last 12 months of different budget ranges and genres. What I continue to be struck by is the depth of talent here in terms of crew and cast which are undoubtedly world class. Its particularly gratifying when we work with directors and financiers from abroad who also share this view." Ed Guiney, Producer - Element Films Ed Guiney

- 2 - UI IULFDRTO REVIEW 2005 FEDERATION VISUAL AUDIO

Audiovisual Federation Review 2005

The data in this report relates to feature films, major TV dramas, independent TV productions and animation projects where the majority of the work was carried out in 2004. It also gives an overview of productions to date in 2005.

This is the eleventh report on the audiovisual sector, which was drawn up under the auspices of the following organisations – members of the Audiovisual Federation Database Steering Committee:

Bord Scannán na hÉireann/Irish Film Board Teresa McGrane Linda McEvoy Patrick O’Neill

Radio Telefís Éireann Michael Hyland Zimmey Matthews

TG4 Pádhraic Ó Ciardha Máire Ní Chadháin

An Roinn Ealaíon, Spóirt agus Turasóireachta/ Sabina O’Donnell The Department of Arts, Sports and Tourism

Screen Producers Ireland David McLoughlin Siobhan Kennedy

Facilities Kevin Moriarty, Ardmore Studios

Animation Sector Paul Cummins, Telegael

Audiovisual Federation of IBEC Tommy McCabe (Director) Angela Mollo Michael Forde Carolyn Doumeni Eoin Keogh, (IBEC Research and Information Services)

This data for this report was compiled by the Research and Information Services of IBEC.

Acknowledgements: The Audiovisual Federation is very much indebted to the members of the Steering Committee for their commitment and guidance in producing this report.

The Audiovisual Federation Review 2005 © 2005 IBEC Prepared by the Audiovisual Federation of IBEC Affiliated to ICT Ireland

IBEC Audiovisual Federation Confederation House 84/86 Lower Baggot Street, Dublin 2.

- 3 - Contents

Foreword 5

Executive Summary 7

Achoimre Feidhme 8

Chapter 1: The Irish Audiovisual Sector – 2004/2005 Review 9

Chapter 2: Economic Analysis 2004 15

Chapter 3: The Irish Audiovisual Sector – 2004/2005 Review International Context 18

Appendices: 20

Appendix I: Economic Analysis 2004 21

Appendix II: Production Details – Summary 1995 - 2004 Comparison 25

Appendix III: Production Details – By Type of Production – 2004 26

Appendix IV: Funding Details – By Type of Production - 2004 27

Appendix V: Contribution of the Irish Film Sector to the Irish Economy 2004 28

Appendix VI: Clarification Notes 30

Appendix VII: Section 481 Investment 31

Appendix VIII: Agencies Involved with the Film Production Industry in Ireland 32

Appendix IX: List of Productions included in the Report 2004 and 2005 35

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Foreword

The primary emphasis of this review, the eleventh for Tiger Aspect as well as Granada’s Malice annual Audiovisual Federation Review of Film Aforethought film for television. Production in Ireland, is the year 2004. It was the year, most notably, in which the television and the Despite international uncertainty, 2004 saw the animation production sectors continue to expand production of significant indigenous films Boy Eats but feature film production dropped significantly. Girl, The Mighty Celt and later in the year Breakfast This is evident by RTE’s continued commitment / on Pluto, Short Order and Tara Road. investment in the independent production sector which over the last number of years has been In 2005, the indigenous film production year started considerably in excess of its statutory obligations. with the final stage of production of Isolation and Given the cost of production, the size of the home the production of the low budget features Dead market and the relative economies of scale, the Long Enough in Donegal and Studs in Dublin challenge for feature film producers in a country of starring Brendan Gleeson. The Wind That Shakes Ireland's size is that it is necessary to source a The Barley shot in Cork and Kerry in mid 2005 and relatively high proportion of production finance the Irish co-produced film Lassie and TV movie outside the country. Whatever Love Means also shot during that period. However, in what is arguably a time of change in Following a quiet start to the autumn, Johnny Was, the industry, national and international, it became The Front Line, In Like Flynn, 48 Angels and increasingly difficult for Irish film producers to find Middletown completed principal photography prior production finance outside Ireland during the period to the end of 2005. under review. In the absence of major inward film production Television Sector activity in the last 18 months, the overall value of feature film production in Ireland has fallen RTE’s investment in the Irish independent television significantly since 2003 as illustrated in Appendix 1. sector continued to be very strong across 2004 and 2005. This has resulted in RTE expenditure on Funding sources for indigenous films (as analysed in commissioned programmes over the 2 year period Appendix 1) were predominantly the Irish Film in excess of G100m. Returning commissioned series Board, Section 481 and the Northern Irish Film and such as The Clinic and Proof, together with new Television Commission. series like Pure Mule, Love is the Drug, Asylum, Irish films continue to garner interest at the Irish box Celebrity You’re a Star and a biographical series on office and on the international festival circuit. Charles Haughey all raised the volume of RTE Highlights of the Irish box office in 2004 and 2005 production and with these programmes met with were Man About Dog (which reached number 9 at positive audience and critical reaction when the box office for the year 2004), Adam and Paul, broadcast, a fact mirrored at the 2005 IFTA Awards. Tara Road and Pavee Lackeen, all of which enjoyed wide interest from across the country. TG4 continued as a major funder of Irish language independent television production throughout Further imminent changes to the UK tax incentives Ireland during this period. TG4 continued its for film have resulted in a climate of uncertainty for ongoing commitment to the independent sector for producers and this has been felt in the levels of new original Irish language programming across the production in Ireland and the UK during 2005. The range of factual, sport, music, drama and announcement of new UK tax incentive in late 2005, entertainment. Ros na Rún remained the channel’s effective from April 2006, will give producers some largest single ongoing annual programme certainty, although the benefits to Anglo-Irish commission. The channel’s sports output co-productions are likely to be less than under the comprised another major portion of the TG4 spend previous Sale and Leaseback structures. on independent programming. Sound & Vision Fund – Broadcasting Film Production Commission of Ireland (BCI) Early in 2004, sudden changes to UK film tax The long-awaited formal opening of the Sound & schemes set off an uncertain year for productions. Vision Fund from the BCI with the announcement of These changes were felt throughout the year and its initial application round is a milestone in Irish reflected in the number and volume of inward film broadcasting and programme-making. The launch of productions shooting in Ireland. However, two the Sound and Vision scheme heralds a very feature films were co-produced in Ireland at this welcome increase in radio and television production time – Paramount’s The Honeymooners, The and there is also an added opportunity for increased League of Gentlemen’s Apocalypse from the UK financing and support for feature film production.

- 5 - Foreword

Irish Film Board studios will now be more likely to decide on either Ireland and/or the UK from April 2006 onwards. In January 2005, the Minister for Arts, Sport and Tourism, John O’Donoghue TD appointed a new Conversely, the ‘’drop dead’’ April 2006 expiry date Chair, James Morris, and four new members of the of UK Sale and Leaseback will lead to a busy first Board. Mark Woods resigned as CEO mid-2005 and quarter in Ireland as projects seek to avail of the Simon Perry will commence in the role on 9 January, final few weeks of the combined incentive. 2006. However, to avoid this being a false dawn it is imperative that three key measures, called for in The Film Board’s budget for 2005 was G14.45 the Audiovisual Federation’s 2005 Budget million, an 18% increase from 2004. Late in 2005 Submission, are adopted by Ireland in the future; an additional G1.5 million was made available by Minister O’Donoghue to support the production of • Remove the Section 481 cap. - This would new film and television projects which commence enable Ireland to attract bigger budget films production prior to the end of 2005. that have a disproportionately positive impact on the local economy. Animation • Abolition of the 55%/66% rule. Limiting the Section 481 funds to be raised to just 55% of The two largest, indigenously developed projects the production budget on bigger budget films currently underway in Ireland are multi-party acts as a disincentive to film producers to make animation co-productions from Magma Films and the entire film in Ireland. This abolition would Cartoon Saloon - respectively Ugly Duckling and enable Irish producers to compete head on with Me, and Brendan and the Secret of Kells. the UK by offering a similar net benefit.

In what is a major boost to the Irish animation • In line with all other EU tax reliefs, restoration sector, which after a few lean years has seen a of 100% relief for individual investors. perceptible deepening of the talent base in recent times, the Irish animation companies have attracted The Audiovisual Federation also called on the an extensive range of co-producing partners, Government to provide an appropriate increase in distributors, broadcasters and sales agents right TG4’s Exchequer funding so that it has adequate, across Europe and beyond. In this year’s Cartoon secure and ongoing resources to fulfil its remit. Forum, Ireland stood out in its role as an animation producer and is steadily developing its international New measures to increase Ireland’s international reputation. competitiveness are needed to counteract these trends, if Ireland is to remain as a serious player in Development of the Sector the international production sector especially given the challenge of new UK tax scheme being Given that the UK spend requirement has been implemented in 2006. The Irish Film & Television doubled from 20% to 40% under the new industry’s significant contribution to the broader legislation effective from April 2006, the previous cultural, social and economic development of pattern of shooting a film in Ireland and editing in Ireland has been recognised and supported the UK to access both incentives – a key factor in politically. If Ireland is to restore its attracting major Hollywood films to Ireland in the competitiveness and position as a favoured location past five years – will now slow down. The U.S throughout the world significant changes to the sector must be reviewed. With some changes to the film tax incentive and the strengthening and increased competitiveness of the Irish sector from infrastructure to working practices, the Irish Film & Television industry should enjoy continued development and expansion while contributing positive economic benefits to Ireland.

