ANNUAL REPORT Page 2 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Contents
1 Report from the Chair & the CEO
2 Industry Funding Overview
3 SPI Progress Report
4 Policy Papers
5 Screen Producers Ireland Overview
6 SPI Board 2015
7 SPI Committees 2015
8 SPI Executive & Corporate Structure
9 SPI Financials
SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Page 3 Page 4 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Report from the Chair & the CEO The Chair john hennessy
My focus as Chair in 2015 was to ensure important creative industries. It plays a critical the SPI aims and policies were effectively role in preserving our country’s rich cultural communicated to Government and stakeholders. heritage. In 2015 Independent production companies made a significant cultural In 2015 SPI published six key policy papers contribution to the centenary commemorations outlining the necessary infrastructure of 1916, producing a number of programmes required to promote growth in the audiovisual for all the national broadcasters. Independent sector. (See page 31 for SPI policies). productions commissioned for the centenary include ‘Rebellion’ ‘1916’ ‘Seven Women’ Work to communicate these policies included ‘Trial of the Century’ ‘Wrecking the Rising policy meetings held with Ministers in key ‘A Terrible Beauty’. The quality and breadth Departments, a number of senior Government of these productions serves to underline the officials and with all stakeholders. sector’s importance in a cultural context.
The policy work also informed SPI’s submission In 2016 my focus will be strategy and to the 2016 Action Plan for Jobs. We were collaboration. The SPI board will prepare the pleased to welcome the commitment from SPI Strategy 2017 – 2020. Collaboration between Government in the final plan, to commission all stakeholders will be required to build a an economic analysis of the current value of strong industry by setting out an action plan to the Irish audiovisual industry and its potential mobilise our vision for the audiovisual industry. for growth. We are continuing to ensure Government understand the urgent need for I would like to thank the board of SPI and this report to be initiated so that accurate the SPI committees for their commitment sectoral data can be gathered to inform a to the organisation during 2015. sustainable growth strategy for the industry. John Hennessy Government support is a prerequisite to the implementation of policies to support the sector. Chairman In 2016 the effective communication of SPI policies remains a priority as it is the path to growth and securing additional funding for quality content.
In line with the new companies act which was enacted in June 2015, we prepared a new SPI constitution. The new constitution was approved by the membership at the SPI EGM in April 2016 and ensures the company’s adherence to highest corporate governance standards. REPThe audiovisual sector is one of Ireland’s most
PORTage 6 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT ceo barbara galavan
2015 was a year of steady trading results Through the formulation and communication of for film and television production. the SPI policies in 2015, SPI increased awareness of issues which need to be addressed if the sector is January saw the launch of the amended to grow. Key among these is the urgent need for Section 481 Film Tax Incentive Scheme Licence Fee reform and the need for the Irish Film with an increase in value to 32%. The Board Capital grant to be substantially increased. amendments and the accompanying increase We will continue to communicate our policies in value was welcomed by the sector. to Government and stakeholders during 2016.
Analysis of the available statistics indicates We made substantial progress in achieving that Total S481 relief remained steady the first industry agreement with Irish Equity/ when averaged out over 2014 and 2015. SIPTU covering actors employed on indigenous TV drama productions, in 2015. The pragmatic TV Drama remains the outstanding negotiations brought the parties close to contributor to production activity with an concluding the agreement by the yearend. The average S481 Irish Expenditure of €100M final agreement was signed in March 2016. per annum over the last three years. In 2015 the EU published their Digital Single Film has grown in 2014 and 2015 with an average Market Strategy. In this digital age, the aim of the S481 Irish Expenditure of €41M per annum. strategy seeks to break down barriers to online trade between European countries. It presents Animation indicates a decline in activity many challenges to the way audio-visual in the same period with an average S481 content is currently financed. The European Irish Expenditure of €30M per annum. Commission also launched reviews of a number of EU Directives affecting our sector. The Audio In 2015 SPI participated on the Section 481 Visual Media Services Directive (AVMS) and the Policy Discussion Group. The group was formed Satellite and Cable Directive (SatCab) determine to consider and make recommendations to the rules within which the audio visual sector Government on further amendments to Section must operate. The issues to be considered are 481. The Group made its formal recommendations numerous and complex. In November I was to the Department of Finance in July. The key elected Chair of The European Coordination of recommendation to increase the cap from Independent Producers (CEPI). This appointment €50M per project to €70M per project was ensures SPI has a strong voice in Europe at accepted and announced in Budget 2016. a time of great change for the industry.
RTÉ spend on independent production during In November SPI made its submission to 2015 remained static at approximately €38M. the Culture 2025 consultation issued by the The number of hours commissioned has been Department of Arts, Heritage & the Gaeltacht. reducing in number since 2012 indicating a A copy can be found on the SPI website. return to more sustainable cost per hour levels. We hosted 10 SPI members’ events in 2015. Our aim TG4 have been increasing their spend in the to bring about greater stakeholder collaboration independent sector since 2012. Indications was achieved at the RTÉ and IFB events which are that this trend continued in 2015 with were attended by all senior commissioning approximately €22M spent in the sector. and project management personnel. REPThe BAI awarded €14M over three I would like to take this opportunity to thank rounds in 2015 and the IFB capital the Board of SPI and the staff for their continued grant remained static at €11.2M. hard work and commitment to the SPI agenda.
Of central importance for SPI members is Barbara Galavan the need for local indigenous productions to be supported, alongside the supports CEO for foreign direct investment.
ORTSCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Page 7 Page 8 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Industry Funding Industry funding S481
Ireland’s film and television tax incentive, Section 481 2014 did not go into production until 2015. This also accounts for is essential to Ireland’s production landscape. the increase in S481 projects certified in 2014 when compared to 2013. Taking 2014 and 2015 values together indicates the industry It is of benefit to indigenous productions, co-productions and is holding steady at an average of €178M certified in each year. gives independent producers leverage to attract incoming productions, thereby creating high value industry jobs in Ireland. We conclude that material changes to Ireland’s film and television tax incentive scheme should not take place without the Productions availing of Section 481 relief in 2015 continued provision of a 12 month lead time. This would allow the industry to be the main contributors to production activity in time to adapt to change and avoid such fluctuations in statistics. the State with a total of €118M certified in the year. In 2015 the project value threshold for eligibility to the S481 Between 2011 and 2014 the value of S481 certified scheme widened the scope for smaller budget productions. projects had increased by approximately 25% year on The 2015 figures indicate an increase in smaller budget year. In 2015 the legislation governing the delivery of projects availing of S481. In the year the average value per the scheme changed from an investor led model to a project decreased from € 3.5M (2014) to € 1.8M (2015). Corporation Tax Credit model. This change appears to have had a significant impact on the total value, of projects TV Drama remains the biggest contributor to production certified in the year, particularly incoming projects. activity in the State with an average of approximately €100M S481 for the last 3 years. This is in line with the In 2015 the value of S481 projects certified decreased from €237M growth in this genre being experienced worldwide. in 2014 to €118M. This represents a 50% decrease. The decrease can be accounted for because some projects which were certified in
The year on year increase in S481 projects certified confirms that Ireland’s film and tax incentive scheme works to increase production activity in the State.
SPI will continue to ensure S481 is renewed in 2018 to take account of the long lead time required for film and television production.
S481 Irish Expenditure Projects Certified by Revenue Commissioners 2011 - 2015
2011 2012 2013 2014 2015
No of S481 projects 57 52 67 67 66
S481 Projects Certi ed € 118,248,839 € 142,968,378 € 183,142,646 € 237,387,613 €118,618,238
Ani mation Total € 31,982,729 € 32,127,088 € 44,942,020 € 39,104,231 € 20,752,709
Docume ntary Total € 4,853,720 € 3,797,207 € 2,717,403 € 7,108,573 € 8,959,749
Film Total € 33,231,456 € 29,243,763 € 35,856,614 € 49,221,388 € 34,022,510
TV D rama Total € 48,180,934 € 77,800,320 € 99,626,609 € 141,953,421 € 54,883,270
The principal growth in projects availing of S481, particularly the ability of the Independent Production sector to achieve between 2011 and 2014, is in incoming productions. Incoming the high standards required for large scale production productions grew by 186% between 2011 (€61M) and 2014 and the ability to compete in a global marketplace. (€174M). The increase of incoming productions highlights
Page 10 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Growth of S481 Projects Certified 2011-2015
150M
120M
90M
60M
30M
0 Animation Documentary Film TV Drama
2011 32.0 4.9 33.2 48.2
2012 32.1 3.8 29.2 77.8
2013 44.9 2.7 35.9 99.6
2014 39.1 7.1 49.2 142.0
2015 20.7 9.0 34.0 54.9
S481 Projects Ceritfied incoming vs irish 2011-2015
200M
150M
100M
50M
0 2011 2012 2013 2014 2015
Irish 57.1 52.7 41.1 62.9 52.5
Incoming 61.1 90.3 142.0 174.5 66.1
The twin pillars to a successful film and television production permit new entrants to the sector, they provide the opportunity industry in Ireland is a competitive tax incentive scheme to develop local creative and production talent, they provide together with adequate supports for indigenous productions. much needed opportunity to train the high quality crews that The value of indigenous Irish projects has not followed the same Ireland has become synonymous with. The development of year on year growth experienced by incoming productions. the indigenous industry is extremely important to avoid the For example the value gap in 2014 between indigenous sector becoming overtly reliant on incoming productions. projects and incoming projects was €111.6m or 178%. To ensure sustainable growth of the industry the value of indigenous Implementation of SPI policies to address TV Licence projects needs to grow in tandem with incoming projects. Fee reform and increase funding to the Irish Film Board will address this imbalance by providing the necessary The trend of continued growth of incoming projects and supports to develop the indigenous production sector. stagnation of indigenous productions is a potential risk to the continued development of the industry. Indigenous productions
SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Page 11 Industry funding Film
The total Irish expenditure of S481 film projects certified same period from 12 in 2014 to 13 in 2015. In 2015 the average in 2015 decreased from € 49.2M in 2014 to € 34m. value of a S481 certified Irish project was € 1M, the lowest average since 2008. This suggests that a larger number of small budget However, looking at 2014 and 2015 together, the average films are now being made. The average value also suggests annual figure of €41M illustrates growth over 2013. that Irish films are mainly micro to small budget films.
It should also be noted that 2014 was an exceptional year for The significant decrease in the average value of Indigenous film in Ireland. Films such as ‘Room’, ‘Brooklyn’, ‘The Lobster’, projects in 2015 to € 1M is a worrying trend which indicates ‘My Name is Emily’, ‘11 Minutes’, ‘A Date for Mad Mary’, ‘The a move towards spreading the limited Irish funds available Secret Scripture’, and ‘Sing Street’ were certified in 2014. Due across a large number of projects. The questions must be to the nature of production the success of these productions asked if this is the correct strategy for the sector and is was not visible on screen until 2016. A number of these quality being compromised for the sake of quantity. productions received multiple Oscar and other prestigious nominations and awards in their first year of release. We conclude that the funding available through local sources is not sufficient to wholly fund medium to large productions, It is an indication of what can be achieved by the making Irish producers reliant on co-production arrangements. industry if adequate funding is available. SPI will continue to lobby Government for an increase In 2015 the value of indigenous Irish film projects decreased from in capital funding for the Irish Film Board. € 29M in 2014 to € 13M in 2015. This represents a 54% decrease. The number of projects receiving certification increased in the
Film 2011-2015 S481 Projects Certified by Revenue Commissioners
€50,000,000 €45,000,000 €40,000,000 €35,000,000 €30,000,000 €25,000,000 €20,000,000 €15,000,000 €10,000,000 €5,000,000 €0 2011 2012 2013 2014 2015
Irish Film €20,504,507 €14,362,156 €12,399,328 €29,297,469 €13,359,548
Incoming Film €12,726,949 €14,881,607 €23,457,286 €19,923,919 €20,662,962
Total Film €33,231,456 €29,243,763 €35,856,614 €49,221,388 €34,022,510
Page 12 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Industry Funding Animation
The total value of S481 certified animation projects The lowering of the threshold for access to S481 in 2015 decreased from € 39M in 2014 to € 20.7M in 2015. had no impact on the number of Irish animation projects This represents a 47% decrease and is the lowest certified in the year. The number of indigenous projects level achieved in animation since 2009. certified decreased from 5 in 2014 to 3 in 2015.
