Film Financing and Television Programming: a Taxation Guide
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RESUME 20 CONFERENCE Bucharest, 24 – 26 November 2017
RESUME 20TH CONFERENCE Bucharest, 24 – 26 November 2017 20th Europa Cinemas Conference 2 TABLE OF CONTENTS OPENING OF THE 20th EUROPA CINEMAS CONFERENCE…………………………………………………….8 Nico Simon – President of Europa Cinemas………………………………………………………………………….……….8 Lucia Recalde - Head of Unit Creative Europe/MEDIA, EuropeanCommission……………………………...8 Claude-Eric Poiroux – General Director of Europa Cinemas…………………………………………………………..9 SESSION I – THE CHANGING CINEMA EXPERIENCE IN CHANGING TIMES…………………………10 Both directed by Michael Gubbins – Consultant, SampoMedia, UK Introduction: Keynote Interview with Cristian Mungiu (Director, Exhibitor and Distributor, Romania)………………………………………………………………………………………………………………………10 PANEL I – Entrepreneurialism & Evolving Cinema Experience…………………………………….……13 The role of entrepreneurial business thinking and practice Enhancing the cinema environment: architecture, design, sound and vision The essential role of cinema in communities across Europe Film as a vital art form in a period of disruptive change Lionello Ceri – CEO, Anteo & Producer, Lumière & Co, Italy………………………………………………………13 Heinrich-Georg Kloster – CEO, Yorck Kinogruppe, Germany…………………………………………..…….…..13 Bero Beyer – General and Artistic Director, Intl Film Festival Rotterdam, The Netherlands…………………………………………………………………………………………………………………..……….…14 Prof. Kazu Blumfeld Hanada & Diego Kaiser – Hands on Cinema, Münster School of Architecture, Germany………………………………………………………………………………………………………………15 PANEL 2 – Independence of Choice: Challenges & Opportunities for Cinema …………………16 -
Energy & Power Industry Update
Energy & Power Industry Update February 2012 Member FINRA/SIPC www.harriswilliams.com Energy & Power Industry Update February 2012 What We’ve Been Reading • Despite a warm embrace of the natural gas industry from President Obama in his 2012 State of the Union Address, January has been a tough month for fuel. An unusually mild winter has dampened demand, sent prices to new lows, and accelerated rig count shifts towards liquids-rich plays. Most notably, Chesapeake Energy, self-proclaimed as “America’s Champion of Natural Gas,” announced that it would divert approximately $2 billion of capital slated for natural gas drilling to more profitable oil-directed drilling. The net effect on North American drilling activity from this shift is expected to be minimal. In fact, many of the oilfield services majors offered bullish commentary on North American activity despite some pricing headwinds in dry gas basins. We’ve included some of that commentary on the following pages for reference. • While natural gas may be encountering some near-term hurdles, the long-term view is certainly positive. This is made particularly clear in Black & Veatch’s (“B&V”) Energy Market Perspective 2011 Fall Forecast Overview: Adapting to the “New Normal,” which deserves mention for the length of its title alone. The report notes that approximately 300,000 MW of natural gas capacity could be added over the next 25 years. Part of this growth is due to the fact that more than 61,500 MW of coal capacity in the continental U.S. may be retired by 2020 (28,000 MW of coal plant retirements have already been announced). -
Video Games and Financial Literacy
Video Games and Financial Literacy The following games can be used to enhance 86 percent. Less than half of players financial literacy. Background on using real understood finance charges before playing, games in financial learning from recent while 82 percent did so afterward. And literature on the topic follows the game list. women said they felt more confident about handling finances after playing EverFi. www.everfi.com Practical Money Skills EverFi is a web-based simulation game http://www.practicalmoneyskills.com/games/ designed for individuals ages 16-24 that trainingcamp/. covers a wide range of financial topics. This This website contains seven free games that link: can be embedded at no cost in other http://www.everfi.com/images/screenShots/EverFi websites. The most widely used is Financial LifeMap.jpg provides a screenshot. EverFi Football, a joint venture between Visa and contains many “virtual worlds” and the NFL. The game is accompanied by a interactive activities including a tour of the classroom curriculum designed for high NY Stock Exchange and a used-car school students. Teams compete by dealership. EverFi offers a five-hour series of answering multiple-choice questions to earn Web tutorials. This is a SimCity-style game in yardage and score touchdowns. Financial which they control characters‟ spending Football has been distributed by 23 state habits, rewarding good choices and suffering governments to every public high school in the consequences of bad ones. those states. Building on the success of Financial Football, Visa recently released Doorways to Dream’s (D2D’s) Celebrity Financial Soccer (Financial Football outside of the US), an interactive FIFA-themed video Calamity game that tests users‟ knowledge of personal www.celebritycalamity.com. -
