2004 Federation Visual Audio

UI IULFDRTO REVIEW 2004 FEDERATION VISUAL AUDIO

Film Production in Ireland

Audiovisual Federation Review 2004 IBEC Audiovisual Federation Confederation House, 84/86 Lower Baggot Street, Dublin 2 Tel: ++353-1-6601528, Fax: ++353-1-6381500 Website: www.ibec.ie UI IULFDRTO REVIEW 2004 FEDERATION VISUAL AUDIO

Film Production in Ireland

Audiovisual Federation Review

2004

- 1 - 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 Paul Kavanagh, Executive Niamh Collins, Executive Carolyn Doumeni, Personal Assistant Tel: 01-605 1528 Fax:01-638 1528 email: [email protected] Web: www.ibec.ie/

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Ireland in their words

“As so many films have been made in Ireland, the people are well trained. It’s easier if you don’t have to bring a lot of crew in from America or Europe. You save a lot of money that way so it’s a big incentive.”

Jerry Bruckheimer, Bruckheimer Films Jerry Bruckheimer

"In 2003 RTÉ took the brave move of fully financing 'The Clinic' - 8 hours of drama for television. RTÉ's immediate support allowed the creative team the space needed to create and define the characters and storylines. This led to one of the most positive working experiences I have had, enabling the production of a series we can all be proud of. The series was a hit with the viewing public and international interest in the series is intense and it seems we also have created an export".

Alan Moloney, Producer Alan Moloney

“The quality of the work for the money is outstanding, the tax break gets people to come and have a look.”

Ned Dowd, Executive Producer, King Arthur Ned Dowd

``We make many films over here. One of the major reasons is because of the tax credit and the fact that, over the years, a tremendous amount of Irish talent has been developed, both in front of the camera and behind it.”.

Dick Cook, Chairman Walt Disney Studios Dick Cook

"This is my fifth film in Ireland. Over the years I have seen the crews grow in confidence and this last crew on "Tara Road" was a real delight, demonstrating the highest professional standard. The atmosphere on set was a bonus; this really was the nicest group of people I ever worked with."

Gillies MacKinnon, Tara Road Director Gillies MacKinnon

"Ros na Rún, a commission by TG4, is a shining example of visual storytelling for television. Beatha teanga í a labhairt. Our production site is a high-tech set located in the Connemara Gaeltacht, a centre of excellence for television production, a major local employer and a mini campus echoing the diverse dialects and the many levels of language proficiency".

Maire Ní Thuathail, Producer, Ros na Rún Maire Ní Thuathail

- 3 - Audiovisual Federation Review 2004

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 2003. It also gives an overview of productions to date in 2004.

This is the tenth 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

Radio Telefís Éireann Michael Hyland Aoife Savage

TG4 Pádhraic Ó Ciardha Mary Uí Chadhain

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

Screen Producers Ireland Malcolm Byrne Siobhan Kennedy

Facilities Kevin Moriarty, Ardmore Studios

Animation Sector Paul Cummins, Telegael

Audiovisual Federation of IBEC Tommy McCabe (Director) Paul Kavanagh Niamh Collins 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 2004 © 2004 IBEC Prepared by the Audiovisual Federation of IBEC Affiliated to ICT Ireland

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

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Contents

Foreword 6

Executive Summary 7

Achoimre Feidhme 8

Chapter 1: The Irish Audiovisual Sector – 2003/2004 Review 9

Chapter 2: Economic Analysis 2003 15

Chapter 3: The Irish Audiovisual Sector – 2003/2004 Review International Context 18

Appendices: 20

Appendix I: Economic Analysis 2003 21

Appendix II: Production Details – Summary 1994 - 2003 Comparison 25

Appendix III: Production Details – By Type of Production – 2003 26

Appendix IV: Funding Details – By Type of Production - 2003 27

Appendix V: Contribution of the Irish Film Sector to the Irish Economy 2003 28

Appendix VI: Clarification Notes 29

Appendix VII: Section 481 Investment 30

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

Appendix IX: List of Productions included in the Report 2003 and 2004 35

- 5 - Foreword

The primary emphasis of this review, the tenth There remains a need for vigilance, flexibility and annual Audiovisual Federation Review of Film agility on the part of Government and Irish Production in Ireland, is the year 2003. It was the producers if Ireland's attractiveness as a filming year, most notably, in which the sector convinced location is to continue to aggressively compete the Government of the merits of retaining and with economies in other parts of the world. In enhancing Section 481 tax relief for investment in particular, ongoing changes to existing schemes and film production. It was a year in which there was protocols in the UK highlight the critical importance extensive growth in inward investment, dominated of developing viable new co-production models by Disney's King Arthur, with a concomitant jump with producers and financiers on our neighbouring in the number of full-time equivalent jobs in the island. industry. At the same time a thriving indigenous film culture continued to emerge with the The PWC Report which reviewed the Section 481 Irish-developed projects, Man About Dog and incentive last year issued a number of Adam and Paul proving to be hits at the local box recommendations - the key ones of which were office and also gaining commercial recognition in taken on board by the Minister. There are some the UK and European festival success. additional key suggestions contained in that report which propose the lifting of the 66% and 55% rule The initial slow start in 2004 which was due to a which, according to that report, will provide an number of factors such as a weakened dollar incentive to Irish producers to increase their affecting Hollywood studio projects coming to expenditure on Irish personnel and goods and Europe generally as well as initial uncertainty services and not result in additional costs to the towards the end of 2003 with regard to the Exchequer. The Audiovisual Federation fully renewal or otherwise of the incentive gave some endorses this position particularly in the light of the initial causes for concern. However, the second half UK's recent increasing of its cap to G30 million of 2004 picked up considerably and a number of (Irish cap on investment is G15 million). established blue chip companies had financing in feature films made in Ireland. These include the We would also ask the Government to review the following - Paramount (Honeymooners), BBC Films, increase allowed to TG4 which, while welcome, (Royston), Granada (Malice Aforethought), Pathe needs to be more substantial in order to place the (Breakfast on Pluto), Telemunchen (Tara Road) and broadcaster on a sound footing and allow it the Film Four (Isolation). When one takes into account resources necessary to maintain and develop the the scale of last year's King Arthur ($120 million) flow of dynamic programming created for it by which brought the figures to their highest levels in independent producers. The appendix to this report 2003, 2004, after an initial slow start, has again details the breadth of that programming in 2003, as proved that Ireland is one of the top preferred it does the extensive range and reach of locations in the world for incoming film programming commissioned by RTÉ from the productions. independent sector. RTÉ maintained its level of commissioning into 2003 and numerous Since extending the 481 incentive to 2008, a programmes produced for the national broadcaster number of other welcome initiatives have taken elicited positive reactions from Irish audiences in place under the aegis of Minister John O' Donoghue 2003 and 2004. and his Department; - The increase of the Irish Film Board's capital The work required to remain competitive is constant budget by 18% following this year's budget. to build on the internationally recognised resources - A detailed consultation process between the that Ireland possesses in abundance such as talent, Revenue Commissioners and Screen producers first-class crews, production infrastructure and Ireland prior to the issuance of the new locations. And just as the work is constant so too is certification guidelines in January 2005. the challenge to Government and to everyone in the industry to create the circumstances whereby - The commencement of formal negotiations Ireland will be not just be as good or as attractive between Screen Producers Ireland and the or as welcoming as any other territory, in which to unions regarding the establishment of a film make films, but will become the location of choice industry agreement in early 2005. for an international industry which is forever on the - A range of policy initiatives put in place by IFB move. including producer participation in recoupment, location services guidelines and a new regional James Flynn investment incentive. Chair Audiovisual Federation Film Financing Committee December 2004

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Executive Summary

This report analyses the economic impact of a total G of 179 audiovisual productions, which were Irish Expenditure ( million) completed in Ireland in 2003, comprising a total 180 aggregate production value of G320.2 million. The 160 140 number of productions increased by 22% from a 120 level of 148 in 2002 and in value terms there was a 100 68% increase over the 2002 figure of G190.9 80 million. The dramatic down turn in 2004 with an 60 40 estimated total output of G159 million is of major 20 concern. This fall is largely due to a huge decline 0 in the feature film sector which is considered in 19931994 1995 1996 1997 1998 1999 2000 2001 2002 2003 Chapter 1. Sources of Funding Audiovisual Output 2001 2002 2003 *2004 The proportion of funding originating in Ireland was G million G108.8 million showing a slight decrease on 2002 Feature film and level of G109.8 million. Section 481 was the largest 199.6 127.7 244.3 95 major TV dramas Irish source contributing G67.3 million or 61.9 % of total funding. Other important sources of Irish Independent TV production 45.9 44.2 47.8 51 Funds were RTÉ, TG4 and the Irish Film Board. Animation 13.5 19 28.1 13 Amongst non-Irish sources, US investment remained the most important at G145.8 million in 2003, a Total Overall Output 259.0 190.9 320.2 159 150% increase on the 2002 level of G58.4 million. *Estimated Irish Expenditure There was a total spend of G151.4 million in 2003 *Background to Report: on Irish goods and services arising from the This report and previous reports published in audiovisual productions. This is a rise of 23.5% 1993-2003 have been compiled from statistics over the 2002 spend of G122.6 million. This obtained by the IBEC Audiovisual Federation. At increase was largely due to the high Irish spend of the time of writing, audited figures for all 2004 the Jerry Bruckheimer’s production of King Arthur, productions were not available. As a result the Laws of Attraction, which stared Pierce Brosnan, main economic analysis refers to 2003. Figures and two other significant co-productions Asylum for 2004 represent non-audited returns that and Tristan and Isolde. The high level of spend by were not sufficiently rigorous to allow detailed the Independent TV Sector was also maintained and analysis. rose by 13.5% from G37.7 million in 2002 to G42.8 million in 2003. (See Appendix I).