The sharp decrease may be somewhat accounted for by some projects which were certified in 2014 but did not go into production until 2015. However the combined 2014 and 2015 Greater support is required for indigenous animation average of €29M still indicates a decline in animation production. productions to increase the level and total value of Irish animation production which has not increased from 2011. The value of indigenous Irish animation increased from € 5M in 2014 to € 7 M in 2015. This represents a 41% increase. But the value of indigenous Irish animation has yet to reach the highest level achieved in 2011 of € 11.6M.
ANIMATION 2011 - 2015 S481 Projects Certified by Revenue Commissioners
€50,000,000 €45,000,000 €40,000,000 €35,000,000 €30,000,000 €25,000,000 €20,000,000 €15,000,000 €10,000,000 €5,000,000 €0 2011 2012 2013 2014 2015
Irish Animation €11,588,733 €10,209,245 €7,447,823 €5,020,803 €7,076,047
Incoming Animation €20,393,996 €21,917,843 €37,494,197 €34,083,428 €13,676,662
Total Animation €31,982,729 €32,127,088 €44,942,020 €39,104,231 €20,752,709
SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Page 13 Industry funding Documentary
Documentary was the only genre to increase in value After 3 years (2011 – 2013) of decreasing value, documentary since 2014. The total value of S481 projects certified for projects certified increased in value by 162% in 2014. In 2015, Documentary increased from €7M in 2014 to nearly the trend upwards continued with a further increase of 26%. € 9M in 2015. This represents a 26% increase. The total value of documentary projects certified in 2015 was The number of projects also nearly doubled from 11 in €8.9M Irish expenditure, the highest value achieved to date. 2014 to 20 in 2015. Between 2014 and 2015 the average value per project decreased from € 646k (2014) to € 448k This indicates a positive outlook for documentary (2015), this indicates an increase in the number of smaller projects availing of S481 for 2016. budget projects availing of the scheme in 2015.
Documentary 2011 - 2014 S481 Projects Certified by Revenue Commissioners
€10,000,000 €9,000,000 €8,000,000 €7,000,000 €6,000,000 €5,000,000 €4,000,000 €3,000,000 €2,000,000 €1,000,000 2011 2012 2013 2014 2015
Documentary €4,853,720 €3,797,207 €2,717,403 €7,108,573 €8,959,749
Page 14 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Industry Funding TV Drama
TV Drama has seen unprecedented growth from an Irish This compares to €99M certified for TV drama in 2013. expenditure of €48M in 2011 to €142M certified for S481 in 2014. The total value of TV drama projects certified in 2015 This represents a threefold increase in the period. continues to surpass the value of film projects certified.
The introduction of the new S481 scheme had a negative This illustrates the worldwide trend in increased TV Drama effect on the value of TV drama projects certified in production and the high value of recurring TV drama series. 2015. The amount certified in the period was €55M. This TV drama has further potential for growth. Irish producers represents a 61% decrease on the 2014 figure of €142M. are key to leveraging and building on the success to date.
Some of the decrease can be accounted for because some TV To ensure continued growth of this genre the industry dramas which were certified in 2014 did not go into production needs to continue to highlight impediments to growth. until 2015. This also accounts for the increase in TV drama projects certified in 2014 when compared to 2013. Taking an These include the need to increase film and average of 2014 and 2015 TV drama values indicates the genre television studio capacity and the need to ensure is holding steady at an average of €98M certified in each year. adequate training for employees in the sector.
TV DRAMA 2011 - 2014 S481 Projects Certified by Revenue Commissioners
€160,000,000 €140,000,000 €120,000,000 €100,000,000 €80,000,000 €60,000,000 €40,000,000 €20,000,000 €0
2011 2012 2013 2014 2015
Irish TV Drama €20,153,467 €24,317,347 €18,562,284 €21,429,352 €23,124,451
Incoming TV Drama €28,027,467 €53,482,973 €81,064,325 €120,524,069 €31,758,819
Total TV Drama €48,180,934 €77,800,320 €99,626,609 €141,953,421 €54,883,270
SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Page 15 Industry Funding IFB
In 2015 the Irish Film Board capital grant from the Department “The primary role of the Irish Film Board is to invest in the of Arts, Heritage & the Gaeltacht was €11.2M. 2015 represented development of Irish talent in front of and behind the camera the first year since 2008 that funding to the IFB was not reduced. and to ensure that Irish audiences have the opportunity In December Minister Heather Humphreys TD announced to see Irish stories on film.” - IFB Annual Report 2014. a €500k increase in 2016 funding for the IFB. While this is a welcome increase the level of funding available to the Irish Without adequate funding for the Irish Film Film Board is insufficient. IFB funding represents just 5 % of Board, the production sector risks becoming the total value of S481 projects in 2014 and 10 % in 2015. IFB over reliant on incoming productions. funding available to productions impacts on Indigenous projects which have remained largely stagnant since 2011. SPI’s Irish Film Board policy calls on the Government to restore funding levels to the 2008 level of €20M.
Irish Film Board oireachtas grant €’m 2008 - 2016
20
15
10
5
0 2016 2015 2014 2013 2012 2011 2010 2009 2008
Funding 11.7 11.2 11.3 11.9 13.2 16.0 16.5 18.8 20.0
Page 16 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Industry Funding BAI
Through the Sound & Vision Scheme the Broadcasting Authority In 2015 the amount awarded to RTÉ via the Sound & of Ireland distributes 7% of the annual value of the Licence Vision scheme increased from €2.9M in 2014 to €5.7M. This Fee for high quality television and radio programmes on Irish represents a 96% increase. RTÉ, TG4 and TV3 continue culture, heritage and experience and programmes to improve to be the top 3 broadcasters receiving more than 80% of adult literacy. In 2015 the BAI awarded nearly €14M to 77 the total amount awarded in 2014 and 2015. Drama and television productions over three application rounds. The BAI Documentary combined received the majority of the Sound &Vision scheme makes a significant contribution to funding in 2014 and 2015 at 68% of the total awarded. Independent productions. In 2015 the total amount available to the Sound & Vision scheme of € 14M was in excess of the amount In 2015 some of the BAI Sound & Vision notable awards available to Ireland’s national screen agency, the Irish Film included € 1.3m awarded in Round 23 to projects Board. This highlights the inadequacy of current IFB funding. commemorating 1916. Also three feature films were awarded funding in Round 24 and in Round 25 four feature documentary projects were awarded funding.