James Flynn Chair Audiovisual Federation Film Financing Committee December 2005

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Executive Summary

This report analyses the economic impact of a total Net Benefit to Irish Economy (G million) of 184 audiovisual productions, which were completed in Ireland in 2004, comprising a total 35 30 aggregate production value of G169.9 million. The 30 dramatic down turn in 2004 particularly in the 25 feature film as opposed to TV sector, is of major 20 concern. This is considered in Chapter 1. 15 10 2002 2003 2004 *2005 5 Audiovisual Output 0 G million 19931994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 Feature film 127.7 244.3 80.1 35 Sources of Funding Independent TV 44.2 47.8 67.5 77 Incl. major TV Drama The proportion of funding originating in Ireland was G119 million showing an increase of G10.2 million Animation 19 28.1 22.3 34 on 2003. Section 481 contributed gross funding of G Total Overall Output 190.9 320.2 169.9 146.0 66.8 million. Important sources of Irish funds were RTE, TG4 and the Irish Film Board. Amongst *Estimated non-Irish sources, US investment remained the most Irish Expenditure important at G27 million in 2004. There was a total spend of G106.7 million in 2004 on Irish goods and services arising from the audiovisual productions. This is a drop of 30% over *Background to Report: the 2003 spend of G151.4 million. This was largely This report and previous reports published in due to the lack of a major production like King 1993-2004 have been compiled from statistics Arthur which augmented production in 2003, obtained by the IBEC Audiovisual Federation. At however a high level of spend by the Independent the time of writing, audited figures for all 2005 TV Sector was maintained and rose by 25% from productions were not available. As a result the G42.8 million in 2003 to G53.7 million in 2004 (see main economic analysis refers to 2004. Figures Appendix I). for 2005 represent non-audited returns that were not sufficiently rigorous to allow detailed analysis. Irish Expenditure 2002 2003 2004 *2005 G million Feature film 79.6 100.4 37.9 17.5 Independent TV 37.7 42.8 53.7 65.5 Incl. major TV Drama Animation 5.2 8.2 15.1 14.0 Total Overall Output 122.6 151.4 106.7 97.0

*Estimated Employment Total Irish employment in terms of placement increased in 2004 by 8% from 12,238 in 2003 to 13,221 in 2004. However in terms of full-time equivalent jobs it is estimated that 964 were directly employed in the Sector in 2004 compared with 1,492 in 2003, a drop of 35%.

Fiscal Contribution On a cost benefit basis the Irish Audiovisual Sector continued to make a significant contribution to the Irish economy, G50.9 million was invested from abroad in the sector in 2004. The returns to the exchequer in 2004 derived from incomes and expenditure generated again exceeded tax forgone through Section 481. This yielded a G12.2 million net gain to the Irish Economy in 2004.

- 7 - Achoimre Feidhme

Déanann an tuarascáil seo anailís ar thionchar Cuidiú Fioscach eacnamaíoch 184 léiriúchán closamhairc ar an Ar bhonn tairbhe costais lean Earnáil Closamhairc iomlán, a críochnaíodh in Éirinn i 2004, a na hÉireann de bheith ag cur go suntasach le chuimsíonn luach iomlán comhbhailithe léirithe de heacnamaíocht na hÉireann, infheistíodh G50.9 G 169.9 milliún. Is ábhar mór imní an laghdú milliún ón gcoigríoch san earnáil i 2004. Tháinig na suntasach i 2004, go háirithe san earnáil haischuir chuig an státchiste i 2004 ó ioncaim agus phríomhscannán (seachas san earnáil Theilifíse). Tá bhí an caiteachas a cruthaíodh arís níos mó ná an breithniú air sin i gCaibidil 1. cháin nár gearradh trí alt 481. Thug sé sin glanghnóthachan de G12.2 milliún d’Eacnamaíocht na hÉireann i 2004. Aschur Closamhairc 2002 2003 2004 *2005 G milliún Príomhscannáin 127.7 244.3 80.1 35 Net Benefit to Irish Economy (G million)

35 Léiriúchán Neamhspleách Teilifíse 44.2 47.8 67.5 77 agus mórdhrámaí Teilifíse 30 30 Beochan 19 28.1 22.3 34 25 20 Aschur Foriomlán 190.9 320.2 169.9 146.0 15 10 *measta 5 0 Caiteachas na hÉireann 19931994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 Caitheadh G106.7 milliún ar an iomlán i 2004 ar earraí agus seirbhísí Éireannacha ag eascairt as Foinsí Maoinithe léiriúcháin closamhairc. Sin titim de 30% ar an Ba G119 milliún a bhí sa chion den mhaoiniú a gcaiteachas de G151.4 i 2003. Tharla sin cuid mhór raibh a bhunadh in Éirinn ag léiriú méadú de G10.2 mar gheall ar easpa mórléiriúchán ar nós King milliún i gcomparáid le 2003. Chuir Alt 481 le Arthur agus Laws of Attraction a chur leis an léiriú i maoiniú comhlán de G66.8 milliún. Bhí RTÉ, TG4 2003. Mar sin féin coinníodh an leibhéal ard agus Bord Scannán na hÉireann ar fhoinsí caiteachais ag an Earnáil Neamhspleách Teilifíse tábhachtacha de chistí Éireannacha. I measc na agus d’ardaigh sé 25% ó G42.8 milliún i 2003 go bhfoinsí neamhÉireannacha bhí na Stáit Aontaithe dtí G53.7 milliún i 2004 (féach Aguisín I). fós ar an gceann ba thábhachtaí ag thart ar G27 milliún i 2004. Caiteachas na hÉireann 2002 2003 2004 *2005 G milliún Príomhscannáin 79.6 100.4 37.9 17.5 *Cúlra don Tuarascáil: Léiriúchán Neamhspleách Teilifíse 37.7 42.8 53.7 65.5 agus mórdhrámaí Teilifíse Tiomsaíodh an tuarascáil seo agus Beochan 5.2 8.2 15.1 14.0 tuarascálacha roimhe seo i 1993-2004 ó staitisticí a fuair Cónaidhm Closamhairc IBEC. Aschur Foriomlán 122.6 151.4 106.7 97.0 Ag tráth a scríofa, ní raibh fáil ar fhigiúirí iniúchta do léiriúcháin 2005. Mar thoradh air *Estimated sin tagraíonn an phríomhanailís eacnamaíoch Fostaíocht do 2004. Léiríonn na figiúirí do 2005 Mhéadaigh an Fhostaíocht Iomlán Éireannach ó tuairisceáin neamh-iniúchta nach raibh dian go thaobh socrúcháin de i 2004 8% ó 12,238 i 2003 leor chun go bhféadfaí anailís mhionsonraithe go dtí 13,221 i 2004. Mar sin féin ó thaobh a dhéanamh orthu. postanna comhionanna lánaimseartha de meastar go raibh 964 fostaithe go díreach san Earnáil i 2004 i gcomparáid le 1,492 i 2003, titim de 35%.

- 8 - UI IULFDRTO REVIEW 2005 FEDERATION VISUAL AUDIO Chapter one Audiovisual Production in Ireland 2004-2005

The television sector in Ireland is currently very healthy commitment to the independent sector for new and indeed vibrant. This is evident by RTE’s continued original Irish language programming across the range commitment / investment in the independent production of factual, sport, music, drama and entertainment, the sector which over the last number of years has been channel also is a significant player in the area of considerably in excess of its statutory obligations. versioned programming – acquired content that is revoiced into Irish by the independent sector to serve A functioning film and television sector, like a well-told the needs of the TG4 schedule, particularly in the story for the screen, successfully combines talent and childrens and documentary genres. business. The sector needs access to financial and infrastructural resources in order that it be made Ros na Rún remains the channel’s largest single effective. Given the cost of production, the size of the ongoing annual programme commission, 36 hours of home market and the relative economies of scale, the original drama in Irish, sustaining upwards of 100 job challenge for feature film producers in a country of equivalents across the full range of creative, acting and Ireland's size is that it is necessary to source a relatively production skills, all located in the Connemara high proportion of production finance outside the Gaeltacht. The channel’s sports output comprises country. another major portion of the TG4 spend on independent programming with the bulk of that TG4 However, in what is arguably a time of change in the spend allocated to an independent company located in industry, national and international, it became the Waterford Gaeltacht. FFC is a twelve part comedy increasingly difficult for Irish film producers to find drama commission from company based in the production finance outside Ireland during the period Donegal Gaeltacht, developed and brought to screen under review. And yet, over the same period, as by TG4 during this period. production spend on television drama increased significantly within the Irish economy producers for that Given the scale of the resources available to it from medium have seen their opportunities grow. This review the Exchequer, TG4 continued to identify projects that shows that base employment levels were generated and could be co-funded with other agencies and bodies, production services and facilities were maintained over and UAIR, a new scheme, in conjunction with Bord the review period less by indigenous or international Scannán na hÉireann/The Film Board, for hour-length, film production, and more by locally-commissioned, single drama and a range of projects in conjunction independent production across all programme genres with the new Northern Ireland Irish Language including TV drama. Broadcast Fund, were successful examples of such partnerships in 2005. RTE RTE’s investment in the Irish independent television Film Production sector continued to be very strong across 2004 and Early in 2004, sudden changes to UK film tax schemes 2005. This has resulted in RTE expenditure on set off an uncertain year for productions. These commissioned programmes over the 2 year period in changes were felt throughout the year and reflected in excess of G100m, and this represented a sum the number and volume of inward film productions considerably in excess of RTE’s statutory requirements. shooting in Ireland. However, two feature films were co-produced in Ireland – Paramount’s The Returning commissioned series such as The Clinic and Honeymooners, The League of Gentlemen’s Proof, together with new series Asylum, Celebrity You’re Apocalypse from the UK for Tiger Aspect and a Star, a biographical series on Charles Haughey, Pure Granada’s Malice Aforethought film for television. Mule,and Love is the Drug, all raised the volume of RTE production and with the latter two programmes Despite international uncertainty, 2004 saw the shooting in Banagher and Drogheda respectively, production of significant indigenous films Boy Eats widened its geographical base. Girl, The Mighty Celt and later in the year Breakfast on Pluto, Short Order and Tara Road. These programmes met with positive audience and In 2005, the indigenous film production year started critical reaction when broadcast, a fact mirrored at the with the final stage of production of Isolation and the 2005 IFTA Awards with official recognition for many of production of the low budget features Dead Long the cast and production crew members involved. Enough in Donegal and Studs in Dublin starring Brendan Gleeson. Two of the larger-scale movies to be TG4 produced in the year - The Wind That Shakes The The channel continued as a major funder of Irish Barley which shot in Cork and Kerry, the Irish co- language independent television production throughout produced Lassie as well as the ITV television drama Ireland during this period. In addition to its ongoing Whatever Love Means were shot during mid 2005.