Employment Total Irish Employment in terms of placement decreased in 2003 by 34.2% from 16,424 in 2002 (see appendix I) to 12,238 in 2003. However in terms of full-time equivalent jobs it is estimated that 1491 were directly employed in the Sector in 2003 compared with 1198 in 2002.

Fiscal Contribution On a cost benefit basis the Irish Audiovisual Sector continued to make a significant contribution to the Irish economy, G211.4 million was invested from abroad in the sector in 2003. The returns to the exchequer in 2003 derived from incomes and expenditure generated again exceeded tax forgone through Section 481. This yielded a G30.0 million net gain to the Irish Economy in 2003.

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Déanann an tuarascáil seo anailís ar an tionchar Cion Fioscach eacnamaíoch a bhí ag 179 léiriúchán closamhairc a Bunaithe ar shochar costais lean Earnáil tugadh chun críche in Éirinn i 2003, atá Chlosamharc na hÉireann de bheith ag cur go comhdhéanta de luach léiriúcháin comhiomlán de suntasach le heacnamaíocht na hÉireann, G 320.2 milliún. Mhéadaigh an líon léiriúchán 22% infheistíodh G211.4 milliún ón gcoigríoch san ó leibhéal de 148 i 2002 agus ó thaobh luacha de earnáil i 2003. Bhí na tuairisceáin a tháinig chuig G bhí méadú 68% ar fhigiúirí 2002 de 190.9 milliún. an státchiste i 2003 ó ioncaim agus caiteachais a Is ábhar imní an laghdú ar tháirgeacht i 2004, gineadh arís níos mó ná an cháin roimhe sin trí Alt G anuas go 159 milliún meastar. 481. Thug sé sin glanghnóthachan de G30.0 milliún d’Eacnamaíocht na hÉireann i 2003. 2001 2002 2003 *2004 Aschur Closamhairc G milliún Irish Expenditure (G million) Fadscannáin agus 199.6 127.7 244.3 95 180 mórdhrámaí teilifíse 160 140 Léiriúchán Neamhspleách Teilifíse 45.9 44.2 47.8 51 120 100 Beochan 13.5 19 28.1 13 80 60 Aschur Foriomlán Iomlán 259.0 190.9 320.2 159 40 20 *measta 0 19931994 1995 1996 1997 1998 1999 2000 2001 2002 2003 Caiteachas na hÉireann Bhí caiteachas iomlán de G151.4 milliún i 2003 ar Foinsí Maoinithe earraí agus seirbhísí Éireannacha ag eascairt as G léiriúcháin closamhairc. Sin ardú de 23.5% ar Is 108.8 milliún an cion den mhaoiniú a tionscnaíodh in Éirinn, rud a léiríonn laghdú ar chaiteachas 2002 de G122.6 milliún. Tharla an 2002. Ba é Alt 481 an fhoinse Éireannach ba mhó méadú sin den chuid is mó de bharr caiteachas ard G Éireannacha ar léiriúchán Jerry Bruckheimer de King arbh ionann é agus 67.3 milliún nó 61.9% den mhaoiniú iomlán. B’fhoinsí tábhachtacha eile de Arthur, Laws of Attraction, ina raibh Pierce Brosnan, Chistí Éireannacha a bhí in RTÉ, TG4 agus Bord mar aon le 2 chomhléiriú suntasacha eile Asylum Scannán na hÉireann. I measc na bhfoinsí nárbh agus Tristan and Isolde. Coinníodh an leibhéal ard fhoinsí Éireannach iad, bhí infheistíocht ó na Stáit caiteachais ag an Earnáil Neamhspleách Teilifíse Aontaithe fós ar an gceann ba thábhachtaí ag freisin agus d’ardaigh sé 13.5% ó G37.7 milliún i G145.8 milliún i 2003, méadú de G58.4 milliún ar 2002 go dtí G42.8 milliún i 2003 (see appendix I). leibhéal 2002. Fostaíocht Laghdaigh an líon iomlán Fostaíochta Éireannaí ó *Cúlra don Tuarascáil: thaobh socrúchán de i 2003 beagnach 34.2% ó Tiomsaíodh an tuarascáil seo agus 16,424 i 2002 go dtí 12,238 i 2003. Ó thaobh poist tuarascálacha roimhe seo i 1993-2003 ó chomhionanna lánaimseartha meastar go raibh staitisticí a fuarthas ó Chónaidhm Closamhairc 1491 fostaithe go díreach san Earnáil i 2003 i Chónaidhm Ghnólachtaí agus Fhostóirí na gcomparáid le 1,198 i 2002. hÉireann. Ag tráth a scríofa, ní raibh fáil ar fhigiúirí iniúchta do léiriúcháin 2004 ar fad. Mar thoradh air sin, tagraíonn an phríomhanailís eacnamaíoch don bhliain 2003. Léiríonn figiúirí do 2004 tuairisceáin neamhiniúchta nach raibh dian a ndóthan chun anailís mhionsonraithe a cheadú.

- 8 - UI IULFDRTO REVIEW 2004 FEDERATION VISUAL AUDIO Chapter one The Irish Audiovisual Sector – 2003/2004 Review

In the face of adverse circumstances the Irish film production our economy. It was, of course, necessary to clarify our sector hit significant milestones during the earlier part of the articulation of what the film industry means in order to properly period under review. With an Irish spend in excess of G50 million inform and support the debate on the extension to 2008 of the Jerry Bruckheimer’s production of King Arthur for Disney was the Section 481 Scheme.” largest film project ever to shoot in Ireland. At around the same time New Line Productions filmed the Pierce Brosnan starring Laws Irish Film Board of Attraction and two significant co-productions, Asylum and Tristan and Isolde, made an impact in Dublin and Connemara respectively. Films produced with production or completion investment from The presence of these films, in studios and on location, was of Bord Scannán na hÉireann/Irish Film Board during the earlier part critical importance in supporting the sector’s lobby throughout of the period under review included Adam & Paul, Man About 2003 for the retention of Section 481. Dog, Timbuktu, Blind Flight, The Halo Effect, Cowboys and Angels, Headrush, Omagh, Dead Meat, The Trouble With Sex, Starfish, Section 481 Inside I’m Dancing, and The Honeymooners. By the time of Budget day in December 2003 there was hardly a Most have since received a warm critical reaction on their launch person in the country who had not been made aware that the at film festivals in Ireland and overseas and several have had future of film production in Ireland was in the balance. Never very successful theatrical releases in Ireland. A number of the before had the diverse interests in the film industry pulled together films also featured strongly in the 2004 IFTA Awards with best with such unanimity. Pierce Brosnan spoke about the issue on film honours going to Omagh, best director to Adam & Paul, and national radio from the producer’s perspective, having brought best screenplay going to Inside I’m Dancing. three films to Ireland in recent times. High level meetings were organised for senior Disney executives and for the outgoing head The indisputable box office success among the films released so of the MPAA, Jack Valenti. Irish Actors Equity and SIPTU and IBEC far has been Man About Dog which has grossed over G2 million through the Audiovisual Federation lent their support to the in Irish cinemas on a 45 print release from UK distributor Redbus, Sheridan Report – Realising the Potential of the Irish Film & booking sites through Buena Vista International Ireland. Abbey Television Industry – commissioned by Screen Producers Ireland. Films had a similar – if smaller scale – success with their release of Adam & Paul, grossing in the region of G500,000 from a 15 The Government responded positively by agreeing to the retention print release. of Section 481. In his Budget speech the Minister for Finance, Charlie McCreevy TD said, “I have reviewed the case made to me by my colleague John O'Donoghue, the Minister for Arts, Sport and During 2003 the Film Board also launched the second phase of Tourism, and I have decided as a result that film relief will be the Company Development Initiative, created to support extended for a further period until the end of 2008, and that the producers in building the infrastructure required to handle an ceiling per film will be increased to G15 million from 2005.” expanding slate of development and production projects at an early stage in the company's development. The successful It was a mark of the effectiveness of the sector’s lobbying companies were Subotica, Grand Pictures, Distinguished Features, campaign that the ministerial extension of Section 481met with and Cartoon Saloon. The Board also participated in first round G vocal cross-party support in the Dáil and applause from the back offers of 750,000 through the Cultural Cinema Consortium to benches. There was a word of warning attached to the Minister’s the promoters in Limerick and Cork of new and upgraded reprieve, however, when he went on to say in the Budget speech specialist cinemas. that “Future decisions will depend on there being no further abuse of the scheme. There should also be clear evidence that the film The Irish Film Board received a 9% increase in funding for 2004. industry can develop on a firmer footing, throughout the country The increase brought the Film Board’s budget up to G11.845 and not just close to Dublin.” million for the year, of which G10 million is for capital investment in production, development and training. This With a view to removing any doubt regarding the future probity of represented a 10% increase in funding for capital purposes. The usage of the Section 481 incentive the Minister allowed for the balance of G1.845 million covers administration costs and introduction of several anti-abuse measures under Section 28 of included a G50,000 provision under the benchmarking the Finance Act, 2004. The effect of these measures generally is to arrangements. The increase went some way towards mitigating broaden the remit and powers of the Revenue Commissioners in the aggregate 12.5% budget cut suffered by the Board in 2003. the certification process. The then recently appointed Film Board CEO, Mark Woods, Fraught as it was for the sector, the year leading up to the budget welcomed the increase saying, “Given the economic situation, speech was a crucial period of maturation for the Irish film the Irish Film Board appreciates the Government's commitment industry. As John O’Donoghue TD, Minister for Arts, Sport and to supporting the national film agency and this increase means Tourism put it at a subsequent gathering, “Over recent months, we we now have a solid foundation with which to consolidate on have spent quite a lot of time thinking about what the film this year's successes. Indeed, we are relieved as a funding industry means for us, what it does for creativity, what it means to decrease would certainly have meant we would have had to