BAI S&V Broadcaster Overview 2015
Summary of BAI S&V Rounds 23, 24, 25
#Projects Broadcaster Award € ‘000 % Total T.V.
29 RTÉ € 5,758 41%
18 TG4 € 3,753 27%
7 TV3 € 2,025 15%
5 Sentanta Sports € 737 5%
4 UTV Ireland € 736 5%
11 Community TV € 473 4%
1 CBBC € 300 2%
2 Irish TV € 151 1%
Total 77 € 13,933 100%
BAI S&V Genre Overview 2015
Summary of BAI S&V Rounds 23, 24, 25
#Projects Genre Award € ‘000 % Total T.V.
6 Drama € 5,314 38%
29 Documentary € 4,124 30%
3 Education € 1,573 11%
18 Animation € 1,500 11%
3 Entertainment € 1,422 10%
Total 77 € 13,933 100%
SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Page 17 Industry Funding RTÉ
In 2014, the actual expenditure committed to new value of €11.3M. This additional funding from other sources commissioning activities during 2014 was € 38.3m (excl. represents 30% of RTÉ’s committed expenditure. The total RTÉ attributable overhead). The statutory level for 2014 was value inclusive of all third party funding was € 49.6M. €38.2M (i.e.€ 40M subject to CPI), we understand the figures for 2015 have remained largely in line with 2014. The RTÉ new RTÉjr, RTÉs dedicated commercial-free channel for commissioning spend resulted in 490 hours of programming children under seven, commissioned 35 hours of produced by 77 independent production companies. independently produced programming in 2014.
In addition to the € 38.3M, Drama and Animation The RTÉ Commissioning activity table below shows the programmes attracted funding from other sources to the continued decrease in the Independent Production Unit
RTÉ Commissioning Activities 2011 - 2014
2014 2013 2012 2011 2010
Number of companies that submitted proposals 244 212 224 273 274 No of Proposals Received 970 861 973 1,273 1,224 No of Commisions awarded 132 150 151 136 144 No of Hours Commissioned 490 536 602 405 812
activity. The number of programme hours commissioned in Irish household now not paying the TV Licence Fee. 2014 is a reduction of 322 hours from the total of 812 hours in This equates to €40M in lost revenue each year. 2010. This decrease represents 34% of the number of hours commissioned in 2014. The Independent production sector has SPI policy advocates for Licence Fee reform and experienced a significant decrease in the RTÉ spend from € 75M for a doubling of the current statutory spend on in 2008 to € 39.7M (inc RTÉ attributable overheads) in 2014 a independent production from €40M to €80M. decrease of € 35.3M / 47%. During the period RTÉ experienced a decline in advertising revenue and in Licence Fee income. * RTÉ figures for 2015 were unavailable at time of going to print. There is an acute need for reform of the television Licence Fee with evasion levels estimated at 14% of
RTÉ Grant in aid & expenditure in the Independent Sector €’m 2008 - 2014
22% 39.7 2014 178.6M
20% 36.6 2013 182M 23% 41.4 2012 180.9M
26% 2011 47.5 183.6M
27% 53.2 2010 196M
29% 57.1 2009 200.20M 38% 75 2008 199M
050 100 150 200 250
Total expenditure RTÉ IPU stat and non stat costs Total RTÉ Grant in aid
Page 18 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT RTÉ receives grant aid of 85% of the revenue generated time when the number of television households has increased. from the TV Licence Fee. The RTÉ grant in aid has decreased dramatically since 2009 from € 199M to € 178.6M in Ireland has one of the lowest TV Licence Fees in Europe, both on 2014. This represents an 10% decrease or €20.4M. a per household basis and per capita. It has one of the highest TV Licence Fee evasion rates in Western Europe at 14%. There The decrease has had the biggest impact on the independent are a further 8% of households that claim they do not have a production sector. The total expenditure on independent television and therefore do not pay the Licence Fee. In aggregate production reduced by €35.3M between 2008 and 2014. circa 22% of Irish households now do not pay the TV Licence € 75M was spent in 2008 compared to €39.7M in 2014. Fee. This equates to over €50M in lost revenue each year. This represents a 47% decrease in the period. SPI continues to highlight this issue to Government and proposes The decrease in the value of the grant in aid is intrinsically linked a legislative change be enacted to enable License Fee reform. to the reduction in the number of TV licences paid year on year. The reduction in the number of licences paid is reducing at a
RTÉ One | Top 30 Programmes | 2015
Programming made by independent producers for RTÉ continues to rate very highly and consistently performs success- fully across digital and social media platforms. In 2015, 3 of the top 10 and 9 of the top 30 rating programmes on RTÉ One were produced by independent producers. The independent production sector in Ireland continues to deliver quality, di- verse, innovative and cost-efficient programming for the national broadcaster. See further details in table below
Top Programmes 2015 ranked by Average TVR, Individuals 4+ National / Consolidated / Based on Any Day, Any Time, Best Episode Top Programmes 2015 ranked by Average TVR, Individu(Mals 4inimum+ Duration: 10 Minutes) RTÉ One National / Consolidated / Based on Any Day, Any Time, Best Episode (Minimum Duration: 10 Minutes) RTÉ One
Ranking Description Day of week Date Time Dur (r) TVR 000s Share