- 9 - Audiovisual Production in Ireland 2004-2005

Following a quiet start to the autumn, Johnny Was, McIntyre. The Front Line, In Like Flynn, 48 Angels and Middletown completed principal photography prior to Mark Woods resigned as CEO mid-2005 and Simon the end of 2005. Perry will commence in the role on 9 January, 2006.

In the absence of major inward film production activity The Film Board’s budget for 2005 was G14.45 million, in the last 18 months, the overall value of feature film an 18% increase from 2004. Late in 2005 an production in Ireland has fallen significantly since 2003 additional G1.5 million was made available by as illustrated in Appendix 1. Minister O’Donoghue to support the production of new film and television projects which commence Irish films continue to garner interest at the Irish box production prior to the end of 2005. office and on the international festival circuit. Highlights of the Irish box office in 2004 and 2005 were Man About Dog (which reached number 9 at the Animation box office for the year 2004), Adam and Paul, Tara The two largest, indigenously developed projects Road and Pavee Lackeen, all of which enjoyed wide currently underway in Ireland are multi-party interest from across the country. animation co-productions from Magma Films and Cartoon Saloon - respectively Ugly Duckling and Me, Further imminent changes to the UK tax incentives for and Brendan and the Secret of Kells, which have a G film have resulted in a climate of uncertainty for gross value of approximately 12m. producers and this has been felt in the levels of production in Ireland and the UK during 2005. The In what is a major boost to the Irish animation sector, announcement of new UK tax incentive in late 2005, which after a few lean years has seen a perceptible effective from April 2006, will give producers some deepening of the talent base in recent times, the Irish certainty, although the benefits to Anglo-Irish co- animation companies have attracted an extensive productions are likely to be less than under the range of co-producing partners, distributors, previous Sale and Leaseback structures. broadcasters and sales agents right across Europe and beyond. Sound & Vision Fund – Broadcasting Indeed in this years Cartoon Forum, Ireland stood out Commission of Ireland (BCI) in its role as an animation producer and is steadily The long-awaited formal opening of the Sound & developing its international reputation. Vision Fund from the BCI with the announcement of its initial application round is a milestone in Irish broadcasting and programme-making. The first funding round opened on October 24 with a closing date for receipt of applications on December 16. The BCI expects that the second funding round will open in February 2006 with two further rounds later in the year. The core objective of the scheme is to increase public access at national, local and community level to high-quality radio and television programmes in English and Irish which explore the themes of Irish culture, heritage and experience in contemporary or historic contexts.

The launch of the Sound and Vision scheme heralds a very welcome increase in radio and television production and there is also an added opportunity for increased financing and support for feature film production. Irish Film Board In January 2005, the Minister for Arts, Sport and Tourism, John O’Donoghue TD appointed a new Chair, James Morris, and four new members of the Board - Lesley McKimm, Kevin Moriarty, Tristan Orpen Lynch, and Kirsten Sheridan - to join continuing board members - Alan Gilsenan and Margaret MacCarthy

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Audiovisual Production in Ireland 2004-2005

Minister John O’Donoghue - Department of Arts, Sport and Tourism Film-making is one of the most important industries in the cultural sector. The success of Irish filmmakers is the result of both Government support through the Irish Film Board and the Section 481 scheme and of the efforts and talents of Irish people at all levels of the industry.

The Section 481 scheme has now been secured until at least the end of 2008. While this has brought the benefit of certainty, the Film Industry continues to face real competitive challenges from factors as diverse as exchange rates, new low-cost competition, and improved incentive regimes elsewhere. Consequently, the Government, the Irish Film Board and those who work in the sector must remain up to date with developments that effect the Film Industry adopting a method of constant review and advancement of strategies to ensure its continued success going forward.

The challenges are real, but there is a growing sense that the Irish film sector is now acquiring the capability and the maturity to meet these challenges.

I hope and believe that the best is yet to come.

Minister Noel Dempsey - Department of Communications,Marine & Natural Resources Like many other sectors the broadcasting sector is going through a period of rapid change that is significantly influenced by opportunities resulting from technological advances. Digital television brings with it new opportunities and challenges for broadcasters, content providers and audiences. Television audiences can rightfully expect additional and enhanced services in terms of both quality and quantity. During the course of 2005 I approved a Pilot DTT project for Ireland. The public tendering stage of that project is now ongoing and the build and launch will happen in 2006.

In November 2005 I was delighted to formally approve and launch the new Broadcasting Funding Scheme "Sound and Vision". Under this scheme independent producers and broadcasters will be able to access substantial public funds to assist with the cost of delivering additional high quality programming to Irish radio and television audiences. At the end of 2005 the fund stood at in excess of G25m.

Bord Scannán na hÉireann / the Irish Film Board – James Morris, Chairman 2005 has been a year of change and restructure for Bord Scannán na hÉireann / the Irish Film board (BSÉ/IFB). In February a new seven Member Board was appointed by the Minister for Arts, Sport and Tourism, John O’Donoghue and towards the end of the year the Board announced the appointment of a new Chief Executive, Simon Perry.Throughout the year the Board has focused its efforts on production and development investment, and in bringing a renewed focus on marketing Ireland as a location for film. During 2005 indigenous Irish films have had remarkable exposure and success on the international stage with Ireland being represented at all of the major international film festivals this year.Two feature films were selected for Berlin (ADAM AND PAUL and THE MIGHTY CELT) and three features films were selected for Toronto (BREAKFAST ON PLUTO, PAVEE LACKEEN and ISOLATION). Toronto is a particularly important festival as it is viewed as a major gateway to the US market. PAVEE LACKEEN was selected to screen in Venice, SUGAR and HEREAFTER went to Rotterdam and the successful short film UNDRESSING MY MOTHER was selected to screen at Cannes. However, the Irish film industry is equally reliant on incoming and indigenous films and 2005 has been a difficult year for inward investment, with a dramatic decrease in large budget films shooting on location in Ireland. Reasons for this include the euro/dollar exchanges rate, increasing competition from other countries with more competitive tax incentives and uncertainty regarding changes in the UK tax structure. Responding to these difficulties, 2006 will see the Irish Film Board concentrating its energies on finding ways in which Ireland can become a more attractive and self sufficient co-production partner, bringing more domestic finance to the table. BSE/IFB will also focus on the creation of a new US marketing plan, creating an increased and stronger presence in the US. Other key areas for 2006 will include an emphasis on the development of Irish directing and writing talent and a continued emphasis on the sales and distribution of Irish films and audience development both at home and abroad. In 2006, we also look forward to having a new Chief Executive Officer, Simon Perry, bringing with him both a wealth of experience and new ideas, promising a positive and exciting new era at the Irish Film Board.

- 11 - Audiovisual Production in Ireland 2004-2005

Radio Telefís Éireann (RTÉ) Clare Duignan, Director of Programmes, Television

2004 was another very busy year for the independent sector in terms of RTE commissions. Following the welcome increase in Licence Fee in late 2002, in 2004 RTE was able to further increase its activity in independent production, and a total of 878 hours of programming was approved for commissioning and completion across a wide range of programme areas. The actual expenditure incurred on commissioned programmes during 2004 was G50.9 million which was considerably in excess of the statutory requirement of G28.6 million.

Commissioned programmes formed part of the schedules on both channels and helped RTÉ Television achieve the successes it did in 2004.

• RTÉ ONE’s peak-time schedule contained almost 60% home production in 2004, while RTÉ TWO had 30%.

• Despite intense competition, RTÉ Television’s share grew in 2004, reflecting the strength of home production.

With increases in programming expenditure and a determined focus on ensuring the quality and originality of programmes, there was much excellent, and some outstanding programming commissioned from independent producers in 2004.

• The Clinic Series 2, Love is the Drug, (one of the hits of the year on RTÉ TWO), and Showbands, were among the Drama highlights of the year;

• For the afternoon, two new series, The Big Bite, and The Afternoon Show were launched in 2004,

• Two landmark factual series were commissioned, The Asylum, and Haughey. Both series were broadcast in 2005.

• Pat Shortt's Killinaskully was one of the top 5 most watched programmes on RTÉ in 2004.

• Another new commission, Hanging with Hector performed well, as did three new RTÉ TWO shows, Stew, a comedy series, The Ex-Files, a new dating show, and Naked Camera, which took the hidden camera format to new levels.

TG4 - Súil Eile, Pól Ó Gallchóir - Ceannasaí Tá na blianta ag teacht agus ag imeacht go gasta. Ní fada uainn anois go mbeidh TG4 deich mbliana ar an aer. Tá áit lárnach bainte amach againn anois i dtionscal na teilifíse in Éirinn. Cuireann an caineál seirbhís thábhachtach phoiblí ar fáil agus cothaíonn muid fostaíocht ardscile i gcomhlachtaí léiriúcháin ar fud na tíre agus i gcroífhoireann TG4 féin.

TG4 is now firmly established as a key player in the broadcasting industry in Ireland. Our key performance indicators illustrate ongoing and measurable progress in audience figures, cost-efficiency, employment, prestigious awards, commercial revenue and website traffic.

TG4 has created audience awareness and loyalty through the development of a strong and attractive Irish language schedule, combined with strategically placed compatible programming.

Tá muid buíoch dóibh siúd a thugann tacaíocht dúinn agus atá páirteach linn. Tá súil agam go leanfaidh an fhorbairt agus an dul chun cinn seo sna blianta atá romhainn.

Media Desk – Eibhlin Ni Mhunghaile

The third edition of the MEDIA Programme – MEDIA Plus - commenced in January 2001 and will continue until the end of 2006. The budget for the 6-year programme is G513 millon.

In 2004 it is estimated that the Irish audiovisual industry received G2.068 million for Development of projects, Distribution, Exhibition, Festivals and Market access support.

- 12 - UI IULFDRTO REVIEW 2005 FEDERATION VISUAL AUDIO

Audiovisual Production in Ireland 2004-2005

Ardmore Studios – Kevin Moriarty, Managing Director

Ardmore is now capable of servicing big budget films on a scale not possible some years ago. The regular flow of production activity up to 2003 has enabled ongoing investment in the infrastructure. In Ardmore’s case this has meant increased stage capacity and a virtual doubling of the square footage devoted to ancillary facilities.