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seriously re-examine the range of programmes and initiatives Eurimages. Tara Road, the adaptation of the Maeve Binchy book IFB presently offer in its role of developing a sustainable which started shooting on October 18 and is produced by Noel local production sector." Pearson’s Ferndale Films with backing from the Film Board, Telemunchen, the UK’s Surefire Fund, and Buena Vista One of those productions, Omagh, straddled the 2003-2004 International (Ireland). Isolation from Element Films, backed by end of year/new year period after which there was a notable Film Four, the Film Board, Redbus, and Lions Gate which started hiatus in film making activity during the first half of 2004. It shooting on November 15. was notable too that the films that brought initial closure to the down-turn in production, The Mighty Celt and Boy Eats Girl, were shot or partly shot outside the Republic of Ireland BCI - Programme Fund in order that their Dublin-based producers could access During the year ahead the Programme Fund at the finance in, respectively, Northern Ireland and the Isle of Man. Broadcasting Commission of Ireland is expected to commence operation and can be expected to make a significant impact on RTÉ the independent production sector. There is a justifiable concern New and returning TV drama backed by RTÉ – such as The that, having been held back for the two-year period 2003-2004, Clinic, Proof, Showbands and Love is the Drug – played an the release of these commissioning funds not to take place in a important part in keeping the sector at work through mid precipitative manner because of the market distorting effects 2004. that might have in the sector - possibly causing overheating of labour facilities and service costs. Big Budget Productions in 2004 It wasn’t until the end of August and the beginning of Infrastructure September that production output began to reach capacity. The recent closure of Editline and the exceptionally competitive The Honeymooners, a US production for Paramount Studios environment in the post-production sector are suggestive of with a budget in the region of $30 million, commenced over-capacity in the local market. Within the area of feature film shooting Dublin for New York on August 27, following the and single TV drama production that is exacerbated by the successful template used in each of the previous two years usual breakdown of spending on co-productions between the by Laws of Attraction and In America. Then, on September 6 UK and Ireland. The established pattern for co-productions on location in Callan Co. Kilkenny, Neil Jordan began availing of both the UK and Ireland’s incentives, is to do the shooting Breakfast on Pluto, his adaptation of the Patrick majority of their location and studio shooting in Ireland and to McCabe novel starring Liam Neeson and Cillian Murphy. undertake their post-production in the UK. It is difficult to see film post-production services and facilities developing beyond Both of these films made use of new initiatives promoted by their present state while this situation is not addressed. the Film Board’s Location Services section during the year. The first, a set of guidelines for producers published in booklet form as film Dublin, was utilised by the TG4 Honeymooners. Modelled on the Office of Film in New York TG4 plays an energising role in the independent production Mayor’s Office, Film Dublin is the work of a partnership that sector although, as was urged by SPI during the year, the brings together all the interests necessary to meet physical station needs significantly increased funding if it is to continue production needs in Dublin city - the Film Board, Dublin City to be able to commission new and innovative programming in Council, An Garda Síochána, Dublin City Business the Irish language. An increase in funding would allow for the Association, Screen Producers Ireland and The Department of commissioning of a greater proportion of its airtime output and Arts, Sports & Tourism. more realistic pricing for the programmes it commissions.

The second initiative, which was availed of by Breakfast on Conclusion Pluto, is an incentive fund to encourage producers to locate With so many films in production during the last quarter of production outside the traditional Dublin/Wicklow area. 2004 the film industry’s year is ending on a considerable high. Known as the Regional Support Fund it will be offset a proportion of the additional production costs of shooting in It’s also worth noting that the numbers and scale of the regions. productions provisionally scheduled to commence principle photography in Ireland in early 2005 would suggest that the Adding to the significant buoyancy of film production in the first half of 2004 was, perhaps, something of a cyclical down last quarter of 2004 were Malice Aforethought, a Granada turn, caused in part by uncertainty over the future of Section production for ITV that started shooting on September 13. 481. With that future now secure for the next few years, and Royston Vasey, an Element Films/Tiger Aspect production with the considerable added benefit of the increased cap on backed by Film Four that began production on October 4. investment, there is every prospect of a return in the years Short Order, an Ireland/German/UK co-production from Igloo ahead to the levels of production experienced in Ireland in Films, backed by the Film Board, the Hamburg Film Fund, and the late 1990’s

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The Irish Audiovisual Sector – 2003/2004 Review

Department of Arts, Sport and Tourism - Minister John O’Donoghue The decision by the Minister for Finance in the 2004 Budget to extend the Section 481 tax relief scheme to 2008 demonstrates the Government’s commitment and continuing support for this important cultural industry. The continuation of the scheme until 2008 together with the increase in the limit on monies that can be raised under the scheme from G10.48 million to G15 million from 1 January 2005, can launch a whole new era in the development of the Irish film sector

The Government has done what it can to provide a favourable environment, but not everything is within our control. Challenges remain, including the Euro Dollar exchange rate, and additional competition for film investment from new areas of the world. The future depends in large part on the film industry itself:- standing still is not an option in this volatile sphere. Companies need to be constantly evolving and adapting to new developments, new audience preferences, and technological advances. I have every confidence that the creativity and ability of our film makers will successfully meet these challenges.

Department of Communications,Marine & Natural Resources - Minister Noel Dempsey, Like so many sectors where there is an international dimension, broadcasting was at the centre of Ireland’s Presidency of the EU in the first six months of 2004. The Presidency provided an opportunity for Ireland to give focus and contribute to the important issue of “jurisdiction” over broadcasting services in the context of the review of the Television Without Frontiers Directive.

Ireland facilitated a lively, challenging and sometimes controversial debate on the problems faced by Member States who are unable to apply national regulations to programming and advertising that specifically targets viewers in those Member States. The Irish Presidency succeeded in placing this important topic high on the agenda of items to be considered by the EU Commission in its review of the Directive.

IFB – Mark Woods, Chief Executive We had a record number of films released locally, the renewal of the section 481 film tax incentive, festival awards, a strong focus on sales and distribution, and new initiatives, including a regional filming fund. 2004 was a year of consolidation and growth for Bord Scannán na hÉireann/ the Irish Film Board (BSÉ/IFB) and the industry it serves.

Irish audiences embraced local content in 2004. A record 11 BSÉ/IFB -backed films were released in Irish cinemas from the critically acclaimed ’Adam & Paul’ to the box office topping success of ‘Man About Dog’ while on video ‘Intermission’ became XtraVision’s top grossing title of all time in a six week period and ‘Song for a Raggy Boy’ and ‘Spin the Bottle’ topped the XtraVision charts in their opening months.

BSÉ/IFB -backed films also worked overseas, including ‘Inside I’m Dancing’, ‘Omagh’ and ‘Freeze Frame’ winning prizes at Edinburgh, Toronto and Taormina, respectively, while the foreign sales success of lower budget movies like ‘Cowboys & Angels’ and ‘Goldfish Memory’ demonstrate a potential that can be further harnessed from earlier stages in the creative and financing process.