1 Late Late Toy Show, The Fri 27-11-2015 21:36 - 23:54 139 37.99 1,556.4 72.10 Indigenous Irish 2 Charlie Sun 04-01-2015 21:29 - 22:50 82 20.68 851.7 46.66 Independent Production 3 Mrs Brown's Boys: Mammy's Widow's Memories Thu 31-12-2015 22:15 - 22:55 41 18.71 766.5 47.13 4 Mrs Brown's Boys: Mammy's Christmas Punch Thu 24-12-2015 21:00 - 21:40 41 18.29 749.4 42.61 Co-Production/Enhanced 5 RTE News: Nine O'clock Sun 18-01-2015 21:00 - 21:20 21 17.71 729.3 39.71 Acquisition by RTÉ 6 Late Late Show, The Fri 23-10-2015 21:36 - 23:44 129 17.56 719.4 49.85 7 Voice Of Ireland, The Sun 22-02-2015 18:33 - 19:58 86 16.71 688.1 40.53 In-House 8 Mrs Brown's Boys D'movie Fri 25-12-2015 21:42 - 23:12 91 15.88 650.7 38.25 RTÉ Production 9 Room To Improve Sun 08-02-2015 21:29 - 22:29 61 15.87 653.4 39.96 10 Rose Of Tralee International Festival 2015, The Tue 18-08-2015 21:37 - 23:30 114 15.85 652.9 47.99 Acquired Programme 11 RTE News: Six One Wed 30-12-2015 18:01 - 18:26 26 15.63 640.2 45.08 12 RTE Investigates Mon 07-12-2015 21:36 - 22:31 56 15.52 635.8 41.84 13 Fair City Sun 18-01-2015 20:00 - 20:27 28 14.86 611.8 32.92 14 At Your Service Sun 22-02-2015 20:31 - 20:57 27 13.83 569.6 30.53 15 Prime Time - A Stolen Life Sun 29-03-2015 21:35 - 22:12 38 13.78 567.5 31.23 16 EastEnders Thu 19-02-2015 19:30 - 20:24 55 13.16 541.9 30.36 17 Nathan Carter Show, The Wed 30-12-2015 21:31 - 22:36 66 12.83 525.8 31.15 18 Ireland's Fittest Family Sun 13-12-2015 18:32 - 19:29 58 12.76 522.7 33.45 19 Well Holy God It's Glenroe Sun 27-12-2015 21:30 - 22:26 57 12.66 518.6 32.94 20 Saturday Night Show, The Sat 10-01-2015 21:42 - 23:01 80 12.57 517.8 33.47 21 Operation Transformation Wed 21-01-2015 20:30 - 20:57 28 12.53 515.9 29.42 22 Prime Time Special Sat 14-11-2015 21:47 - 22:21 35 12.31 504.2 32.98 23 Million Euro Challenge, The Sat 10-01-2015 20:12 - 21:07 56 11.87 488.9 30.88 24 Mrs Brown's Boys Christmas Special: Mammy's Tickle Tue 22-12-2015 21:36 - 22:12 37 11.78 482.7 28.81 25 Ray D'Arcy Show, The Sat 26-09-2015 21:47 - 23:08 82 11.76 481.8 33.93 26 Arthur Christmas Sat 05-12-2015 20:05 - 20:18 14 11.72 480.0 28.09 27 Santa Clause, The Sat 28-11-2015 20:06 - 20:18 13 11.60 475.3 29.27 28 Recruits Tue 01-09-2015 21:41 - 22:31 51 11.20 459.1 31.41 29 Better Off Abroad: The Irish In Dubai Sun 25-10-2015 21:30 - 22:25 56 11.19 458.5 30.47 30 At Your Service Revisited Sun 15-03-2015 20:30 - 20:57 28 11.19 460.6 28.90
* Source Nielsen/TAM Ireland consolidated: Any Day, Any time, Best Episode, Ranked by TVR, National Individuals 4+, Programme duration greater than 10 minutes, RTÉ only.
SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Page 19 Industry Funding TG4
According to their 2013 & 2014 Annual Reports to almost €22M in 2014. Independently produced programmes “TG4 invests over €20m annually in original Irish include ‘Ros NaRun’, ‘Corp agus Anam’ and ‘An Klondike’. programming from the independent production sector in Ireland. This investment supports 350 posts in small TG4 continue to increase the total funding to the independent private sector companies throughout the island.” production sector from 51% of the total TG4 grant in aid in 2008 to 68% in 2014 (€ 18.1M in 2008 to € 22M in 2014). The In 2015 TG4 received €32.24m in the form of a grant via system clearly works well for TG4 and is an indication the Department of Communications, Energy and Natural of the success of the publisher broadcaster model. Resources. The 2015 funding represented a reduction of €.5M on 2014/2013/2012. TG4 sources content from over 100 Irish In 2015 the Government committed to providing independent production companies. Over 300 highly skilled and funding of €32.54m to TG4 for 2016. creative full-time jobs in the sector are directly sustained by TG4 commissions. Most of these are small companies and many but *TG4 figures for 2015 were unavailable at time of going to print. not all of these jobs are located in Gaeltacht areas. In 2014, TG4 commissioned 680 hours of new Irish language programming and almost 700 hours of re-voiced material and subtitling from the independent sector. Expenditure with the sector increased
TG4 Grant in aid spend on Independent production Sector €’M 2008 - 2014
35
30
25
20
15
10
5
0 2015 2014 2013 2012 2011 2010 2009 2008
Independent 22.0 21.7 21.5 17.8 17.5 17.0 18.0 18.1
TG4 10.2 11.1 11.3 15.0 15.3 15.3 17.2 17.3
Total 32.2 32.7 32.7 32.7 32.7 32.2 35.2 35.5
Page 20 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Page 21 Industry Funding TV3
The TV3 schedule comprises approximately 40% of Independently produced programmes commissioned Irish produced content. TV3 has a substantial in- by TV3 in 2015 also include ‘The Great Irish Bake house production unit which produces mainly news, Off’, ‘Doctor in the House’, ‘Temple Street Children’s current affairs, daytime programming and studio based Hospital’, ‘The Lazy Chef’, ‘Prison Families’, ‘Print and programming. In recent years, TV3 has increased the Be Damned’ the Irish Feature Film ‘The Guarantee’. volume of commissioning from independent producers. Expenditure figures by TV3 on independent production In 2015 TV3 commissioned the second series of the are not currently published. Under their 2009 contract channels independently produced flagship soap ‘Red Rock’ with the Broadcasting Commission of Ireland (now BAI), for transmission in 2016, ‘Red Rock’ has proved a major TV3 undertook to spend between 15% – 25% of its annual success for the channel in terms of ratings and also in programme budget on independent productions. terms of exports, with sales in the US to Amazon Prime and in the UK to the BBC who acquired 80 episodes. In 2015 TV3 was sold to UPC, UPC Ireland is part of Virgin Media, Liberty Global’s UK subsidiary.