In 2003 Ardmore was host to Jerry Bruckheimer’s ”King Arthur” and ”Laws of Attraction” starring Pierce Brosnan. Maintaining the attractiveness of Ireland as a location for incoming productions, with the benefits of ensuring a skilled workforce and infrastructural development, is essential for indigenous growth, which has developed significantly in recent years.

In 2004, however, the uncertainty, which existed up to December 2003, as to the future of Section 481 resulted in literally no feature activity for the studios during the first half of 2004. The second half of 2004 has seen Paramount’s "The Honeymooners", Neil Jordan’s "Breakfast on Pluto" and Maeve Binchy’s "Tara Road".

Notwithstanding the extension of Section 481 to 31st December 2008 and the cap increase which came into effect on 1st January 2005 it must be stressed, as is confirmed by recent production trends, that the health of the industry is primarily determined by the attractiveness of Section 481 in the context of ever changing international competition from other markets and the relevant Government support in those countries.

In 2005, given the non-competitiveness of the Irish film industry, a combination of the inadequacy of Section 481 and the unfavourable rate of exchange, there was very little production in Ardmore. This has raised questions as to the viability of Ardmore and the industry itself.

The Government has been very supportive in the past and it is encouraging that the Minister, John O’Donoghue, is taking action to address the current situation and is monitoring the international market on an ongoing basis, as other Governments compete on behalf of their respective film industries, to ensure the maintenance of a "level playing field".

Paul Cummins – Animation

The animation industry in Ireland has made significant progress in recent years, however it is still very much at the fledgling stage when compared to the state of the industry in major markets such as France, US, Germany, UK, Canada and Australia.

The industry in Ireland is relatively undercapitalized, does not have the scale of broadcaster support which is available to animation producers in other territories and is overly dependent on overseas co-producer partners for international distribution. Generally the sector still lacks the critical mass which is required to compete on a global scale. In particular the industry is highly dependent on Section 481 investment to fund the larger scale productions and Irish companies are forced to concede a very large portion of the rights in a project in order to get it funded.

Despite the obvious drawbacks, Irish animation companies are generating a growing reputation internationally for their creative ideas and their expertise particularly in the areas of origination, pre production and post production. In recent years also, more and more of the home producers have begun to pool their resources and to work together to bring more of the production work on animation series to Ireland. This has enabled them to retain a greater share of the rights in their projects and to maximize potential future revenue streams. In my opinion, the economics of the industry will encourage more of this type of co-operation and may ultimately lead to the amalgamation of some of the more internationally focused companies. Strategic alliances with overseas companies who have access to major broadcasters and distributors are also seen as important for Irish producers.

When it comes to creativity and originating content, it has been shown that Irish companies can punch way beyond their weight. This is evidenced by the number of Irish companies pitching their projects at the Cartoon Forum and Cartoon Movie and at international markets such as Annecy, MIPCOM and MIPTV. However, due to the relative size of the home broadcaster market and the paucity of companies with a strong capital base, the nation as a whole may not benefit economically, to the extent that it should, from the efforts and achievements of these companies.

- 13 - Audiovisual Production in Ireland 2004-2005

Screen Producers Ireland – Ronan McCabe, Chairman

2005 has been an eventful year for the Audiovisual industry. The Sound and Vision Fund has been launched by the BCI giving independent producers a potential new source of funding that should enhance both the quality and quantity of independent productions. RTÉ’s increased investment in the independent sector is welcomed across all programme genres, particularly in the area of independently commissioned drama. International awards and the Irish Film and Television Awards received by Irish Independent Producers this year are examples of the high calibre of talent that exists in Ireland and shows that Irish productions are valued worldwide and are of a competitively high standard.

2005 has also seen the development of the animation sector from being service providers to rights owners. The top projects presented at this years Cartoon Forum were all from Ireland which made a huge impact on the international perception of the Irish animation sector. With the continued support of the IFB along with RTÉ’s recent commitment to Irish animation in the Children and Young Peoples schedule, the animation sector can continue to develop and enjoy Irish and international success.

It is hoped that the upcoming Broadcasting Bill will continue the state support of the sector and Screen Producers Ireland are continually reviewing the industry and have made legislative recommendations to assist the industry, which is vital to Ireland in terms of continued high quality programming, the promotion of Irish talent, the creation of jobs and in support of Ireland’s image abroad.

In 2006 we can look forward to the Irish Film Board’s continued efforts to further the growth of the sector under it’s newly appointed CEO, Simon Perry. It has been a difficult year for the industry due to a variety of national and international factors but we are working towards being in a position to target co-productions more competitively and to market our location and skill base as of a high standard with a strong record.

Irish Film Institute - Mark Mulqueen, Director

New schools audiences, an even richer cinemas programme, a major international tour of Irish film, another great success with the Stranger Than Fiction Documentary Festival in conjunction with SPI, a growing regional film tour and new opportunities to expand the Irish Film Archive were some of the highlights of 2005 for IFI.

The IFI Education programme had it most successful year to date with huge demand for its schools programme as well as a range of new student study support publications being met with equal demand from all over the country.

In terms of audience interest the Irish Film Archive had a similar year-its programme of 12 Irish classics selling-out well in advance of most screenings. The Archive also collaborated with the Cork Film Festival in presenting a rare and very popular exhibition of ‘Beloved Enemy’ at Cork Opera House as part of the Festivals 50th Anniversary.

Reel Ireland is the new International Film Tour, which IFI hopes to establish as an annual Irish Film event worldwide. In a sense, the Institute has long been the principle host of the equivalent programmes from other countries. Using this experience to design an approach that will win over exhibitors and audiences to a broad and accurate impression of Irish filmmaking should secure Reel Ireland as an annual initiative.

In terms of new competition in the Dublin cinema market and the direct impact that has had on support for all other IFI activities, 2004 was a challenging year. In 2005 the Institute prioritised one thing-audience attendance-and has made it a constant focus going forward. This is being done without compromising the commitment to real diversity and risk in the cinemas programme but simply applies equal energy to finding an audience for this programme.

Plans to enhance all public spaces and facilities in 2006 will underpin the recognition that the IFI’s loyal membership base is a fantastic asset and the public experience must be repeatedly invested in. So we thank our principle supporter the Arts Council and all of the public with a passion for film, for another thrilling year.

- 14 - UI IULFDRTO REVIEW 2005 FEDERATION VISUAL AUDIO Chapter two Economic Analysis

Overview of the Sector in 2005 Output Comparasion 2005/2004 (G million) Total Output 180 Film Indicative Audiovisual Output 2005 Million TV 160 Animation Overall output 146 140 Feature film 35 120 100 Independent TV incl Major TV Drama 77 80 Animation 341 60 40 20 The indicative figures above for 2005 have a total 0 2005 (estimated) 2004 output value of G146 million, showing a further drop on the figures for 2004. The lack of major 1. The figure for animation output includes a significant proportion of co-production inward productions in Ireland this year is taking its based financing which will lead to expenditure both in Ireland and overseas toll. However, the independent TV sector has increased its output and noted commissions from Benefits of Section 481 to the RTE are The Clinic Series III, Proof and The Last Exchequer 2004 (see appendix II & V) Furlong plus TG4’s Ros na Run. The gross gain to the exchequer is estimated to have been G34.5 million in 2004. This includes In terms of economic output in 2004 and an direct benefits in terms of PAYE, PRSI, schedule D estimate for 2005, the chart below shows the and corporation tax, and indirect benefits in other decline within the sector, which is a major concern. forms of tax, including VAT and excises. The indirect benefits are taken into account by the multiplier Economic Output Level of the Irish Audiovisual Sector (G million) effect of investment in audiovisual production. The 350 cost to the Exchequer of Section 481 is the tax

300 foregone on the G66.8 million, which was invested

250 under the scheme and is estimated to have been G22.3 million. This results in a net benefit to the 200 state of G12.2 million in 2004. 150

100 Calculation of Net Benefit 2001 2002 2003 2004 50 (G million) 0 Tax Return to Exchequer 47.8 42.8 52.6 34.5 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005* (*Estimate) Tax Foregone to the Exchequer 24.2 21.6 22.6 22.3 Net Benefit to the Exchequer 23.6 21.2 30.0 12.2 Economic Analysis of Productions in 2004 This section summarises economic analysis (appendices I - V) covering 184 productions Funding completed in Ireland in 2004. The projects examined Total funding for the sector in 2004 amounted to represent a good spread both in scale and type of G169.9 million (see appendix I for breakdown). production and include a number of large budget Estimates for 2005 still indicate a drop in indigeneous film productions such as Breakfast on prominence of inward investment due in the main to Pluto, indigenous television production Pure Mule, lack of major productions and other factors and the award winning animated production discussed in the foreword and chapter 1. Tutenstein (covering 2003/04). These productions Funding sources 2004 (169.9 million) represented a total aggregated production value of G169.9million. This output figure Section 481 Other Irish Funding represents a sharp fall in output due to the lack of 40% 26% major film production, although indigenous production has increased representing 70% of the total output.

The following chart compares the outputs for 2004 and 2005. The difference in overall output reflects the lack of volume in medium sized productions and Irish Film Board Non Irish Funding a major inward production activity. However, the 4% 30% strong performance of the independent TV sector The cap on Section 481 limited the availability of continued in 2004 and 2005 (estimated). funding from this source for feature film production.

