AUDIO VISUAL FEDERATION REVIEW 2004 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 AUDIO VISUAL FEDERATION REVIEW 2004 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/ - 2 - AUDIO VISUAL FEDERATION REVIEW 2004 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: G Bord Scannán na hÉireann/Irish Film Board Teresa McGrane Linda McEvoy G Radio Telefís Éireann Michael Hyland Aoife Savage G TG4 Pádhraic Ó Ciardha Mary Uí Chadhain G An Roinn Ealaíon, Spóirt agus Turasóireachta/ Sabina O’Donnell The Department of Arts, Sports and Tourism G Screen Producers Ireland Malcolm Byrne Siobhan Kennedy G Facilities Kevin Moriarty, Ardmore Studios G Animation Sector Paul Cummins, Telegael G 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. - 4 - AUDIO VISUAL FEDERATION REVIEW 2004 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.