Page 22 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Industry Funding UTV
On January 2015 the new channel UTV Ireland went on air, the UTV Ireland was awarded 5% of the total BAI Sound & Vision channel holds Republic of Ireland broadcasting rights to key fund in the 2014 Rounds 20 and 21. This increased by 5.24% programming from ITV Studios Global Entertainment, including in 2015. The funding they were awarded in 2015 was for Emmerdale, Coronation Street and The Jeremy Kyle Show. ‘Home Truths From Abroad’ and ‘Along Home Shores’ both independent productions. Other Independent productions This new television channel obtained a licence on commissioned in 2015 include ‘Pat Kenny In the Round’. February 27th 2014, for a ‘Content Provision Contract’ to the Broadcasting Authority of Ireland.
The contract signed between the BAI and UTV Ireland Limited is provided for under Section 71 of the Broadcasting Act 2009. There are a number of elements to a contract granted under this section of the Act which differ from the regulatory regime applied to the public service broadcasters, RTÉ and TG4, and the commercial broadcaster, TV3 and its sister station, 3e, specifically in the areas of carriage, content, and levy.
SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Page 23 Page 24 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT SPI progress report SPI Progress Report
SPI POLICY Key issues raised by producers through the survey were:
The priority for SPI during 2015 was the formulation of strong 1. The need for longer lead times between Calls for policies to support the sector. During the period we identified Ideas and the deadline for submissions. the most important policies to be addressed in order to support growth. Six key policy documents were published (see page 31). 2. The need for adequate time to be set aside in Key among these is the urgent need for Licence Fee reform and order for contracts to be signed 4 weeks ahead of the need for the Irish Film Board Capital grant to be substantially principal photography, a stipulation of the Code. increased. Work to communicate our policies to Government included meetings with Ministers in key Departments, meetings 3. The need for producers to be better informed of the with senior Government officials and with all industry terms of the RTÉ Code of Fair Trading Practice. stakeholders.This work provided us the opportunity to highlight the economic value of the independent production sector, its 4. We met with and shared the SPI Survey findings with importance in preserving Ireland’s rich cultural heritage, the RTÉ. RTÉ committed to address both issues during 2016. significant role it plays in attracting tourism to Ireland and the SPI is committed to addressing the need for producers potential for growth should the SPI policies be implemented. to be better informed of the terms of the Code. INDUSTRY STATISTICS TG4 The SPI policy work also served to inform our submission to Negotiations continued between SPI and TG4 in an the 2016 Action Plan for Jobs. We were pleased to welcome effort to agree a TG4 Code of Fair Trading Practise. The the commitment from Government in the final plan, to Code must accurately reflect the BAI Guidance Note to commission an economic analysis of the current value Public Service Broadcasters published in April 2011. of the Irish audiovisual industry and its potential for growth. We are continuing to ensure Government We were disappointed that agreement could not be reached understand the urgent need for this report to be initiated so during the period. SPI cannot agree to a Code which seeks that accurate sectoral data can be gathered to inform rights over and above those recommended in the BAI Guidance a sustainable growth strategy for the industry. Note. We will continue to press for the TG4 Code of Fair Trading Practice to reflect the BAI Guidance Note to PSB’s. FILM & TELEVISION TAX INCENTIVE S481 IRISH FILM BOARD 2015 was a year tinged with sadness for the Irish Film Board January 2015 saw the launch of the amended Section 481 Film with the sudden passing of Chairman Bill O’Herlihy in May. Bill Tax Incentive Scheme with an increase in value from 28% to had been a driving force for the development of the Irish Film 32%. The increase was welcomed by the sector.During the year, Board Strategy which we understand will be published in 2016. SPI was a key participant on the Section 481 Policy Discussion In Bill’s absence Annie Doona was appointed acting Chair. Group. There were 6 meetings of the S481 Policy Discussion Group held in 2015, all of which SPI attended. The group was In December Minister Heather Humphreys TD announced formed to consider and make recommendations to Government an additional funding allocation of €500K for the year 2016. on, further amendments to Section 481. The Group submitted Given that capital funding for the Irish Film Board has been its formal recommendations to the Department of Finance in reduced by 44% since 2008, SPI has been lobbying for an in- July. The key recommendation to increase the cap from €50M crease in funding. While the amount announced is nowhere per project to €70M per project was accepted and announced near enough, we were pleased to welcome the development in Budget 2016. This was a good outcome for the sector. as a move in the right direction. We see it as an acknowledge- ment by Government of SPI’s message that there is an acute need for increased funding for the IFB to support the sector. RTÉ 2015 provided the first full year of the application of the RTÉ Code of Fair Trading Practise. The Code, agreed between SPI SPI EVENTS 2015 and RTÉ in 2012 provides for the retention of copyright by Every year SPI aims to hold quality events geared towards the producers for independent TV commissions from RTÉ. specific business and creative needs of member companies. In 2015 we hosted 10 SPI members’ events (see page 28). Our aim In September SPI carried out a survey of members to bring about greater stakeholder collaboration was achieved to assess the impact of the Code on companies. The at the RTÉ and IFB events. Both these event were attended by survey determined that the Code has had a positive all senior commissioning and project management personnel impact for production companies with the majority of and provided useful networking opportunities for attendees. participant’s reporting compliance with the new Code.