The range of overseas co-financiers and end users committing to BSÉ/IFB ‘s forthcoming slate is encouraging, including ‘The Mighty Celt’, ‘Boy Eats Girl’ Anthony Byrnes’ ‘Short Order’, ‘Tara Road’, ‘Isolation’ and Neil Jordan’s ‘Breakfast on Pluto’.

After a year of consolidating its activities, BSÉ/IFB remains determined to ensure Irish content with audience potential is backed with a range of programs and initiatives that enable Irish stories, and the talent behind them, to be discovered by the world’s film financiers and embraced by audiences at home and abroad.

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Radio Telefís Éireann (RTÉ) – Noel Curran, Managing Director, Television RTÉ had a healthy and positive start to 2003 following an increase in the licence fee in December 2002. This allowed RTÉ to continue its very strong commitment to Ireland's Independent Television Production sector, and was achieved by the commissioning of a total of 685 hours of programming at a direct cost to RTÉ of G45.994 million.

It resulted in the commissioning, development and completion of a wide variety of programmes across a wide range of programme genres such as the following:

• Lifestyle programming such as the continuation of 'No Frontiers' and the newly commissioned 'The Restaurant’. • Regional programming such as ‘Vets on Call and ‘Ear to the Ground’. • Single and short documentary series, which resulted in the continuation of RTÉ's 'True Lives' brand together with short series such as 'The Underworld' and 'The Rod Squad'. • High-end entertainment programmes, amongst them a second series of 'You're A Star', 'Coulter & Co.' and 'Cabin Fever’. • RTÉ also continued its investment in other programmes genres such as Young Peoples, Sport and Music.

In terms of drama, the increase in funding supported the creative talents of Irish writers and producers working on and developing home-produced commissioned drama. The fruits of this investment resulted in major television drama programmes such as 'The Clinic', 'Proof' and 'Foreign Exchange' being produced.

RTÉ commissioned programmes were also well represented in Award Ceremonies and Festivals around the globe in 2003 where a number of notable successes were achieved, one of which included the documentary ‘Chavez: Inside the Coup'.

Consequently, RTÉ’s television schedules continued to be strongly populated with a wide and varied mix of independently produced television programmes. The success of these programmes, in addition to those produced in-house within RTÉ provided a very strong platform for RTÉ to continue to increase its audience share right the way through 2003 and into 2004/2005.

Ó Neart go Neart – TG4 – Pol O Gallochoir, Ceannasaí Anois agus an cainéal ar an aer le breis is ocht mbliana, tá TG4 buanaithe mar chuid lárnach de thionscal na craoltóireachta in Éirinn. Cuireann an cainéal seirbhís thábhachtach phoiblí ar fáil agus soláthraíonn rogha breise nuálach do phobal féachana. Anuas ar sin, cothaíonn an cainéal fostaíocht ardscile i gcomhlachtaí fuinniúla léiriúcháin agus i gcroífhoireann TG4 féin.

Having begun our ninth year on air on 31 October, Oíche Shamhna 2004, TG4 is now firmly established as a key player in the broadcasting industry in Ireland. Our programmes offer an important public service and a vibrant and innovative choice of programming to the audience as well as supporting high skill jobs in independent production companies and in the TG4 core staff also.

The past year has been a particularly challenging one for all of us involved in the service but our efforts have been rewarded with a steady increase in audience, critical acclaim for the programmes and a regular stream of awards and prizes, most notably for Yu Ming is Ainm Dom, Daniel O’Hara’s multi-garlanded short comedy film about a young Chinese man who comes to Ireland having mastered Irish so as to ease his way into Irish life.

Ní bheadh ar ár gcumas an tseirbhís a sholáthar ar chor ar bith gan tacaíocht na ndaoine ar fad atá páirteach agus a ndúthracht do TG4. Is iad sin cuisle an chainéil agus is orthu atá ár ndóchas don todhchaí bunaithe.

- 12 - UI IULFDRTO REVIEW 2004 FEDERATION VISUAL AUDIO

The Irish Audiovisual Sector – 2003/2004 Review

Ardmore Studios – Kevin Moriarty, Chief Executive 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 comes 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.

The Government has been very supportive in the past but will need to monitor the international situation on an ongoing basis, as other Governments compete on behalf of their respective film industries, to ensure the maintenance of a “level playing field”.

The Animation Sector – Ralph Christians, Magma

The animation industry in Ireland is currently divided into two sectors:

First there is the artistic sector for young (and some older) talents. The main products produced are short films, short shorts and very very short flashes. These projects get public funding, go to festivals and win trophies. They nurture talent and the producers are animation manufacturers. The companies are small, often one or two man shows. The talent from the first sector more often than not end up working in the second sector, which is the “animation industry”.

This is where Magma Films and other animation companies operate. Typically long running animated TV series and animated feature films in 2D and 3D are produced. For example in Magma, every show costs around G6 million, we work on two or three at the same time for 18 month, we raise 90 % of the budget abroad and our products are shown all over the world.

The availability of Irish public funding is too limited and to form the basis of a growing animation industry. Section 481 on the other hand is the main source for raising reliable local financing. To survive as an international player in Ireland it is crucial to establish operations or co produce with territories like Germany, France, UK or Scandinavia. It is also necessary to build up a company structure not only with creators, writers, voice talents, designers, story boarders and animators, but also with experienced producers, production managers, financial controllers, travelling salesmen and distribution/exploitation managers.

- 13 - The Irish Audiovisual Sector – 2003/2004 Review

Larry Bass – Chairman - Screen Producers Ireland 2004 has been a busy year for television production and RTÉ has commissioned more programming from the independent sector than ever before. The State broadcaster has also shown a strong commitment to television drama. These are particularly welcome developments and the high ratings achieved by independently produced programmes show that television programmes made in Ireland can achieve significant domestic success.

In 2005 and beyond, we would like to see that domestic success extend beyond these shores. There are challenges for Irish producers in co-production with other territories and in exporting Irish product but there are also significant opportunities. A key element of opening up those markets will be in allowing Irish producers to retain the intellectual property rights over the programmes they make or formats they create.

Film production was quiet at the start of this year but in the second half, a number of international and indigenous films went into production. The welcome decision of the Government in the December 2003 Budget to extend the Section 481 relief has provided more certainty for the industry and assists in the marketing of Ireland internationally as a film location.

Media Desk - Eibhlin Ni Mhunghaile The third edition of MEDIA Programme – MEDIA Plus - commenced in January 2001 and has recently been extended until the end of 2006. In 2003 it is estimated that the Irish audiovisual industry received G1.07 million for Development of projects, Distribution, Exhibition and Market access support.

Irish Film Institute - Mark Mulqueen

The Irish Film Institute had a healthy and positive start to 2004 beginning with the undertaking of further infrastructural improvements within the IFI. Greenscreen; a programme of touring Irish films was launched in February in celebration of Ireland's Presidency of the Council of the European Union in 2004. This unique programme was jointly organised by the Irish Film Institute and the Irish Film Board and toured Bulgaria, Slovenia, Malta, Latvia, Estonia, the Czech Republic, Cyprus and Poland. The Irish Film Archive has been extremely publicly active this year, holding several Archive events and screenings.

In celebration of the Bloomsday centenary, the Archive presented a series of programmes examining the connection between Joyce and the moving image. To mark the centenary of the birth of Patrick Kavanagh, the Archive held a programme of two documentaries celebrating the life and work of the great writer.

The IFI Education department has had a tremendous year. 2004 saw the German study guide reached over 5000 students of German nationwide. The Reel Magic Summer Film School was a resounding success. The IFI's exciting new summer film school for children and young people was presented in association with UGC Cinemas. The IFI Cinemas programme continued to be strongly populated with a wide and varied mix of arthouse and world cinema.

Going forward, we look forward to celebrating the 60th Anniversary of the Institute next year, with a series of special events planned.

- 14 - UI IULFDRTO REVIEW 2004 FEDERATION VISUAL AUDIO Chapter two Economic Analysis 2003/2004

Overview of the Sector in 2004

G Indicative Audiovisual Output 2004 Million Output Comparasion 2004/2003 ( million) Overall output 159 Total Output Film 350 Feature film and major TV dramas 95 TV 300 Animation Independent TV production 51 250 Animation 131 200

150 The indicative figures above for 2004 have a total 100 output value of G159 million which is the output in the last four years. There has been two major 50

blockbuster productions in Ireland this year, 2004 2003 (Paramount Studio’s) The Honeymooners and (Neil Jordan’s) Breakfast on Pluto. The Independent TV sector has maintained its output and notable Benefits of Section 481 to the commissions from RTÉ’s IPU were the Clinic Series II and the new series Proof, and from TG4 Ros Na Rún. Exchequer (see appendix II & V) The gross gain to the Exchequer is estimated to The chart below illustrates the fall, in terms of have been G52.6 million in 2003. This includes output, within the sector which takes into account direct benefits in terms of PAYE, PRSI, schedule D the unique event that was King Arthur. and corporation tax, and indirect benefits in other forms of tax, including VAT and excises. The indirect Output Level of the Irish Audiovisual Sector (G million) benefits are taken into account by the multiplier 350 effect of investment in audiovisual production. The

300 cost to the Exchequer of Section 481 is the tax foregone on the G67.3 million, which was invested 250 under the scheme and is estimated to have been 200 G22.6 million. This results in a net benefit to the 150 state of G30.0 million in 2003.