Next-Gen Technology Transformation in Financial Services
April 2020 Next-gen Technology transformation in Financial Services Introduction Financial Services technology is currently in the midst of a profound transformation, as CIOs and their teams prepare to embrace the next major phase of digital transformation. The challenge they face is significant: in a competitive environment of rising cost pressures, where rapid action and response is imperative, financial institutions must modernize their technology function to support expanded digitization of both the front and back ends of their businesses. Furthermore, the current COVID-19 situation is putting immense pressure on technology capabilities (e.g., remote working, new cyber-security threats) and requires CIOs to anticipate and prepare for the “next normal” (e.g., accelerated shift to digital channels). Most major financial institutions are well aware of the imperative for action and have embarked on the necessary transformation. However, it is early days—based on our experience, most are only at the beginning of their journey. And in addition to the pressures mentioned above, many are facing challenges in terms of funding, complexity, and talent availability. This collection of articles—gathered from our recent publishing on the theme of financial services technology—is intended to serve as a roadmap for executives tasked with ramping up technology innovation, increasing tech productivity, and modernizing their platforms. The articles are organized into three major themes: 1. Reimagine the role of technology to be a business and innovation partner 2. Reinvent technology delivery to drive a step change in productivity and speed 3. Future-proof the foundation by building flexible and secure platforms The pace of change in financial services technology—as with technology more broadly—leaves very little time for leaders to respond. -
A Producer's Handbook
DEVELOPMENT AND OTHER CHALLENGES A PRODUCER’S HANDBOOK by Kathy Avrich-Johnson Edited by Daphne Park Rehdner Summer 2002 Introduction and Disclaimer This handbook addresses business issues and considerations related to certain aspects of the production process, namely development and the acquisition of rights, producer relationships and low budget production. There is no neat title that encompasses these topics but what ties them together is that they are all areas that present particular challenges to emerging producers. In the course of researching this book, the issues that came up repeatedly are those that arise at the earlier stages of the production process or at the earlier stages of the producer’s career. If not properly addressed these will be certain to bite you in the end. There is more discussion of various considerations than in Canadian Production Finance: A Producer’s Handbook due to the nature of the topics. I have sought not to replicate any of the material covered in that book. What I have sought to provide is practical guidance through some tricky territory. There are often as many different agreements and approaches to many of the topics discussed as there are producers and no two productions are the same. The content of this handbook is designed for informational purposes only. It is by no means a comprehensive statement of available options, information, resources or alternatives related to Canadian development and production. The content does not purport to provide legal or accounting advice and must not be construed as doing so. The information contained in this handbook is not intended to substitute for informed, specific professional advice. -
A Dark New World : Anatomy of Australian Horror Films
A dark new world: Anatomy of Australian horror films Mark David Ryan Faculty of Creative Industries, Queensland University of Technology A thesis submitted in fulfillment of the degree Doctor of Philosophy (PhD), December 2008 The Films (from top left to right): Undead (2003); Cut (2000); Wolf Creek (2005); Rogue (2007); Storm Warning (2006); Black Water (2007); Demons Among Us (2006); Gabriel (2007); Feed (2005). ii KEY WORDS Australian horror films; horror films; horror genre; movie genres; globalisation of film production; internationalisation; Australian film industry; independent film; fan culture iii ABSTRACT After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. -
(Amendment) (Tax Concessions for Carried Interest) Ordinance 2021 2021 年第 9 號條例 Ord