- 15 - Economic Analysis 2003/2004

Expenditure 2004 (see appendix I) Independent TV Production Overall Irish expenditure in the economy, the key (including Major TV Drama) 2004 driver for domestic employment and income, The output for independent TV productions in 2004 G amounted to 106.7 million in the 184 productions was G67.5 million an increase of 41% on 2003. Of analysed. As part of this figure, expenditure from that G53.7 million was spent within the Irish economy, G independent and major TV production stood at 53.7 exceeding last year’s amount by G10.9 million. The million representing 50% of Irish expenditure. Feature main sources of TV commissions were RTÉ and TG4. films only accounted for 36% of the total while animation contributed 14% (G15.1 million). Independent & Major TV Productions (Irish Expenditure G millions) The analysis examines the performance of the three 60 main stream Feature Films, Independent & Major TV Productions and Animation over the last 5 years. 50 40

30 Irish Expenditure (106.7 million) 20 Animation Feature Films 14% 36% 10

0 2000 2001 2002 2003 2004

Animation The growth in the Irish animation industry continues Independent & Major TV 50% although there was a in slight drop in production output at G22.3 million in 2004. With creations such as Pet Alien, Zombie Hotel and The Ugly Duckling and Me in production Feature Films 2005 looks promising. Of the G22.3 million expenditure, In 2004, the production of Feature Films dropped G15.1 was spent in Ireland an increase of 84% on 2003. significantly accounting for less than half of the total G cos of production within the State. Of the 80 million Animation (Irish Expenditure G millions) spent on productions a total of G37.9 million was 16

spent on Irish goods and services. These productions 14 generally draw on Irish and non-Irish funding 12 (primarily from the US). The main sources for Irish funding were section 481 (G35 million) and the Irish 10 Film Board (G5.5 million). 8 6

4

Feature Film (Irish Expenditure G millions) 2 120 0 2000 2001 20022003 2004 100 Employment (see appendix II) 80 Although the expenditure dropped in 2004, the 60 number of job placements increased to 13,221. However due to the lack of major productions the 40 number of full time equivalent jobs directly involved in 20 productions dropped to 963, down from 1,492 in 2003.

0 2000 2001 2002 2003 2004

- 16 - UI IULFDRTO REVIEW 2005 FEDERATION VISUAL AUDIO

- 17 - Chapter three The Irish Audiovisual Sector – 2004/2005 – Review – International Context

Ireland proved itself an innovator in tax-based film New measures to increase Ireland’s international finance when it introduced the Section 35 tax competitiveness are needed to counteract these incentive film investment scheme in 1993 setting an trends, if Ireland is to remain as a serious player in international precedent at the time. Over the the international production sector especially given following decade a steady influx of international the challenge of new UK tax scheme being films availed of the scheme, from ‘Brave Heart’ to implemented in 2006. The Irish Film industry’s ‘King Arthur’, generating over G1bn total significant contribution to the broader cultural, production spend in Ireland. social and economic development of Ireland has been recognised and supported politically. If Ireland Since 2003, the number and value of incoming is to restore its competitiveness and position as a international productions has decreased due to favoured location throughout the world significant national and international factors including currency changes to the sector must be reviewed. With fluctuations and increased competition from other some changes to the film tax incentive and the territories. However an increased level of section strengthening and increased competitiveness of the 481 scheme was availed of by local TV production Irish sector from infrastructure to working practices, in the figures for 2004 and 2005. As the end of the Irish film industry should enjoy continued 2005 approaches, two medium budget films development and expansion while contributing originating from foreign producers – ‘Lassie’ and positive economic benefits to Ireland. ‘Whatever Love Means’ have availed of the scheme during the year as have a number of smaller-scale productions for European television.

A weak US dollar for most of the review period, was a significant factor in the decrease of large international productions locating in Ireland. The situation was also greatly impacted by developments in the UK where decisions taken by the revenue authorities through 2004 caused a climate of uncertainty for tax-based funds, which had been universally availed of by large-scale international co-productions shooting in Ireland in recent years.

However, an established relationship with a US producer, judicious use of Section 481 and the ingenuity of Irish production personnel made it possible for Paramount to use central Dublin a location adapted to depict Brooklyn, Manhattan and New Jersey for ‘The Honeymooners’ with a budget of G35m the biggest incoming production of 2004. ‘The Honeymooners’, shot the majority of its 50-day shoot in Dublin using Dublin streets and Ardmore Studios.

With individual US States now offering rebates to the industry such as a 15% subsidy in New York and increasingly well resourced low wage economies of Eastern Europe offering additional inducements based on local spend, Ireland’s competitive advantage has been diminishing throughout the period under review. A recent survey of international production costs undertaken by Screen International put Ireland on a par with the UK in 2004 and quoted trade sources with costs in the Czech Republic at 15% lower, Hungary at 25% lower and Romania at 40% lower.

- 18 - UI IULFDRTO REVIEW 2005 FEDERATION VISUAL AUDIO

- 19 - Appendices

Appendix I: Economic Analysis 2004

Appendix II: Production Details – Summary 1994 - 2004 Comparison

Appendix III: Production Details – By Type of Production – 2004

Appendix IV: Funding Details – By Type of Production - 2004

Appendix V: Contribution of the Irish Film Sector to the Irish Economy 2004

Appendix VI: Clarification Notes

Appendix VII: Section 481 Investment

Appendix VIII: Agencies Involved with the Film Production Industry in Ireland

Appendix IX: List of Productions included in the Report 2004 and 2005

- 20 - UI IULFDRTO REVIEW 2005 FEDERATION VISUAL AUDIO Appendix I Economic Analysis 2004 7.4 0.2 4.4 66.8 10.5 50.9 2004 29.7* 169.9 119.0 m G Total -- 6.5 5.0 2.6 3.0 68.9 67.3 21.410.1 24.1 9.5 80.6 211.4 2002 2003 190.2 320.2 109.6 108.8 - - - - 0.2 7.0 15.1 15.3 22.3 2004 m 27.1 million. G G Animation --- 0.1 4.41.3 7.9 0.1 0.6 - 0.86.6 0.3 8.9 12.419.0 19.2 28.1 2002 2003 119million 70% of the total funding. largest single source of Irish The G - 1.7 1.1 8.0 67.5 16.6 29.6 10.5 59.5 2004 m G -- 9.2 11.2 0.8 1.0 1.6 1.0 0.5 1.2 43.5 47.8 21.210.1 24.0 9.4 42.7 46.8 2002 2003 Independent TV Productions - 5.5 0.1 0.1 3.3 35.1 44.2 35.9 80.1 2004 169.9. Funding from Irish sources amounted to G m G Feature Films Feature 66.8 million. the largest source of non-Irish funding contributing US was The G -- -- 3.7.07 3.4 0.1 1.3 1.5 55.3 48.2 60.367.4 53.2 191.1 2002 2003 127.7 244.3 of which: É TG4 TV3 Other Section 481 Board Irish Film RT Irish Funding • • • Irish Funding Total Non-Irish Funding • • • TOTAL Appendix I: Economic Analysis 2004 FUNDING In 2004, the 184 productions had a combined budget of Section 481which amounted to funding was of Production Type Funding by * Exclude RTEs spend in respect of projects receiving S481 funding * Exclude RTEs

- 21 - Appendix I: Economic Analysis 2004 14.3m, G 0.5 37.9 53.7 40.7 12.5 15.1 2004 106.7 m G contributed to this É 52.3m provided by RT G Of Which Irish Expenditure Of 0.65.2 0.1 8.2 79.6 100.4 37.725.211.9 42.8 30.8 12.0 2002 2003 122.6 151.4 s. Therefore, although for example TG4 are shown to have a total expenditure of 0.9 80.1 67.5 52.3 14.3 22.3 2004 other sources of funding i.e. than the 169.9 –

É m (See (1) Below) G Total Expenditure Total 0.9 0.1 44.229.713.6 47.8 33.6 14.1 18.9 28.1 2002 2003 127.8 244.3 190.9 320.2 106.7 million was spent in the Irish economy. 106.7 million was G and TG4 are based on the returned completed project forms. See clarification notes in appendix VI. É 169.9 million combined budget, É G TG4 RT TV Productions Other Feature Films Feature Productions Independent Television • • • Type of Production Type TOTAL Animation Appendix I: Economic Analysis 2004 EXPENDITURE Of the some of this expenditure arose from other sources funding for TG4 productions e.g. private finance. Similarly RT 1. These Independent TV productions are classified by the organisation which was primarily involved with various production expenditure * The figures for RT

- 22 - UI IULFDRTO REVIEW 2005 FEDERATION VISUAL AUDIO

Appendix I: Economic Analysis 2004 58 42 320 516 416 106.7m in the economy. G Non-Irish Employment 21 273 635 401 213 penditure of Full Time Equivalent Jobs Equivalent Time Full es direct employment generated through the 178 4,725 4,479 6,053 1,248 workers and a 37 hour week for clerical, professional technical workers. l leave days = 232. Of which: Irish Employment 97,239 55 37,783 481,142 707,801 375,907 1,121,491 1,699,872 963 Total Irish Work Hours Work Irish Total 181 151 30 220 5,045 7,995 6,469 1,306 13,221 12,355 866 Total Employment Total 31.6 million on Irish Goods and Services indirect employment generated through the multiplier effects of total ex G É É TG4 TG4 RT TV Productions Other RT TV Productions Other Type of Production Type TV Dramas & Major Films Feature Independent TV Productions • • • Animation TOTAL Type of Production Type Films Feature Independent TV Incl. Major TV Drama • • • Animation TOTAL expenditure of The 232 day working year is derived as follows: 365 minus 104 days weekends 9 public holidays 20 average annua EMPLOYMENT A total of 13,221 people were directly employed in relation to these 184 productions, of which 94% were Irish. figure exclud This of Production - Direct Employment Irish/Non Irish Type Employment by Full-time Jobs of Production - Equivalent Type Employment by 2. Based on a 38 hour week and working year of 232 days. The average is taken from 39 for manual Appendix I: Economic Analysis 2004 A total of 1,699,872 work hours were generated, which translates into 963 full-time jobs (see (2) below).

- 23 - Appendix I:EconomicAnalysis2004

Appendix I: Economic Analysis 2004

Exchequer Returns and Receipts from the Audiovisual Sector

The cost to the Exchequer of Section 481 is the tax foregone on Section 481 investments. The derivation of tax foregone on Section 481 is discussed in Appendix V. For 2003 Section 481 finance was G66.8 million and the tax foregone on this was G22.3 million.

As mentioned above, returns to the Exchequer are derived from incomes and expenditure generated directly and indirectly by the audiovisual industry. In 2003 direct tax receipts were G11.6 million, comprising of G5.4 million from PAYE/PRSI, G5.2 million from schedule D and G1million from VAT and Corporation Tax (see Appendix III). Indirect tax receipts are estimated to have amounted to G22.9 million, giving a total of G34.5 million in receipts.