100

50 Calculation of Net Benefit (G million) 2001 2002 2003 0 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 Tax Return to Exchequer 47.8 42.8 52.6 Economic Analysis of Productions in Tax Foregone to the Exchequer 24.2 21.6 22.6 2003 Net Benefit to the Exchequer 23.6 21.2 30.0 This section summaries economic analysis (appendices I - V) covering 179 productions Funding completed in Ireland in 2003. The projects examined represent a good spread both in scale and type of Total funding for the sector in 2003 amounted to G production and include a number of large budget 320.2 million (see appendix I for breakdown). film productions such as King Arthur, indigenous With the production of King Arthur, the inward G productions such The Clinic, and the Emmy award investment in 2003 increased significantly to 211.4 G winning animated production Tutenstein. million from 81.1 million in 2002. These productions represented a total aggregated production value of G320.2 million. This output figure represents the highest output to-date, surpassing the high of 2001 (G250 million).

The following chart compares the outputs for 2003 and 2004. The difference in overall output reflects the lack of a major blockbuster such as King Arthur. However, the strong performance of the independent TV sector continued to rise in 2003/2004.

1. The figure for animation output includes a significant proportion of co-production based financing which will lead to expenditure both in Ireland and overseas.

- 15 - Economic Analysis 2003/2004

Funding sources 2003 (320.2 million) Film & Major TV (Irish Expenditure G millions) 120 Section 481 Other Irish Funding 21% 11% 100

80

60

Irish Film Board 40 2% 20

Non Irish Funding 0 66% 1999 2000 2001 2002 2003

The cap on Section 481 limited the availability of Independent TV Production funding from this source for feature film production. The output for independent TV productions in 2003 G G Of this, productions benefiting from Section 481 was 47.8 million, of which 46.8 million was came G amounted to G67.3 million accounting for 21% of form Irish funding. Of that 42.8 million was spent total funding. Other sources of Irish funding within the Irish economy, which exceed the record G including RTÉ (G24.1 million) and TG4 (G9.5 million) figure achieved in 2001 of ( 38.8 million). The main accounted for 11% while Irish Film Board support sources of TV commissions are RTÉ and TG4. (G5.1 million) accounted for 2%. TV Productions (Irish Expenditure G millions) Expenditure (see appendix I) 45 40 Overall Irish expenditure in the economy, the key driver for domestic employment and income, 35 amounted to G151.4 million in the 179 productions 30 analysed. As part of this figure, expenditure on film 25 and major TV drama stood at G100.4 million 20 representing 67%, other TV productions not included 15 as part of the major drama figures accounted for 10 G42.8 million 28% of the total, while animation 5 contributed 5% (G8.2 million). 0 1999 2000 2001 2002 2003

Irish Expenditure (151.4 million) Animation Animation The growth in the Irish animation industry continued in 2003 Other TV 5% G 28% with production output reaching 28.1 million. The growing maturity of this sector was underlined by the 2004 Emmy award for Tutenstein.

Animation (Irish Expenditure G millions) 9

8 Film & Major TV 67% 7 6 The analysis now examines the performance of the 5 three main streams Film and Major TV drama, 4

Independent TV Production and Animation over the 3 last 5 years. 2

1

Film & Major TV Drama 0 In 2003, as in recent years, Film and Major TV drama 1999 2000 2001 2002 2003 production continues to account for the majority of total activity with a spend of G100.4 million was Employment (see appendix II) spent on Irish goods and services. These productions Although there was an increase in expenditure for generally draw on Irish and non-Irish funding 2003, the number of job placements during dropped to (primarily from the US). The main sources for Irish 12,238. However this equated to 1,492 full time funding were section 481 (G48.2 million) and the equivalent jobs directly involved in productions, 20% Irish Film Board (G3.4 million). higher on the previous year.

- 16 - UI IULFDRTO REVIEW 2004 FEDERATION VISUAL AUDIO

- 17 - Chapter three The Irish Audiovisual Sector – 2003/2004 – Review – International Context

In May 2004 some 240 Irish film professionals went 'tent pole' Summer or Winter releases. King Arthur to the Cannes Film Festival. It was a record would be a recent case in point in the Irish context. attendance, demonstrating an understanding within the Irish film industry that it is an absolute There are several reasons why smaller, independent necessity for Irish producers and film makers to films are experiencing financing difficulties. Firstly, build relationships with their counterparts, with public sources of 'soft' money in most jurisdictions sales agents, and with potential financiers from are generally imposing more onerous conditions other parts of the world. than they used to, making it that bit more difficult for producers to meet the demands of multiple With the exception of films financed under the Film parties to a deal. Secondly, as non-mainstream film Board's low budget initiatives all indigenously has been pushed to the margins of schedules, produced films require overseas finance and broadcasters the world over are generally far less co-producing partners. It might be a Spanish sales inclined to make the kinds of pre-sale commitments and distribution company, a US distributor, a that were once commonplace. This has led in turn, Scandinavian distributor, a UK broadcaster, a French thirdly, to a marked caution on the part of sales satellite channel, a UK distributor, a Danish agents whose predictions of a project's revenue- production company, a German regional fund or, earning potential can be critical in determining indeed, any combination of the foregoing. Often whether it can raise the financial backing it needs these deals are provisionally struck in Cannes or, on to proceed. occasion, signed-off on by all the parties there. It was at Cannes this year, for instance, that Pathe's Increasingly, in the context of the difficulty they are backing for Neil Jordan's Breakfast on Pluto was having financing films, the question faced by Irish formally announced. and international producers is how to reduce the cost of production. Their options are either to avail A cursory look at the funding of films produced in of financial incentives or to locate in a low cost Ireland in 2004 underscores the success Irish production economy, although it may occasionally producers have had in raising production finance be possible to do both. Incentives usually offer the outside the country. Even in the instance of films producer a budget contribution of the order of 10% only co-financed with the UK there have been to 15%. Although a combination of Canadian diverse sources of funding utilised - be it the Isle of national and provincial schemes can surpass this, Man investment scheme, a UK equity fund, the and while the Isle of Man offers a recoupable 25% NIFTC's new production fund, a distributor's contribution there are usually additional costs advance against UK/Ireland rights, and or Sale & associated with locating on the island. Leaseback. It is noteworthy that in 2004 a number of However, the reality is that producers everywhere productions originating in the Republic of Ireland are finding it increasingly difficult to finance even chose Northern Ireland for at least part of their modestly budgeted films from the traditional location work because of the new production fund patchwork of international sources. There is intense launched during the year by the NIFTC. The Fund pressure to reduce budgets except perhaps in those has been established by the NIFTC to provide instances where a US studio is financing one of its funding, in the form of a repayable loan, for a