Page 26 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT CORPORATE GOVERNANCE DEVELOPMENTS IN EUROPE The new Companies Act 2014 was enacted into law in June 2015. In November SPI CEO Barbara Galavan was elected Chair of The In line with our aim to adhere to high standards of corporate European Coordination of Independent Producers (CEPI). governance SPI prepared a new constitution in accordance with the new Companies Act. The new constitution was approved at In May the EU published their Digital Single Market the December Board meeting for presentation to the members Strategy. The aim of the strategy seeks to break down at an EGM early in 2016. The new constitution provides for new barriers to online trade between European countries. It rules restricting the period of time board members can serve presents many challenges to the way audiovisual content is consecutive terms and a more structured approach to how currently financed and traded across borders and presents board members declare their interest in running for election fundamental challenges to copyright enforcement. to the SPI Board.The Regulation of Lobbying Act was enacted into law in March 2015.The purpose of the Act is to provide The European Commission also launched reviews of a for a web-based Register of Lobbying to make information number of EU Directives affecting the sector. The Audiovisual available to the public on the identity of those communicating Media Services Directive (AVMS) and the Satellite and Cable with designated public officials on policy or legislative matters. Directive (SatCab) determine the rules within which the Lobbying returns are required to be made every four months. audiovisual sector can operate. The issues to be considered as SPI registered with the lobbying register during 2015 and made part of these reviews and the Digital Single Market Strategy its first return in accordance with the Act in January 2016. In are numerous and complex. The appointment of the SPI CEO 2015 SPI also registered with the newly constituted Charity as Chair of CEPI ensures that SPI members have a strong Regulator. SPI is required to supply relevant information to the voice in Europe at a time of great change for the industry. Charity Regulator on a regular basis. The Charity Regulator was established in 2014 and requirements to register were enacted in 2015. Benefits of being a Registered Charity: Assurance that ATTENDANCE AT EVENTS SPI is complying with the law. Demonstrate that we operate to SPI attended all key industry events during 2015 including Media high standards of governance and administration. Highlight Con the first Irish media conference aimed specifically at the our commitment to transparency and accountability Be in audiovisual sector in September. a better position to retain and attract statutory funding and SPI also attended the Canadian Ireland Trade Mission, the contracts. Be able to apply to Revenue for charitable tax exempt Cannes Film Festival, MIPCom, the Galway Film Fleadh, status and associated benefits.. All of the above work enhances the Cork Film Festival and the Fastnet Film Festival. the SPI Corporate Governance Manual published in 2014. INDUSTRIAL RELATIONS CULTURE 2025 2015 was dominated by efforts to achieve the first ever Collective The Department of Arts, Heritage & the Gaeltacht published Agreement covering actors working on indigenous TV drama its Culture 2025 discussion paper in September. The aim of productions. The process to achieving agreement included the discussion paper is to have a national discourse on the two appearances by the parties before the Labour Court. role of culture in modern Ireland and what should be done to foster and develop it. The consultation process seeks to Substantial progress and pragmatic negotiations followed which inform and underpin the first ever National Cultural Policy brought the parties close to concluding the agreement by the which will articulate the important role of culture in Ireland yearend. The final agreement was signed in March 2016. and which will set out a road map for the cultural sector for the next 10 years leading up to 2025. SPI was pleased to This was an excellent outcome for employers and employees as represent member’s contribution to Ireland’s creative industries issues relating to the lack of agreement had affected a number through our submission to Culture 2025 which was made in of productions including those unrelated to TV drama. October. The submission is available on the SPI website. We are continuing to pursue industry agreements covering employees working in the film and TV drama sector. DEVELOPMENT OF A NATIONAL SKILLS STRATEGY In September Crowe Horwath were commissioned by SPI MEMBERSHIP NUMBERS a coalition of the Irish Film Board & the Broadcasting Authority of Ireland, to undertake the development of a At the end of 2015 SPI had 113 Members up from 105 in National Strategy for Skills Development in the Audiovisual 2014, 7 animation company members left in 2015 to Industry in Ireland. This is a welcome development and join the newly established Animation Ireland. SPI was pleased to participate in the consultation through face to face meetings with the Crowe Horwath team and by arranging meetings with member companies and crew.
The National Strategy for Skills Development in the Audiovisual Industry in Ireland is due to be published in 2016.
SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Page 27 SPI Events Events 2015
2015 Event
DEC BAI Briefing Sound & Vision Presentation - Briefing on Sound and Vision Scheme with Ciaran Kissane, BAI Sound & Vision Fund
NOV Producing outside the M50 - Brief presentation and networking opportunity, with Ciaran Kissane, BAI Sound & Vision Fund; James Hickey, CEO Board Scannnan na hEireann/ Irish Film Board; Michael O’Meallaigh Stiurthoir Coimisiunaithe, TG4; Colm O’ Callaghan, Executive Producer; Ceannasai Claracha Gailge, Education & Sience RTÉ.
OCT/ TV3 Briefing Seminar with Lynda McQuaid, Director of Content o SEPT commissioning plans for 2015-2016. Networking opportunity.
AUG/ Irish Film Board Briefing & Networking Event - James Hickey CEO and Treasa McGrane, deputy JULY CEO of the Bord Scannán na hÉireann/ Irish Film Board discuss current project funding activities followed by an informal networking session with Project Managers, Mary Callery, Keith Potter, Rory Gilmartin and Emma Scott, Production & Distribution Manager.
JUNE SPI AGM -Annual General Meeting with guest speaker David McRedmond, CEO of TV3 Group, addressed the SPI Membership.
MAY Maximising TV Audience Recruitment - Briefing on recent successful social and digital media strategies for TV shows. Speakers: Glen Killane MD RTÉ Television; Michelle Spillane, Director RTÉ Global & Marketing. Case studies: Leah Yeung Digital Producer, Operation Transfromation; Jason Butler, Writer/ Producer “Republic of Telly” and Steven Courtney Digital Director of “The Voice”. Followed by Paul Loughrey, Head of Audience Insights presentation on audience behaviour patterns on TV, online and social platforms. Networking opportunity with Genre Heads & Commissioning Editors.
APRIL RTÉjr Event in association with SPI - Developing Live Action programmes for Children - Briefing Workshop session on producing programmes and developing ideas for young children with RTÉjr.
MARCH Working Time Act Briefing Seminar with Gareth Kyne, Employee Relations Consultant, to update members, line producers, production managers and production accountants on correct implementation of the Organisation of Working Time Act for productions.
FEB RTÉ Briefing & Networking Event - The Channel Controllers for RTÉ One, RTÉ Two and RTÉjr outline their Vision and Commissioning Requirements for the next 18 months. Speakers: Adrian Lynch, Bill Malone, Sheila DeCourcy and Glen Killane, MD RTÉ Television. The following Genre Heads attended the networking session : Roger Childs, Religion; Eddie Doyle, Comedy, Music & Talent; Jane Gogan, Drama; Niamh O’Connor, Factual; Cliona O’Leary, Sport; Gráinne McAleer, Daytime & Lifestyle; Ray McCarthy, Education & Regional; John McHugh, Entertainment.
JAN YouTube seminar in collaboration with Screen Training Ireland: Presentation by Joe McDermottroe, Manager of YouTube Next Lab Programmes, about how to maximise opportunities for exposure and revenue on YouTube followed by Case Study by Mike Cook, Producer of YouTube success ‘Simon’s Cat’.