Thus the net benefit to the Exchequer in 2004 was receipts of G34.5 million less the tax foregone of G22.3 million yielding a net gain of G12.2 million. - 24

1. The effect of ‘Government’ on the multiplier may be added if it is assumed that Government respends fully all income received, with full interaction between Government current outgoings and all economic activities. If this assumption is invalid and the Government decides its expenditure before its revenue is clearly known, the additional Government effect on the multiplier becomes less certain. As a result, the Government effect on the multiplier has been omitted with the result that the multiplier effects shown are, if anything, understated. UI IULFDRTO REVIEW 2005 FEDERATION VISUAL AUDIO Appendix II Production Details - Summary 1995 - 2004 comparison 866 963 50.9 63.1 16.8 23.5 22.3 34.5 12.2 40.3 2004 118.9 106.7 169.8 169.8 13,221 12,355 1,699,872 30 723 29.4 35.0 22.6 52.6 64.4 2003 108.8 211.4 151.4 168.8 320.2 320.2 1,492 11,515 12,238 2,629,824 81.1 68.3 21.2 38.4 21.6 42.8 59.6 21.2 109.8 122.6 190.9 190.9 1,198 10,978 5,446* 16,424 2,111,560 356 23.4 44.5 24.2 47.8 67.9 23.6 2001 2002 111.4 147.6 141.6 117.4 259.0 1,501 259.0 17,079 17,435 2,646,714 80.2 93.1 23.7 43.6 45.1 67.3 116.4 28.8 16.3 129.3 209.5 209.5 2000 1,742 15,750 2,578* 18,328 3,071,108 937 69.58 66.53 23.36 35.17 28.32 40.89 183.6 1,554 58.53 12.57 114.02 117.07 16,224 17,161 183.60 2,739,831 959 76.82 75.55 23.87 26.28 27.93 38.22 1,690 50.15 10.29 107.17 108.44 21,299 183.99 183.99 22,258 2,979,178 44.31 1,380 96.75 59.93 18.67 37.46 26.28 39.62 1,450 56.12 13.34 112.37 17,899 156.69 156.69 19,279 2,556,708 687 8.13 79.23 44.31 78.47 45.08 12.70 21.08 19.17 27.30 1,187 33.78 11,251 123.55 123.55 11,938 2,093,522 5.08 1995 1996 1997 1998 1999 1,859 69.84 57.27 81.39 45.71 13.46 22.73 23.87 28.95 1,266 36.19 16,031 127.10 127.10 17,890 2,232,255 m G m G m G m G m G m m G G m m Other (Schedule D) m – G G G m m G G Production Details Total Numbers Employed Total Irish Employment Total Non-Irish Employment Total Hours Work Irish Total Full-time jobs Equivalent Irish Labour Costs Total Irish Labour Costs Irish Labour Costs – Subject to PAYE Irish Labour Costs – Subject to PAYE Non-Irish Funding Irish Expenditure Net Gain to the Exchequer Total Funding Total to the Exchequer through Section 481 Foregone Tax Gross Return to the Exchequer Total Expenditure Total Irish Funding Non-Irish Expenditure Appendix II: Production Details – Summary 1995 - 2004 Comparison 1. See appendix V for calculation *Specialised requirements of inward productions in 2000 & 2002

- 25 - Appendix III Production Details - By Type of Production – 2004 m G 0.6 3.0 2.4 0.4 5.2 963 50.9 63.1 11.6 40.3 16.8 23.5 169.8 118.9 169.8 106.7 13,221 12,355 1,699,872 All Productions m G - 55 7.0 7.1 0.1 0.1 0.2 0.4 1.5 0.6 0.9 181 151 22.2 15.2 22.2 15.1 0.01 97,239 Animation m G 8.0 0.4 1.9 1.4 0.4 3.3 7.4 9.6 635 67.5 59.5 67.5 53.7 13.8 24.5 14.9 7,995 7,479 2004 1,121,491 – Independent TV Productions m G - 0.2 1.0 0.9 1.7 4.5 6.6 7.7 273 80.1 44.2 35.9 80.1 37.9 42.2 14.3 5,045 4,725 481,142 Feature Films Films Feature By Type of Production By Type – m G m m m G G m m G m G G G m G Schedule D PAYE PAYE Total Tax Tax Total Corp Tax Tax Corp PRSI – – – – – m m G G m m Subject to PAYE Subject to PAYE Other (Schedule D) m – – G G G m m G G Production Details Direct Returns to the Exchequer - Net Vat Vat Direct Returns to the Exchequer - Net Irish Labour Costs Irish Labour Costs Non-Irish Funding Irish Expenditure Total Irish Labour Costs Total Direct Returns to the Exchequer Direct Returns to the Exchequer Direct Returns to the Exchequer Total Funding Total Total Expenditure Total Total Numbers Employed Total Irish Employment Total Hours Work Irish Total Full-time jobs Equivalent Direct Returns to the Exchequer Irish Funding Non-Irish Expenditure Direct Returns to the Exchequer Appendix III: Production Details

- 26 - UI IULFDRTO REVIEW 2005 FEDERATION VISUAL AUDIO Appendix IV Funding Details – By Type of Production - 2004 m G 7.5 0.2 4.1 6.5 2.4 0.9 4.0 10.5 66.8 0.03 0.23 1.06 9.06 51.0 27.06 119.0 169.9 29.7** m All Productions m All G ------0.2 0.3 6.6 7.0 15.1 0.07 0.05 15.3 22.3 m Animation G - - 1.7 0.2 0.9 1.6 0.8 0.4 5.1 8.0 29.6 10.5 16.6 0.03 0.06 0.06 59.5 67.5 Independent TV Productions m G - - - 5.5 0.1 0.2 3.3 4.6 2.4 3.6 0.9 4.0 35.1 0.01 20.4 35.9 44.2 80.1 Feature Films Films Feature By Type of Production - 2004 By Type – on/The Arts on/The Council ireann/Irish Film Board ireann/Irish Film í É ireann* É n na h s á í s na Gaeilge (TG4)* í Source of Funding IRISH - Bord Scann - Deferments Equity,- Other (including Private Sponsorship etc.) Irish Sub Total NON IRISH - Broadcasters - Eurimages - MEDIA Programme - Other UK Sources - Other EU Sources - US - Other Non-Irish Sub Total Total - TV3 - Section 481 (total amount raised) An Chomhairle Eala - - Radio Telef - Radio - Telef Appendix IV: Funding Details Appendix IV: * See appendix VI for clarification spend in respect of projects receiving S481 funding ** Exclude RTEs

- 27 - Appendix V Contribution of the Irish Film Sector to the Irish Economy 2004

This section of the report sets about measuring the GNP and Employment Multipliers contribution of the film production sector to the The data collected is largely based on the economy. This contribution is measured both in production accounts of a ‘standard’ TV, film or terms of tax revenue generated and the impact on animation production. This provides information of GNP and employment. numbers directly employed on a production, but not the numbers employed due to the purchase of Returns to the Exchequer goods and services. Thus, for example, the numbers As noted in Appendix III, the total tax revenue employed in Catering are known only if provided directly attributable to productions is G11.6 million; internally by a production and not if contracted out. the bulk of this revenue is in the form of payroll In order to capture this additional direct taxes. This amount somewhat understates the tax employment, and indeed to capture the wider return from productions, as it excludes both the tax output and employment activity generated by film revenue generated by the contracting out of goods production, the concept of the multiplier is utilised. and services G66.5 million and the tax revenue generated through the expenditure of the net The multiplier captures the overall impact of what income (G40.2m - G10.6m) of Irish employees in might be termed the ripple effects of an economic the film industry. Using a tax multiplier of 25% and activity. For example, a film distributes its budget applying it to the amount spent on goods and amongst various suppliers of Irish goods, services services, IBEC calculates the direct and indirect tax and labour. Each of these individuals will, in turn, revenue generated from this activity to be (0.25* spend a proportion of this additional income on G66.5m) = G16.6 million. Using a tax multiplier of suppliers of Irish goods, services and labour in a 25% and allowing for 15% of an employee’s net ripple effect expanding throughout the economic income to be saved (a marginal propensity to system, far beyond that of the film industry. A GNP consume of 0.85), IBEC calculates the tax and Employment multiplier captures the sum of all contribution of the spending of Irish employees in successive ripples, in terms of both output and the film industry to be (G40.2m - G10.6m) * employment, respectively. The concept of the 0.85*0.25) = G6.3 million. Thus the total indirect multiplier is used by amongst others, IDA Ireland, tax revenue attributable to productions is G22.9 Teagasc and Bord Fáilte. million, giving a total tax revenue, direct and indirect, of G34.5 million. The multipliers used in the analysis are based on the work carried out by Professor Eamon Henry at It is important to weigh these Exchequer benefits the ESRI, applying Input-Output analysis to a 41 from audiovisual production activity against the NACE sector model of the economy. The multipliers cost to the Exchequer, in terms of tax revenue relate specifically to the Other Market Services foregone through Section 481 relief. sector of the Irish economy in 1993.

Under Section 481, individuals and companies may Henry divides the multiplier effect of a given level write off a portion of their tax liability by investing of expenditure into a direct, an indirect and an in a production up to specified limits. Companies induced effect - see following table.1 An indirect discount their investment against a 12.5% (in tax effect results from the purchase of ‘upstream’ year 2004) rate of corporation tax and individuals inputs of goods and services. These are goods and against the 42% rate of income taxation. services that are not directly purchased by an According to the latest figures from the Revenue audiovisual production. The induced effect arises Commissioners, the average tax rate foregone on out of the increase in personal incomes through an investments availing of Section 481 went from injection from outside the economy (foreign 33.6% in the tax year 2003 to 33.5% in the tax investment). Expenditure, which is domestically year 2004. financed, does not have an induced effect as the money has already been circulating within the On balance then, 33.6% of Section 481 funding for economy. As a result the multiplier for foreign- audiovisual production activity is tax foregone by funded expenditure in Ireland is greater than for the state. This amounts to G22.3 million in the domestically funded expenditure. Finally, it is period covered by the report. important to note that by applying the multiplier solely to expenditure on Irish goods, services and labour, the estimate of the activity generated by film production in Ireland is understated by the amount spent by overseas employees whilst in Ireland.