- 18 - UI IULFDRTO REVIEW 2004 FEDERATION VISUAL AUDIO

The Irish Audiovisual Sector – 2003/2004 – Review – International Context

limited number of feature films and/or television The Irish production sector's close working drama that are intended to be primarily produced in relationship with that of the UK is of critical Northern Ireland between 2004 and 2007. The importance to the vitality of the film industry in NIFTC will invest between £150,000 and £600,000 Ireland, both for indigenously developed projects up to a ceiling of 25% of the overall project costs. and for the service provided to US or UK originated offshore production. In the UK during 2004 there Incentives vary considerably from jurisdiction to has been an ongoing and at times hotly contested jurisdiction - they can take the form of an investor- debate about the future of the various mechanisms led tax-based scheme, such as Section 481, a tax used to support film production. At issue are credit scheme, or a form of direct subsidy/investment concerns about co-productions where an such as that promoted by the Isle of Man and unacceptable proportion of the budget spend Northern Ireland. As important as the existence of occurred outside the UK, "double dipping", and the the incentive may be its suitability to any given cost of intermediaries promoting investment in film project may depend not just on the value of the projects. budget contribution it makes but also on when in the production cycle the money raised can be As a result there have been several interventions by released to the producer. Section 481 has an the UK authorities during the course of the year to advantage over some competing incentives because rein in some of the perceived excesses. With a the money raised is usually available to the number of changes imminent in the UK regime in producer at an early stage in the production 2005 there is a degree of uncertainty about what process. effect, if any, they might have on the relative ease with which the existing UK and Irish support In the context of film production, what determines mechanisms can interlock together so effectively. a low-cost economy is not just low labour and other cost factors within the territory itself but also local Leaving the incentive question to one side, factors currency exchange rates, especially against the US generally conceded during 2004 to be having a dollar. Several Eastern European countries, for negative impact on Ireland's international instance, benefit on both counts, while Australia competitiveness were currency rates and labour and New Zealand can benefit from exchange rate costs and related issues. The steady rise of the Euro differentials alone, along with their incentives for against the US dollar became a serious concern for larger film projects. US producers scouting Ireland in the early months of the year. Consequently the strong Euro forced Complementing Ireland's attraction as an English- producers to attempt to address some of the cost speaking production location with a highly skilled implications of long-standing work practices within workforce, Irish producers have been particularly the sector. Meetings were held with the various film adept at selling the benefits of the Section 481 unions during the production hiatus in the early incentive to their US and UK counterparts. They Summer, but without definitive resolution of the have also managed to spread budget spend in such issues and the matter was raised in the Dáil on July a way that it has been possible for producers to 1 by way of parliamentary questions to the Minister access both the Irish incentive and the UK's Sale & for Arts, Sport and Tourism. Leaseback scheme, using the template set out by the European Convention on Cinematographic As 2004 comes to a close Ireland's film industry has Co-production. reclaimed much of the impetus and status lost through the previous year's uncertainty over the However, the international film production future of Section 481. Given that the raising of the environment is in a constant state of flux with cap on investment will be an effective inducement governments everywhere continuously reviewing, to international producers to locate production in redrafting and refining the incentives they offer to Ireland the only uncertainty remaining to be dealt the industry. During the period under review New with is the question of a formal agreement on pay Zealand re-emerged as a serious competitor to and conditions. Once such an agreement is in place Ireland for larger budget projects. The lifting of the the sector will be able to wholeheartedly endorse cap on Section 481 investment per project to Ireland as a production location and market our G15 million from January 1 2005 will go some way obvious expertise with renewed conviction. toward remedying this competitive disadvantage. Screen Producers Ireland has called on the Government to monitor international development on an ongoing basis in order that Ireland not find itself outflanked again by other territories.

- 19 - Appendices

Appendix I: Economic Analysis 2003

Appendix II: Production Details – Summary 1994 - 2003 Comparison

Appendix III: Production Details – By Type of Production – 2003

Appendix IV: Funding Details – By Type of Production - 2003

Appendix V: Contribution of the Irish Film Sector to the Irish Economy 2003

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 2003 and 2004

- 20 - UI IULFDRTO REVIEW 2004 FEDERATION VISUAL AUDIO Appendix I Economic Analysis 2003 m G Total 145.8 million, 46% of total G 4.3 6.5 5.0 3.6 2.6 3.0 69.2 69.221.1 67.3 13.2 21.4 10.1 24.1 9.5 2001 2002 2003 111.4 109.8 108.8 m G Animation -- 0.1 - - 0.1 5.34.7 6.60.5 4.4 8.9 1.3 7.9 0.6 0.1 0.8 0.3 2001 2002 2003 108.8 million 34% of the total funding. largest single source of Irish The G m G 9.61.0 9.5 1.6 11.2 1.0 1.6 0.5 1.2 44.0 42.9 46.8 18.613.2 21.2 10.1 24.0 9.4 2001 2002 2003 Independent TV Productions 320.2. Funding from Irish sources amounted to G m G 67.3 million, 61.9% of total Irish funding. the largest source of non-Irish funding contributing US was The G --- 2.82.5 3.7 .07 3.4 2.0 0.1 1.3 1.5 62.154.8 60.3 55.3 53.2 48.2 2001 2002 2003 199.6 128.2 244.3 45.9 43.7 47.8 13.5 19.0 28.1 259.0 190.9 320.2 137.5 67.9 191.1 1.9 0.8 1.0 8.2 12.4 19.2 147.6 81.1 211.4 Feature Films & Major TV Dramas & Major Films Feature of which: É TG4 Section 481 Board Irish Film RT Other TOTAL • • • • • Non-Irish Funding Irish Funding funding was Section 481which amounted to funding was Appendix I: Economic Analysis 2003 FUNDING In 2003, the 179 productions had a combined budget of of Production Type Funding by funding. (see appendix Iv)

- 21 - Appendix I: Economic Analysis 2003 14.1 G contributed to É m G 33.6 million provided by RT G Of Which Irish Expenditure Of 0.15.0 0.6 5.2 0.1 8.2 95.538.825.4 79.615.5 37.7 25.2 100.4 11.9 42.8 30.8* 12.0* 2001 2002 2003 s. Therefore, although for example TG4 are shown to have a total expenditure of RTÉ – other sources of funding i.e. than the RTÉ m (See (1) Below) G Total Expenditure Total 0.1 0.9 0.1 43.228.017.7 44.2 29.7 13.6 47.8 33.6 14.1 13.5 18.9 28.1 2001 2002 2003 199.6 127.8 244.3 259.0 190.9 320.2 139.4 122.6 151.4 151.4 million was spent in the Irish economy. 151.4 million was G and TG4 are based on the returned completed project forms. See clarification notes in appendix VI. É 320.2 million combined budget, É G TG4 RT TV Productions Other Feature Films Feature Productions Independent Television • • • Type of Production Type Animation TOTAL Appendix I: Economic Analysis 2003 EXPENDITURE Of the Details of Expenditure by project type are as follows: this expenditure. * The figures for RT million, some of this expenditure arose from other sources funding for TG4 productions e.g. private finance. Similarly 1. These Independent TV productions are classified by the organisation which was primarily involved with various production

- 22 - UI IULFDRTO REVIEW 2004 FEDERATION VISUAL AUDIO

Appendix I: Economic Analysis 2003 56 32 10 13 616 151.4 million in the G Non-Irish Employment 1 864 545 324 250 penditure Full Time Equivalent Jobs Equivalent Time Full es direct employment generated through the 23 6,005 5,351 4,074 1,254 workers and a 37 hour week for clerical, professional technical workers. al leave days = 232. Of which: Irish Employment 2,000 92,981 53 571,649 439,928 2,629,824 1,491 1,523,266 1,013,577 Total Irish Work Hours Work Irish Total 36 211 159 52 6,621 5,406 4,106 1,264 12,238 11,515 724 Total Employment Total 63.1 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 TV Dramas & Major Films Feature Independent TV Productions • • • Animation TOTAL 2. Based on a 38 hour week and working year of 232 days. The average is taken from 39 for manual The 232 day working year is derived as follows: 365 minus 104 days weekends 9 public holidays 20 average annu EMPLOYMENT A total of 12,238 people were directly employed in relation to these 179 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 expenditure of economy. A total of 2,629,824 Irish work hours were generated, which translates into 1,491 full-time jobs (see (2) below). Appendix I: Economic Analysis 2003

- 23 - Appendix I:EconomicAnalysis2003

Appendix I: Economic Analysis 2003

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 G67.3 million and the tax foregone on this was G22.6 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 G21.3 million, comprising of G11.7 million from PAYE/PRSI, G7.9 million from schedule D and G1.7 million from VAT and Corporation Tax (see Appendix III). Indirect tax receipts are estimated to have amounted to G31.3 million, giving a total of G52.6 million in receipts.

Thus the net benefit to the Exchequer in 2003 was receipts of G52.6 less the tax foregone of G22.6 million yielding a net gain of G30 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 2004 FEDERATION VISUAL AUDIO Appendix II Production Details - Summary 1994 - 2003 comparison 723 64.4 29.4 35.0 22.6 52.6 2003 320.2 108.8 211.4 320.2 151.4 168.8 1,492 12,238 11,515 2,629,824 81.1 68.3 59.6 21.2 38.4 21.6 42.8 190.9 109.8 190.9 122.6 5,446 1,198 16,424 10,978 2,111,560 356 67.9 23.4 44.5 24.2 47.8 2001 2002 259.0 111.4 147.6 259.0 141.6 117.4 1,501 17,435 17,079 2,646,714 93.1 80.2 67.3 23.7 43.6 45.1 116.4 28.8 209.5 209.5 129.3 2,578 1,742 2000 18,328 15,750 3,071,108 937 69.58 66.53 1,554 58.53 23.36 35.17 28.32 40.89 183.60 114.02 183.99 117.07 17,176 16,224 2,739,831 959 76.82 75.55 1,690 50.15 23.87 26.28 27.93 38.22 183.99 107.17 183.99 108.44 22,258 21,299 2,979,178 96.75 59.93 44.31 1,380 1,450 56.12 18.67 37.46 26.28 39.62 156.69 156.69 112.37 19,279 17,899 2,556,708 687 79.23 44.31 78.47 45.08 1,187 33.90 12.70 21.08 19.17 27.30 123.55 123.55 11,938 11,251 2,093,522 69.84 57.27 81.39 45.71 1,859 1,266 36.19 13.46 22.73 23.87 28.95 127.10 127.10 17,890 16,031 2,232,255 Summary 1994 - 2003 Comparison – 1994 1995 1996 1997 1998 1999 64.50 72.38 96.63 3,013 1,291 29.58 12.95 16.63 24.89 26.66 169.00 104.50 169.00 13,858 10,845 2,276,146 m G m G m G 1 m G 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 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 Non-Irish Funding Irish Expenditure 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 1. See appendix VI for calculation