《2021 年稅務 ( 修訂 ) ( 附帶權益的稅務寬減 ) 條例》 Inland Revenue (Amendment) (Tax Concessions for Carried Interest) Ordinance 2021 2021 年第 9 號條例 Ord. No. 9 of 2021 A182 A183 《2021 年稅務 ( 修訂 ) ( 附帶權益的稅務寬減 ) 條例》 Inland Revenue (Amendment) (Tax Concessions for Carried Interest) Ordinance 2021 目錄 Contents 條次 頁次 Section Page 1. 簡稱 ........................................................................................ A186 1. Short title ................................................................................ A187 2. 修訂《稅務條例》 ..................................................................... A186 2. Inland Revenue Ordinance amended ...................................... A187 3. 修訂第 2 條 ( 釋義 ) ................................................................ A188 3. Section 2 amended (interpretation) ......................................... A189 4. 修訂第 4 條 ( 公事保密 ) ......................................................... A188 4. Section 4 amended (official secrecy) ....................................... A189 5. 修訂經《2020 年稅務 ( 修訂 ) ( 與保險有關的業務的利 5. Section 19CA (as amended by section 7 of the Inland 得稅寬減) 條 例》(2020 年第15 號 ) 第 7 條修訂的第 Revenue (Amendment) (Profits Tax Concessions for 19CA 條 ( 根據第 19CAB 及 19CAC 條對未吸納虧損的 Insurance-related Businesses) Ordinance 2020 (15 of 處理:釋義 ) ........................................................................... A188 2020)) amended (treatment of unabsorbed losses under 6. 修訂第 20AN 條 ( 某些基金的某些利潤獲豁免繳付利得 sections 19CAB and 19CAC: interpretation) .......................... A189 稅 ) ......................................................................................... -
BULLETIN for FILM and VIDEO INFORMATION Vol. 1,No.1
EXHIBITION AND PROGRAMMING in New York : BULLETIN FOR FILM AND VIDEO INFORMATION Independent Film Showcases Film Archives, 80 Wooster st. N.Y.,N.Y.10012 Vol. 1,No .1,January 1974 Anthology (212)758-6327 Collective for the Living Cinema, 108 E 64St . N.Y.,NY.10021 Forum, 256 W 88 St . N.Y .,N .Y.10024 (212)362-0503 Editor : Hollis Melton ; Publisher : Anthology Film Archives ; Film Millennium, 46 Great Jones St. N.Y .,N.Y.10003, (212) 228-9998 Address: 80 Wooster st., New York, N .Y. 10012; Yearly subscription : $2 Museum of Modern Art, 11 W 53 St . N.Y.,N.Y.10019 (212) 956-7078 U-P Screen, 814 Broadway at E 11th St . N.Y. N.Y. 10003 Whitney Museum, 945 Madison Ave . at 75St . N.Y.,N.Y.10021 (212) 861-5322 needs of independent The purpose of this bulletin is to serve the information San :Francisco : their users. The bulletin is organized around five film and video-makers and Canyon Cinematheque,San Francisco Art Institute, 800 Chestnut St., film and video-making ; distribution ; exhibition aspects of film and video: San Francisco, Ca . (415) 332-1514 ; study; and preservation . There is very little in this iddue and programming Film Archive, University Art Museum, Berkeley, Ca. 94720 due to a lack of response from video-makers . Your suggetions and Pacific on video (415) 642-1412 comments will be welcomed . San Francisco Museum of Art, Van Ness & McAllister Streets, San Francisco Ca. (415) 863-8800 DISTRIBUTION that Include Screening Work by A brief note on non-exclusive distribution Regional Centers with Film Programs Independent Film-makers. -
A Filmmakers' Guide to Distribution and Exhibition
A Filmmakers’ Guide to Distribution and Exhibition A Filmmakers’ Guide to Distribution and Exhibition Written by Jane Giles ABOUT THIS GUIDE 2 Jane Giles is a film programmer and writer INTRODUCTION 3 Edited by Pippa Eldridge and Julia Voss SALES AGENTS 10 Exhibition Development Unit, bfi FESTIVALS 13 THEATRIC RELEASING: SHORTS 18 We would like to thank the following people for their THEATRIC RELEASING: FEATURES 27 contribution to this guide: PLANNING A CINEMA RELEASE 32 NON-THEATRIC RELEASING 40 Newton Aduaka, Karen Alexander/bfi, Clare Binns/Zoo VIDEO Cinemas, Marc Boothe/Nubian Tales, Paul Brett/bfi, 42 Stephen Brown/Steam, Pamela Casey/Atom Films, Chris TELEVISION 44 Chandler/Film Council, Ben Cook/Lux Distribution, INTERNET 47 Emma Davie, Douglas Davis/Atom Films, CASE STUDIES 52 Jim Dempster/bfi, Catharine Des Forges/bfi, Alnoor GLOSSARY 60 Dewshi, Simon Duffy/bfi, Gavin Emerson, Alexandra FESTIVAL & EVENTS CALENDAR 62 Finlay/Channel 4, John Flahive/bfi, Nicki Foster/ CONTACTS 64 McDonald & Rutter, Satwant Gill/British Council, INDEX 76 Gwydion Griffiths/S4C, Liz Harkman/Film Council, Tony Jones/City Screen, Tinge Krishnan/Disruptive Element Films, Luned Moredis/Sgrîn, Méabh O’Donovan/Short CONTENTS Circuit, Kate Ogborn, Nicola Pierson/Edinburgh BOXED INFORMATION: HOW TO APPROACH THE INDUSTRY 4 International Film Festival, Lisa Marie Russo, Erich BEST ADVICE FROM INDUSTRY PROFESSIONALS 5 Sargeant/bfi, Cary Sawney/bfi, Rita Smith, Heather MATERIAL REQUIREMENTS 5 Stewart/bfi, John Stewart/Oil Factory, Gary DEALS & CONTRACTS 8 Thomas/Arts Council of England, Peter Todd/bfi, Zoë SHORT FILM BUREAU 11 Walton, Laurel Warbrick-Keay/bfi, Sheila Whitaker/ LONDON & EDINBURGH 16 article27, Christine Whitehouse/bfi BLACK & ASIAN FILMS 17 SHORT CIRCUIT 19 Z00 CINEMAS 20 The editors have made every endeavour to ensure the BRITISH BOARD OF FILM CLASSIFICATION 21 information in this guide is correct at the time of GOOD FILMS GOOD PROGRAMMING 22 going to press. -
Guide to Shipping Register and Shipping Tax Regime in Hong Kong Contents