- 28 - UI IULFDRTO REVIEW 2005 FEDERATION VISUAL AUDIO

Contribution of the Irish Film Sector to the Irish Economy 2004

In order to allow for the impact of both domestically funded and foreign-funded expenditure, a composite multiplier is generated comprising the Direct + Indirect multiplier and the Direct + Indirect + Induced multiplier weighted by the proportion of domestic and foreign-funded expenditures respectively. For example, the GNP multiplier is calculated as follows:

(0.7354 * 0.70) + (0.9284 * 0.30) = 0.7932

By applying the composite GNP multiplier of 0.7932 to the Irish expenditure of G106.7 million, we estimate the final contribution of this expenditure to the Irish economy to be G84.6 million. Similarly, by applying a weighted employment multiplier of 50.10 to the expenditure of G106.7 million in Ireland, we estimate the final contribution of this expenditure to Irish employment to be 5,346 full-time jobs.

Methodology The multiplier estimates are taken from a report for Bord Fáilte by Professor Eamon Henry "Estimated Irish 1993 GNP and Employment Multipliers by Input-Output Modelling", tables 6 and 8. The multiplier impact of audiovisual production activity on the economy was calculated, using the Henry multiplier for the NACE sector Other Market Services and allowing for the proportion of domestic and foreign-funded expenditure. The multiplier data for this sector are shown in the table below.

GNP and Employment Multipliers for the Other Market Services Sector, 1993

Direct + Indirect Direct + Indirect Multiplier Direct Direct + Indirect + Induced + + Induced Government

GNP 0.5064 0.7354 0.9284 1.2558

Employment 24.01 35.60 41.96 56.91

Source ESRI/Bord Fáilte

- 29 - Appendix VI Clarification Notes

N1 Certification A significant number of the feature films and major television dramas in this report were subject to terms of Section 481 (previously Section 35) Certification (introduced under section 20 of the Finance Act, 1994). Certification ensures that each proposed qualifying film project is analysed by the Department of Arts, Sport and Tourism for specific contributions in three key areas; creation of employment, return to the Exchequer in terms of value-added and the enhancement of the national culture through the medium of film and television. (Functions transferred from Department of Arts, Heritage Gaeltacht and the Islands in June 2002)

(With effect from 1 January 2005, arising from changes in the Finance Act 2005, Revenue Commissioners now exercise this function; the Department of Arts, Sport and Tourism retains responsibility for authorising projects for such certification on the basis of their cultural content.)

N2 Bord Scannán na hÉireann/Irish Film Board The Board's budget is voted annually by Dáil Éireann and in 2004 the Board received Capital Grant-in-Aid of G10,000,000, of which G1,100,000 was allocated to FÁS/ Screen Training Ireland. The figures in Appendix 1 represent the full amount of the IFB’s commitment to a project and do not take into account timing differences and closing balances at the year end on projects. The figure for independent TV includes schemes and documentaries.

N3 Radio Telefís Éireann A total of 91 independent television productions are analysed in this report, reflecting an RTÉ investment of G52.3m in 2004.

N4 TG4 A total G12 million investment by TG4 in the sector in 2004 was analysed in this report, covering 75 productions. A further G1.5 million spent by TG4 in 2004 on programme and sports rights, etc., falls outside the criteria of this report and as such was not included.

N5 Exchequer Costs It should be noted that in addition to tax foregone, Exchequer support flows to the audiovisual industry through a number of structures including the Irish Film Board, TG4 and Screen Training Ireland. The Irish Film Board and TG4 have extensive public service as well as commercial objectives. Outlays by Screen Training Ireland, which receives some Exchequer support, are specifically aimed at the industry, but all other industries also benefit from Exchequer support for training programmes (e.g. through FÁS), so that the audiovisual industry is not uniquely favoured in this respect. In the light of these considerations, it was decided to continue the practice of confining the comparison to taxes foregone on Section 481 (previously Section 35) investments and taxes generated by film industry activity.

- 30 - UI IULFDRTO REVIEW 2005 FEDERATION VISUAL AUDIO Appendix VII Section 481 Investment

Introduction • Investment may be made by an individual The scheme of tax relief was introduced in 1987 (Section company or a corporate group. Where the total G 35), to promote the Irish film industry, by encouraging investment exceeds 3,810,000, the excess can investment in Irish made films, which make a significant only be invested in productions with a budget G contribution to the national economy and Exchequer and of 5,080,000 or less. / or act as an effective stimulus to the creation of an indigenous film industry in the State. The scheme was • The investment must be used within two years, broadened in 1993 to include individual investors. The for the purpose of enabling the qualifying details of the scheme are contained in Section 481 of company to produce a qualifying film. the Taxes Consolidation Act, 1997, as amended. The Budget of 3 December 2003 extended the scheme to 31 • Tax relief on amounts invested is not allowed December 2008 and increased the limit on monies that until principal photography of the film project can be raised under the scheme from G10.48 million to has commenced. G15million with effect from 1 January 2005. • The production company must be established solely for the purpose of the production of one Summary of the Scheme and only one qualifying film.

• The scheme provides tax relief towards the cost Qualifying Film of production of certain films. The maximum amounts which can be raised under the scheme A qualifying film is a film in respect of which the are: Minister for Arts, Sport and Tourism has given a certificate. From 1 January 2005-certification a) up to 66% of the total cost of a film with a function exercised by the Revenue Commissioners, budget of G5,080,000 or less; with Department of Arts, Sport and Tourism authorising projects based on cultural content. b) up to 55% of the total cost of a film with a budget of between G6,350,000 and G19,050,000, with a sliding scale for films with Qualifying Company a budget between G5,080,000 and G6,350,000; A qualifying company for the purposes of the scheme, is an Irish incorporated and resident c) from 1 January 2005, up to G15million maximum company or a company, which is carrying on a trade for films with a budget over G19,050,000. in the State through a branch or agency. The company must exist solely for the production • Tax relief on 80% of their investments is available and distribution of one and only one qualifying film. to individual investors and to corporate investors on amounts invested. Under Revenue Rules, to qualify for the tax relief, a risk requirement must attach to the investment, i.e. • Individual investors can invest up to G31,750 a return cannot be guaranteed to the investor. under the scheme in any year of assessment. An investor who cannot obtain relief on all his /her investment in a year of assessment, either because his/her investment exceeds the maximum of G31,750 or his/her income in that year is insufficient to absorb all of it, can carry forward the unrelieved amount to following years up to 31 December 2004, subject to the normal limit of G31,750 on the amount of investment that can be relieved in any one year.

• A corporate investor and any connected companies can invest up to G10,160,000 in any 12 month period. The total amount which can be invested in any one film cannot exceed G3,810,000.

- 31 - Appendix VIII Agencies Involved with the Film Production Industry in Ireland

(a) Steering Committee Organisations from broadcasters RTÉ, TG4, UTV and independent producers to corporate video producers, animation studios, facilities, legal and financial firms involved An Roinn Ealaíon, Spóirt agus in the audio-visual sector and video rental Turasóireachta/Department of Arts, companies. Affiliated member organisations include Screen Producers Ireland, Bord Scannán na Sport and Tourism hÉireann, Film Base, The Film Institute of Ireland, The Department of Arts, Sport and Tourism Enterprise Ireland & Ùdaràs na Gaeltachta. (established since June 2002) has overall Government policy responsibility for the future development of both the film and television Bord Scannán na hÉireann/Irish production industry in the State( having been Film Board previously under the aegis of the Department of Bord Scannán na hÉireann/the Irish Film Board was Arts, Culture and the Gaeltacht, since 1993). Since reconstituted in April 1993 by the Department of the Finance Act of 1994, the Department has had an Arts, Heritage, Gaeltacht and the Islands under the active role in the Section 35 (now S481 of the Taxes Film Board Act, 1980. The Irish Film Board promotes Consolidation Act 1997) investment incentive the creative and commercial development of Irish scheme, through the certification process. The filmmaking and promotes Ireland as a location. Minister (to 31 December 2004) is the certifying authority in certifying qualifying films and the Bord Scannán na hÉireann provides loans and process has enabled the Department to ensure that equity investment to independent Irish film-makers the main aim of the Section 481 relief remains to assist in the development and production of Irish focused on promoting the growth of the indigenous films. The Board also acts in co-operation with other film industry. (With effect from 1 January 2005, Irish semi-State agencies to improve the marketing, arising from changes in the Finance Act 2005, sales and distribution of Irish films and to promote Revenue Commissioners now exercise this function; training and development in all areas of film- the Department of Arts, Sport and Tourism retains making. Employment of Irish crew and the use of responsibility for authorising projects for such ancillary Irish services is a vital factor in the Board's certification on the basis of their cultural content.) consideration of applications. The Budget of 3 December 2003 extended the scheme to 31 December 2008 and increased the Eurimages limit on monies that can be raised under the scheme from G10.48 million to G15million with Eurimages, founded by the Council of Europe, effect from 1 January 2005. provides production finance for European co- productions. The Irish Government has participated Arising from the recommendations in the 1999 in the scheme since 1992. In 2004 Bord Scannán na Report of the Film Industry Strategic Review Group, hÉireann / the Irish Film Board paid Irelands G the Department completed the restructuring plans contribution of 222,560. Brendan McCarthy was G for the Irish Film Board, whereby the staffing the Irish Representative. Ireland received 890,000 complement was increased to 16 officers within a of production funding in 2004 from the fund. newly developed corporate arrangement, thus facilitating the Board in meeting the on-going challenges facing the industry. Radio Telefís Éireann (RTÉ) "The IPU is RTE's interface with the independent The Department provides Bord Scannán na hÉireann sector. RTE's primary responsibility is to it's / the Irish Film Board with grants-in-aid for its audience, and the quality and range of current and capital operations. From 2000, the commissioned programmes plays a key role in Board’s capital operations are being funded by the helping RTE to deliver the most successful television Exchequer, under the National Development Plan schedules in Ireland. RTE achieved this with almost 2000-2006. 60 % home production on its peak-time schedule on RTE One and 30 % on RTE Two during 2004. RTE Television's share continued to grow in 2004, despite intense competition, reflecting the strength Audiovisual Federation (AF) of home production. The key driver in this success The Audiovisual Federation was established in is home-production, with Irish news, stories, September 1992 to promote the development of entertainment and drama for the Irish audience. Ireland’s audiovisual production and distribution RTE's independent commissions (alongside it's industry. Its membership comprises firms ranging in-house production) are what deliver this strong