- 25 - Appendix III Production Details - By Type of Production – 2003 m G 0 1.4 6.1 5.6 0.3 7.9 21.3 64.4 29.4 35.0 1,491 320.2 108.8 211.4 320.2 151.4 168.8 12,238 11,515 2,629,824 All Productions m G - - 53 8.9 8.2 0.2 0.1 0.1 0.4 1.3 0.8 0.5 211 159 28.1 19.2 28.1 19.9 92,981 Animation m G 1.0 5.0 0.3 1.6 2.3 0.3 2.6 7.1 7.2 573 47.8 46.8 47.8 42.8 19.0 11.8 5,406 5,351 2003 1,013,577 – Independent TV Productions m G - 1.1 4.3 3.2 5.1 863 53.2 13.7 44.1 21.4 22.7 244.3 191.1 244.3 100.4 143.9 6,621 6,005 1,523,266 By Type of Production By Type – Feature Films & Major TV Drama & Major Films Feature 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 2004 FEDERATION VISUAL AUDIO Appendix IV Funding Details – By Type of Production - 2003 m G 4.9 0.7 0.9 1.4 0.2 1.0 7.4 4.4 67.3 25.1 27.6 9.5* 108.8 145.8 211.4 320.2 24.1* m All Productions m All G - - - - - 0.5 0.1 8.0 0.3 8.9 2.6 0.9 3.9 7.8 4.1 19.3 28.2 m Animation G - - - 1.0 9.4 0.2 1.0 0.4 0.2 0.1 0.2 0.9 24.0 11.1 46.7 0.05 47.6 Independent TV Productions m G - - - 3.4 0.7 0.7 0.1 7.3 0.5 23.3 0.05 48.2 53.2 22.1 138.0 191.2 244.4 Feature Films & Major TV Drama & Major Films Feature By Type of Production - 2003 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 - Section 481 (total amount raised) An Chomhairle Eala - - Radio Telef - Radio - Telef Appendix IV: Funding Details Appendix IV: * See appendix VI for clarification

- 27 - Appendix V Contribution of the Irish Film Sector to the Irish Economy 2003

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 G21.3 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 G87 million and the tax revenue generated through the expenditure of the net The multiplier captures the overall impact of what income (G64.4m - G19.6m) 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 G87m) = G21.8 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 (G64.4m - G19.6m)* employment, respectively. The concept of the 0.85*0.25) = G9.5 million. Thus the total indirect multiplier is used by amongst others, IDA Ireland, tax revenue attributable to productions is G31.5 Teagasc and Bord Fáilte. million, giving a total tax revenue, direct and indirect, of G52.6 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 2003) 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 31.35% in the tax year 2001/02 to 33.6% in the tax investment). Expenditure, which is domestically year 2003. 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 G22.6 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 2004 FEDERATION VISUAL AUDIO

Contribution of the Irish Film Sector to the Irish Economy 2003

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 * 0.34) + (0.9284 * 0.66) = 0.8627

By applying the composite GNP multiplier of 0.8627 to the Irish expenditure of G151.4 million, we estimate the final contribution of this expenditure to the Irish economy to be G130.6 million. Similarly, by applying a weighted employment multiplier of 39.79 to the expenditure of G151.4 million in Ireland, we estimate the final contribution of this expenditure to Irish employment to be 6,024 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

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

- 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)

N2 Bord Scannán na hÉireann/Irish Film Board The Board's budget is voted annually by Dáil Éireann and in 2003 the Board received Capital Grant-in-Aid of G9,153,000, of which G1,098,000 was allocated to FÁS/ Screen Training Ireland. Expenditure in 2003 includes commitments brought forward from 2002.

N3 Radio Telefís Éireann A total value of 79 Independent Television Productions are analysed in this report, with a total value of G33.6 million. As pointed out in previous reports, RTÉ expenditure is confined to productions for which Economic Database Input Forms were provided by independent producers. However, RTÉ expenditure on commissioning activities in 2003 in respect of independent productions was G45.994 million.

N4 TG4 A total of G12 million investment spent by TG4 in the sector 2003 was analysed in this report covering 81 productions. A further G1.1 million spent by TG4 in 2003 on programmes 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 2004 FEDERATION VISUAL AUDIO Appendix VII Section 481 Investment

Introduction • Tax relief on amounts invested is not allowed The scheme of tax relief was introduced in 1987 (Section until principal photography of the film project 35), to promote the Irish film industry, by encouraging has commenced. investment in Irish made films, which make a significant contribution to the national economy and Exchequer and • The production company must be established / or act as an effective stimulus to the creation of an solely for the purpose of the production of one indigenous film industry in the State. The scheme was and only one qualifying film. broadened in 1993 to include individual investors. The details of the scheme are contained in Section 481 of the Taxes Consolidation Act, 1997. In 2000, the scheme Qualifying Film was extended for five years through to April 2005, but A qualifying film is a film in respect of which the following the budget of 4 December 2002 this was Minister for Arts, Sport and Tourism has given a brought back to 31 December 2004. The Budget of 3 certificate. (From June 2002) December 2003 extended the scheme to 31 December 2008 and increased the limit on monies that can be raised under the scheme from G10.48 million to Qualifying Company G 15 million with effect from 1 January 2005. A qualifying company for the purposes of the scheme, is an Irish incorporated and resident company or a company, which is carrying on a trade Summary of the Scheme in the State through a branch or agency. The company must exist solely for the production and • The scheme provides tax relief towards the cost distribution of one and only one qualifying film. of production of certain films. The maximum amounts which can be raised under the scheme Under Revenue Rules, to qualify for the tax relief, a are: risk requirement must attach to the investment, i.e. a return cannot be guaranteed to the investor. a) up to 66% of the total cost of a film with a budget of G5,080,000 or less;

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 a budget between G5,080,000 and G6,350,000;

c) up to G10,480,000 (G15million from 1 January 2005) maximum for films with a budget over G19,050,000.

• Tax relief on 80% of their investments is available to individual investors and to corporate investors on amounts invested.

• Individual investors can invest up to G31,750 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.

• The investment must be used within two years, for the purpose of enabling the qualifying company to produce a qualifying film.

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

(a) Steering Committee Organisations in the audio-visual sector and video rental companies. Affiliated member organisations include Screen Producers Ireland, Bord Scannán na An Roinn Ealaíon, Spóirt agus hÉireann, Film Base, and the Film Institute of Turasóireachta/Department of Arts, Ireland. Sport and Tourism Established in 1993 as the Department of Arts, Bord Scannán na hÉireann/Irish Culture and the Gaeltacht, the Department of Arts, Film Board Sport and Tourism (since June 2002) has overall Bord Scannán na hÉireann/the Irish Film Board was Government policy responsibility for the future reconstituted in April 1993 by the Department of development of both the film and television Arts, Heritage, Gaeltacht and the Islands under the production industry in the State. Since the Finance Film Board Act, 1980. It aims to ensure the Act of 1994, the Department has had an active role continuity of production and availability of Irish in the Section 35 (now S481 of the Taxes films to home and international audiences. Consolidation Act 1997) investment incentive scheme, through the certification process. The Bord Scannán na hÉireann provides loans and Minister is the certifying authority in certifying equity investment to independent Irish film-makers qualifying films and the process has enabled the to assist in the development and production of Irish Department to ensure that the main aim of the films. The Board also acts in co-operation with other Section 481 relief remains focused on promoting the Irish semi-State agencies to improve the marketing, growth of the indigenous film industry. sales and distribution of Irish films and to promote training and development in all areas of film- In 2000, the Section 481 investment scheme was making. Employment of Irish crew and the use of extended for five years, through to April 2005. (In ancillary Irish services is a vital factor in the Board's 2002 the expiry date for the scheme was brought consideration of applications. forward to 31 December 2004). 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 Eurimages, founded by the Council of Europe, scheme from G10.48 million to G15million with provides production finance for European effect from 1 January 2005. co-productions. The Irish Government has participated in the scheme since 1992. Arising from the recommendations in the 1999 Report of the Film Industry Strategic Review Group, the Department completed the restructuring plans Radio Telefís Éireann (RTÉ) for the Irish Film Board, whereby the staffing The IPU is RTÉ's interface with the independent complement was increased to 16 officers within a sector. RTÉ's primary responsibility is to it's newly developed corporate arrangement, thus audience, and the quality and range of facilitating the Board in meeting the on-going commissioned programmes plays a key role in challenges facing the industry. helping RTÉ to deliver the most successful television schedules in Ireland, with an Individual Multi-Peak The Department provides Bord Scannán na hÉireann share of 37.5% in 2004 year to date, a very healthy / the Irish Film Board with grants-in-aid for its 1.3% increase on 2003. The key driver in this current and capital operations. From 2000, the success in home-production, with Irish news, Board’s capital operations are being funded by the stories, entertainment and drama for the Irish Exchequer, under the National Development Plan audience. RTÉ's independent commissions 2000-2006. (alongside it's in-house production) are what deliver this strong performance. Commissioned Irish content satisfies viewers, underpins RTÉ's Public Audiovisual Federation (AF) Service remit, and meets the commercial and The Audiovisual Federation was established in creative aspirations of the Irish independent sector. September 1992 to promote the development of The volume of hours and the actual spend on Ireland’s audiovisual production and distribution independent production have increased enormously industry. Its membership comprises firms ranging since the first year of operation of the IPU in 1994. from broadcasters RTÉ, TG4, UTV and independent producers to corporate video producers, animation studios, facilities, legal and financial firms involved