Guide to Shipping Register and Shipping Tax Regime in Hong Kong Contents The Hong Kong Shipping Register 1 Taxation of Shipping Profits in Hong Kong 8 Schedule 12 The Hong Kong Shipping Register Until 3 December 1990, the United Kingdom Merchant Shipping Acts (the “Acts”) (except for the Merchant Shipping Act 1988) applied to registration of ships and to mortgages of ships in Hong Kong. A ship registered at the Port of Hong Kong was, therefore, a British ship. Hong Kong reverted to Chinese sovereignty on 1 July 1997 and became a Special Administrative Region of the People’s Republic of China. Section VIII of Annex I to the Sino- British Joint Declaration which relates to the transfer of sovereignty states that: “The Hong Kong Special Administrative Region shall maintain Hong Kong’s previous systems of shipping management and shipping regulation, including the system for regulating conditions of seamen. The specific functions and responsibilities of the Hong Kong Special Administrative Region Government in the field of shipping shall be defined by the Hong Kong Special Administrative Region Government on its own. Private shipping businesses and shipping-related businesses and private container terminals in Hong Kong may continue to operate freely. The Hong Kong Special Administrative Region shall be authorised by the Central People’s Government to continue to maintain a shipping register and issue related certificates under its own legislation in the name of ‘Hong Kong, China’.” The Hong Kong Government appointed a Steering Committee in 1987 to advise the Government on the establishment of an independent shipping registry. The result was enacted as the Merchant Shipping (Registration) Ordinance (Cap 415) (the “Ordinance”), which came into effect on 3 December 1990. -
Inland Revenue (Amendment) (Miscellaneous Provisions) Ordinance 2021 Contents
《2021 年稅務 ( 修訂 ) ( 雜項條文 ) 條例》 Inland Revenue (Amendment) (Miscellaneous Provisions) Ordinance 2021 2021 年第 18 號條例 Ord. No. 18 of 2021 A2100 A2101 《2021 年稅務 ( 修訂 ) ( 雜項條文 ) 條例》 Inland Revenue (Amendment) (Miscellaneous Provisions) Ordinance 2021 目錄 Contents 條次 頁次 Section Page 第 1 部 Part 1 導言 Preliminary 1. 簡稱 ...................................................................................... A2108 1. Short title .............................................................................. A2109 2. 修訂《稅務條例》 ................................................................... A2110 2. Inland Revenue Ordinance amended .................................... A2111 第 2 部 Part 2 關乎合資格合併的修訂 Amendments relating to Qualifying Amalgamations 3. 加入第 6C 部 ........................................................................ A2112 3. Part 6C added ....................................................................... A2113 第 6C 部 Part 6C 合資格合併 Qualifying Amalgamations 40AE. 釋義 .................................................................... A2112 40AE. Interpretation ...................................................... A2113 40AF. 第 6C 部的適用範圍 ........................................... A2116 40AF. Application of Part 6C ....................................... A2117 40AG. 參與合併公司視為已停止經營某行業、專業 40AG. Amalgamating company treated as having 或業務 ................................................................. A2116 ceased to carry on trade, profession or 40AH. 參與合併公司的暫繳利得稅 .............................. A2116 business .............................................................. -
Film Financing
2017 An Outsider’s Glimpse into Filmmaking AN EXPLORATION ON RECENT OREGON FILM & TV PROJECTS BY THEO FRIEDMAN ! ! Page | !1 Contents Tracktown (2016) .......................................................................................................................6 The Benefits of Gusbandry (2016- ) .........................................................................................8 Portlandia (2011- ) .....................................................................................................................9 The Haunting of Sunshine Girl (2010- ) ...................................................................................10 Green Room (2015) & I Don’t Feel at Home in This World Anymore (2017) ...........................11 Network & Experience ............................................................................................................12 Financing .................................................................................................................................12 Filming ....................................................................................................................................13 Distribution ...............................................................................................................................13 In Conclusion ...........................................................................................................................13 Financing Terms .....................................................................................................................15