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Appendix VIII: Agencies Involved with the Film Production Industry in Ireland

performance. Commissioned Irish content satisfies (b) Other Agencies viewers, underpins RTE's Public Service remit, and meets the commercial and creative aspirations of Údarás na Gaeltachta the Irish independent sector. The volume of hours Údarás na Gaeltachta, whose statutory brief is to and the actual spend on independent production develop the economy of the Gaeltacht, has actively have increased enormously since the first year of encouraged growth and development of the operation of the IPU in 1999. RTE's increased audiovisual sector in the Gaeltacht since the G annual spend ( 51 m. in 2004 in respect of 878 beginning of the 90’s and continues to do so. The hours of commissioned programming) continues to organisation’s commitment to the sector is evident underpin the growth of the Irish independent in its support of independent production companies, sector, and assisted in job creation, economic production and post production facilities, training growth and creative expression in this dynamic initiatives and a willingness to cooperate/liaise with sector." organisations that are responsible for the promotion of the sector both nationally and TG4 internationally. TG4 is Ireland’s Irish language television service Údarás na Gaeltachta recognises the importance of and broadcasts on its own channel, available the international dimension in the audiovisual nationally on terrestrial analogue, digital cable and sector and foresees the need for Gaeltacht based subscription satellite. production companies to reduce their dependency on the home market and to pursue opportunities Its core remit is to broadcast a comprehensive globally. The creation of content for various range of quality, relevant Irish language platforms, particularly in international markets, programming to the national audience as a Public could certainly assist in the pursuance of this Service. The channel is funded by the Exchequer. objective. Companies need to be constantly During 2004, TG4 received G23.29m grant-in-aid evolving, innovating and adapting to audience from the Department of Communications, Marine demands and converging technologies. and Natural Resources. An tÚdarás welcomes the establishment of the TG4 functions primarily as a publisher/broadcaster BCI’s Funding Scheme ‘Sound and Vision’ and the and currently operates under the statutory aegis of opportunities it affords. Údarás na Gaeltachta is the RTÉ Authority. The Broadcasting Act 2001 confident that the fund will have a positive impact contains a provision that would enable the service on Gaeltacht producers who will endeavour to ensure that quality Irish content, in the various to be given statutory independence. This provision themes and genres, are made available to Irish has not yet been activated. But the Minister has audiences. repeated that it is the Government’s intention to do so. TG4 is in receipt of the equivalent of one hour a day of programming from RTÉ at no cost to TG4. MEDIA Desk Ireland and MEDIA The channel currently broadcasts for an average of Antenna Galway 19 hours per day, with an average of six hours a MEDIA Desk Ireland (supported by the European day of Irish language programming. Commission’s MEDIA Programme, the Film Institute of Ireland, Screen Producers Ireland, Dublin City University, Film Base, Bord Scannán na hÉireann and Screen Producers Ireland (SPI) RTÉ) and MEDIA Antenna Galway (supported by the Screen Producers Ireland (SPI) is the representative European Commission’s MEDIA Programme, Údarás body for over 225 independent film, television, and na Gaeltachta, Bord Scannán na hÉireann, TG4 and animation production companies in Ireland. the Galway Film Centre) are information offices for the MEDIA Programme of the European Union. The MEDIA Desk and Antenna provide advice, technical On behalf of its members the organisation seeks to assistance and consultancy for audiovisual create an improved environment for producers, professionals in international and national markets which will assist growth in the industry. SPI reflects and festivals, as well as facilitating the integration members’ concerns on a variety of issues affecting of the Irish audiovisual industry within Europe. the current and future working environment of the Along with providing information on the MEDIA independent film, television and animation sector. It Programme, the MEDIA Desk and Antenna also represents these views to the appropriate state, provide information on Eurimages and on EU semi-state and international bodies. Audiovisual Policy in general.

- 33 - - 34 - Appendix IX for 2004 TV Drama Film& Major Animation 2004 TV for 2005 TV Drama Film &Major Title Animation Project Type of 2005 2004 and2005 List ofProductionsincludedintheReport Love istheDrug The LeagueofGentlemen The Honeymooners Malice Aforethought PICME Zombie Hotel Tutenstein (series1) Pet Alien Little Vampire Lilly the Witch RT The ClinicSeries3 48 Angels In Like Flynn Speed Dating Studs Dead LongEnough Middletown The Front Line Johnny Was An Ocean Apart The Wind thatShakes theBarley Whatever LoveMeans Pavee Lackeen Lassie PICME (Series2) Tutenstein (Series2) Slim PigSeriesII Todd World Ugly Ducking&Me Pet Alien Zombie Hotel Roobarb &Custard Brendan &theSecretofKells TG4 Always More Than Loads Running toStandStill Stardust Fallout Showbands Series2 The LastFurlong Isolation The Mighty Celt Short Order Showbands Foreign Exchange Ros naRunSraith9 Whiskey Echo The Clinic Pure Mule Proof 2 É

(not available attimeofprinting) (not available attimeofprinting) (RT (RT (RT (RT É (RT É Commission) É (RT Commission) Commission) É É Commission) Commission) É Commission) (RT (RT (RT (RT ’ É É (TG4 Commission) (RT Commission) É Commission) É (RT Commission) Commission) É Commission) (RT ’ É s Apocalypse Commission) É Commission) - 35 RT É See For Me Scrap Lads/Townlands Scope Special Scope 2 Ryan Confidential2004 Preachers Planxty Liveat Vicar Street Patrick Kavanagh NoMan'sFool Other Voices -SongsfromaRoom Never JudgeaBook Ms Etiquette MONO Meet theFamily ChristmasSpecial Meet theFamily Masses/Services 2004&2005 Marooned Killinaskully John ofGod John McGahern How LowCan You Go Hitlers IrishOrphans Health SquadRevisited Health SquadChristmasSpecial Health Squad Hanging With HectorChristmasSpecial Hector Hanging With Go forit Global BeatsChristmasSpecial Gerry RyanHitlist Germany Calling agus AbairAmhran Geantrai Gerry Ryan Fleadh Cheoil04 Farewell Network2 Ear totheGround2004/05 Desperately SeekingSurgery Des BishopLiveChristmasSpecial Dear Frankie Daniel O'DonnellChristmasSpecial 04 Howwas itforyou Cracking Crime(Series3) Coulter &CompanySeries2 Communion Kids Close Encounters Brides ofFranc Breaking Ball2004-Series6 Breaking Ball Blizzard ofOddSeries4 BBX Bare Daingean Nollaig An An EveningPrayer Hair A Womans A ScareatBedtime 40 Years Breakfast onPluto Tara Road Boy EatsGirl ’ s XmasHitlist2004

Design and print: Shay Kennedy - [email protected] AUDIO VISUAL FEDERATION REVIEW 2005 REVIEW FEDERATION VISUAL AUDIO Appendix IX: List of Productions included in the Report 2003 and 2004

2004 continued TG4 Fullerton cont. GAA 2004 Type of Gael Linn Project Title Garden Ceoil 04 Glór Tire Show me the Money Gradam Ceoil 2004 Showhouse Imigh le Sruth Spit on me Dickie Is Mise Dermot St. Patricks Festival Is Mise Joe Stealing Beauty La Nina Bonita agus An Róisín Dubh The Agency Laochra Gael 4 The Big Bite Logainmneacha The Chosen Seven Monarchan The Day of the Conclave Muca le Maidí The Dinner Party Music Series The Ex Files Myles na gCopaleen The Frames Live Na Bréagáin The Liffy Laugh Na Neachtain The Morrison Tapes Ten Years Later Na Normannaigh Ollsoláthar Spóirt TG4 The Panel Ollsolathar Spóirt TG4 03/05 The Panel Xmas Special Paisean Faisean The Raw Bar - Series 2 Plastics Paddies The Restaurant Pop 4 agus Ceol Tíre The Snip Pop 4 agus Ceol Tíre Tough of the Turf Proinsias Underdogs 2004 Rang a Dó Unfaithful Ringy Rógairí TG4 Sa Deireadh Thiar Saol a’ Mhadra An Báthadh Mór /This Thing Happened Scéal an Damhsa An Domhnach in Éirinn Sé Mo Laoch/ Caipíní An Plassey Siar sna Seachtóidí - 1974 An Tobar (The Well) Slán on Stoirm Aon Bhliain Eile SOS Cogaidh Ar an Imeall Tréadaí An Chnoic Bezads Last Journey Underdogs 2004 Bezads Last Journey / Iran Womens Football Brian ag Brú Butte Montana & Spailpín Fánach Cant TV Other Among Strangers Caoineadh na dTrí Muire Before Sunrise Cartoon Dubbing Calification Conradh Dubála Colder Cinegael Paradiso Dick Terrapin Clar Beo Oireachtais Hereafter Concerto Chaitlín Maude Rebel Frontier Cosc ar Ghnéas/A Ban on Sex Recoil Cracking Crime Sugar Cruach Phádraig The Family Tree DDT Winters End Déaglán Tilly & the Teeth Dubáil The Anarchic Hand Affair Dubail 2004 Éagsúil Edge of Reason - Pilot Fear an Phoist 2 Filí na gCnoc

- 36 - AUDIO VISUAL FEDERATION REVIEW 2005 in Ireland Review 2005 Federation Audiovisual Film & Television Production Film Television & Ibec AV Cover 05 Fin 1 12/12/05 1:36 pm Page 2 Page pm 1:36 12/12/05 1 Fin 05 Cover AV Ibec Ibec AV Cover 05 Fin 1 12/12/05 1:36 pm Page 1

Film & Television Production in Ireland Audiovisual Federation Review 2005

IBEC AUDIOVISUAL FEDERATION An affiliate association within IBEC | the Irish Business and Employers Confederation Confederation House, 84/86 Lower Baggot Street, Dublin 2 Tel: + 353 - 1 - 6601528, Fax: + 353 - 1 - 6381528 Email: [email protected] Website: www.ibec.ie

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