- 32 - UI IULFDRTO REVIEW 2004 FEDERATION VISUAL AUDIO

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

RTÉ's increased annual spend (G45.994 million in production sector. Future strategy will concentrate 2003 in respect of 685 hours of commissioned on consolidation and promoting linkages with programming) has underpinned the growth of the converging technologies, in order to establish the Irish independent sector, and assisted in job Gaeltacht as a centre of excellence in the new creation, economic growth and creative expression media. in this dynamic sector. An tÚdarás also recognises that further growth in the Audiovisual Sector must be driven by companies TG4 becoming less dependent on the home market of TG4 is Ireland’s Irish language television service and TG4 and RTÉ. There is a nucleus of companies broadcasts on its own channel, available nationally which must be resourced and encouraged to on terrestrial analogue, digital cable and produce content for international markets if the subscription satellite. Its core remit is to broadcast sector is to continue to grow. To-date this is a comprehensive range of quality, relevant Irish proving to be a challenging task. language programming to the national audience as a Public Service. The channel is funded by the An tÚdarás supports the establishment of the Exchequer. During 2003, TG4 received G21.065 Strategic Development Forum for the Western million grant-in-aid from the Department of Region which has bought together all the relevant Communications, Marine and Natural Resources. players in the region with a view to producing a strategic blueprint for the development of the TG4 functions primarily as a publisher/broadcaster sector over its next five years. and currently operates under the statutory aegis of the RTÉ Authority. The Broadcasting Act 2001 In the context of the debate on Section 481 it is the contains a provision that would enable the service view of an tÚdarás that there needs to be more to be given statutory independence. This provision emphasis on the development of regional balance has not yet been activated. But the Minister has in the film and television production sector. 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 day MEDIA Desk Ireland (supported by the European of Irish language programming. Commission’s MEDIA Programme, the Film Institute of Ireland, Film Makers 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 200 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 On behalf of its members the organisation seeks to MEDIA Desk and Antenna provide advice, technical create an improved environment for producers, assistance and consultancy for audiovisual which will assist growth in the industry. SPI reflects professionals in international and national markets members’ concerns on a variety of issues affecting and festivals, as well as facilitating the integration the current and future working environment of the of the Irish audiovisual industry within Europe. independent film, television and animation sector. It Along with providing information on the MEDIA represents these views to the appropriate state, Programme, the MEDIA Desk and Antenna also semi-state and international bodies. provide information on Eurimages and on EU Audiovisual Policy in general.

(b) Other Agencies

Údarás na Gaeltachta An tUdarás, as the State agency charged with the development of the Gaeltacht, has supported the development of the audiovisual industry in its region through investment in training, production and post production facilities and the independent

- 33 - - 34 - Appendix IX Film Animation 2003 TV Film Title Animation Project Type of 2004 2003 and2004 List ofProductionsincludedintheReport Bachelors Walk 3 Bachelors Walk Asylum Adam andPaul Tutenstein The IslandofInisCool Norman NormalII Derreck theDetective RT Turning Green The MightyCelt The Honeymooners The ClinicSeriesII Tara Road Six Shooter Showbands Short Order Royston Vasey Red Roses&Petrol Proof 2004-2005 Malice Aforethought Love istheDrug Isolation Foreign Exchange Breakfast onPluto Boy EatsGirl Pet Alien Little Vampire Lily the Witch Four Eyes Camera Caf Blackwater Lightship Blind Flight TG4 Tristan &Isolde Timbuktu The Trouble with Sex The Return The Clinic The BigBow Wow Proof Omagh Dog Man About Laws Of Attraction King Arthur Inside I'mDancing Freeze Frame Dead Meat É

(not available attimeofprinting) (not available attimeofprinting) (RT É Commission) (RT é É

(RT Commission) É Commission) (RT (RT É Commission) É Commission) - 35 RT É Pulling Strings Proof (ExpensiveSilence) Planxty Live PG-Plus Other Voices O Open House(Autumn2003-Spring2004) No Frontiers VI (2003-2004) Nigel Kennedy Millstreet Maestro Masses /Services(2003-2004) Last OneStanding Kevin O Just For LaughsII John Davis The FlyingScotsman Imagining Ulyssses I Was You House HuntersRevisited House HuntersintheSun2 House Hunters3 Horse Racing2003 Hands On(2003-2004) Guns &Chiffon Gerry RyanHitList Garden HeavenCompilations Garden Heaven Frank O Football Crazy Fleadh Ceol2003 AFamily at WarFine Gael: Festival of World Cultures Fame Game ontheRun Everything UndertheSun(IrishGigilo) Europe Emmet Ear totheGround Des Bishop Work Experience Series Des Bishop Work Experience Pilot Delegation Cruinneas Sraith4 Conrad Gallagher Close EncounterswithKeith Barry Celebrity Farm Uncut Celebrity Farm Camera Caf Cabin Fever Breaking BallXmasSpecial2003 Breaking Ball V Blizzard ofOdd(Two Series) Big LittleMusicShow Beyond theHallDoor Best ofHandsOn Bachelors Walk seriesIII Art Magic An EveningPrayer2003 A ScareatBedtime2003 Patrick Scott Other Voices 03 ’ Sullivans March – Howwas ifforyou? – ’ ’ Higgins Connor Howareyou? é – – – The GoldenBoy SongsfromaRoomHighlights SongsfromaRoom – The Designers The – A FlashinthePan? – The Return Visit The

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

2003 continued TG4 Cont. Éalú Éininí Type of Éire Fo Thoinn 3 Project Title Eoghan Ó’Tuairsic Fear an Phíopa Scope Fear and Phoist 2 Screwback Filleadh – Maidhc Dainín Ó Sé Show Me the Money Find Doherty Stew Fite Fuaite The Attic Foitheadalú The Big Bow Wow Frankie The Boy who had no Story Gaeltacht Thir Eoghain The Clinic Geantraí 8 The Lyrics Board Glíogair The Pope’s Visit Grá Gan Coinníoll The Raw Bar Gradam Ceoil 2003 The Restaurant Grandad’s Hitler Youth The Restaurant Xmas Gubu The Rod Squad Harry Clarke The Struggle Heaven on Earth The Underworld Húicéirí The Wonderful World of Kelvin Kind Idir Shúgradh agus Daíríre The Wow Factor Kings Townlands Lá an Dlí ar Inis Mor Turas Teanga Lóchrann Ceoil Vets on Call Mísnúil Nó Macánta Walking the Dog Mna / Fír na hEireann 2003 Wild Trials Mo Chuntas Féin Rugbaí Beo - Mumhain v Uladh TG4 Aisling Hollywood Na Colúir An Cruthaitheoir Nan An Ghaeltacht Abú Ned Kelly – the True story An Taibhdearc Ó Chonamara go Monte Carlo Ar Macha ar ais Arís Ó Oileán Fhínse Cois Cuain Athghuthú Oíche Nollaig Cois Cuain Atlantic Jihad Ollsoláthar 2003 Bás Cliabháin PJ: Fear and tSiopa Bóthar Seoige Ros na Rún 8 Cá Bhfuil ár dTriall Saw Doctors Rugby Beo - Cardiff v Mumhan Sé Mo Laoch Cath 100 Blain Séidean Staire Ceird an Cheoil Sellafield Ceoil Tire – Rogha Togha Sex and Sinners Céol Bán Breathnach The Boy who had no Story Ceol Tire – Straith 3 The Queens of the Nile Chester Beaty Library Tolláin Dhubha Cistí Agus Comhrá Marbh Gan Tae Cleamhnas – Sraith 6 Why? 2 Cluiche Ceannais na gCeardscoil GAA Beo - Corcaigh v Ciarraí GAA Beo - Corcaigh v Gallaimh Crionnacht 2 Cruach Phádraig Curragh Dialann Samhraidh Documenting Rosa Dubáil Dubbing

- 3635 -