Page 28 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Page 29 Page 30 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT spi policy papers
Screen Producers Ireland have identified a number of policy areas which are of key importance to indigenous producers. The organisation has produced a number of policy papers on these issues for distribution to government and other relevant stakeholders.
1. Policy on Section 481 2. Policy on Public Service Broadcasting 3. Film Policy for Ireland’s National Broadcaster 4. Policy of Fair Regulation of Broadcasters 5. Policy on Irish Film Board Funding 6. Policy on Cable Re-Transmission and the Cable Copyright Exemption Policy ON S481
KEY POINTS: spend €237m in 2014 (the highest level ever achieved) in the Irish economy as a direct result of Section 481 certified projects. • Section 481 has a positive impact on the creation of indigenously produced content. SPI believes that maintaining Section 481, updating it to ensure it remains internationally competitive and improving it when • Section 481 attracts incoming production and has a necessary, is essential to ensure further growth in the sector. positive impact on the creation of high end jobs. Section 481 provides high end jobs, it helps to position Ireland • Section 481 contributes to Ireland’s reputation as a as a leader in the creative industries, it promotes Ireland’s rich global hub for high-tech digital and creative content. culture around the world, it contributes to Ireland’s reputation as a global hub for high-tech digital and creative content and • SPI is calling on Government to ensure that Section it has a direct impact on attracting tourism to our country. 481 is continued and extended two years in advance of 2020 to take account of the long lead time required in the international production sector. Principles on w hich this policy is based Ireland has a long history of fiscal incentive for film and CORE POLICY television dating back to 1980. It was one of the first countries to introduce an incentive. Now countries with which Ireland A fiscal incentive such as Section 481 is necessary if Ireland’s competes have similar or comparable incentives. The UK, content production industry is to continue to thrive. Section Hungary, Luxembourg, Germany, the Czech Republic, Canada, 481 is a scheme intended to provide relief in the form of Australia, New Zealand and South Africa are some of the a corporation tax credit related to the cost of production countries that now provide attractive incentives. In addition, incurred in Ireland. Those countries with which Ireland within the US, individual states have introduced incentives competes have similar or comparable incentives. It is in order to try and draw production activity away from the imperative for the Irish film and television industry that most dominant and traditional location of California. a fiscal incentive is maintained and modified as required to keep apace of international market conditions. The result is that Ireland has become an attractive location for incoming film and television production Ireland has a long history of supporting its film and television while also supporting indigenous production. industry through fiscal incentives, dating back to 1980. Since then the Irish film and TV sector has evolved into a vibrant The expenditure in the Irish economy as a result of Section industry with a sophisticated infrastructure of production 481 clearly illustrates the need for Ireland to maintain and companies, studios, service companies and personnel, all of continue to improve its fiscal incentive, as required. which provide valuable employment in the Irish economy. The table below illustrates the growth in Section In the recent years, there has been a 25% increase year on year 481 funds raised between, 2011 – 2014. in Section 481 funding raised. Irish productions committed to
2011 2012 2013 2014
No of S481 projects 57 52 67 67
S481 Projects Certified € 118,248,839 € 142,968,378 € 183,142,646 € 237,387,613
Animation Total € 31,982,729 € 32,127,088 € 44,942,020 € 39,104,231
Documentary Total € 4,853,720 € 3,797,207 € 2,717,403 € 7,108,573
Film Total € 33,231,456 € 29,243,763 € 35,856,614 € 49,221,388
TV Drama Total € 48,180,934 € 77,800,320 € 99,626,609 € 141,953,421
To maintain expenditure and promote growth in the sector, Ireland must: 1. Ensure the continuance of the film and tel- evision tax incentive Section 481. 2. Secure the extension of Section 481 in advance of 2020 to take account of the long lead time re- quired in the international production industry.
Page 32 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Policy On Public Service Broadcasting
KEY POINTS: The publisher-broadcaster model operated by Channel 4 in the UK is recognized as a more cost-effective and innovative • Public service broadcasters, RTÉ and TG4, need way of producing quality content, while supporting the security of funding to meet their obligations under enterprise economy and giving audiences access to a wider the Broadcasting Act and should not be reliant range of programming and creative talent. The BBC is currently on advertising and commercial revenues. moving in this direction by restructuring its organizational model and re-purposing its entire in-house production • SPI proposes legislative change be enacted to counteract the current high evasion levels of the TV License. Plans should be initiated to decouple RTÉ and TG4 from reliance on advertising income. RTÉ should move towards • RTÉ should move towards the emerging trend of the emerging trend of the publisher-broadcaster model by the publisher-broadcaster model by doubling the doubling the statutory spend on independently produced statutory spend on independently produced content content from the current level of €40M p/a to €80M p/a. from the current level of €40M p/a to €80M p/a. CORE POLICY Principles on w hich this policy is based Ireland’s public service broadcasters need to be adequately funded. Household-based media Charge
The provision of a well-funded public service broadcaster is an The current licence fee model is no longer fit for purpose, as important principle for most national governments. SPI believes acknowledged in the Programme for Government 2011-2016. SPI Ireland should move towards the European norm where PSB’s supports the introduction of a household-based media charge to are funded principally from licence fee revenue with little ensure a stable funding base for Irish public service broadcasting. or no reliance on advertising and commercial revenues. Dual funding model Public service broadcasters RTÉ and TG4, need security of funding to meet their obligations under the Broadcasting Act. The dual funding model of licence fee and high levels of dependency on advertising/commercial income leaves Ireland’s This can be achieved through introducing a Household public service broadcasters open to significant fluctuations in Media Charge and by initiating plans to decouple their annual budget. It gives rise to uncertainty in the sector RTÉ and TG4 from the advertising market. through not having long term visibility on income levels to guarantee compliance with public service commitments. Efficiencies and value for money for the tax payer must be a condition of this policy and for this reason we believe RTÉ should Of the 43 countries surveyed by the European move towards the emerging trend of the publisher-broadcaster Broadcasting Union (EBU) in 2014, Ireland’s public model. Publisher-broadcasters out-source programme service broadcaster is the third most dependent PSB production, leading to content diversity and reduced costs. on advertising income, after Poland and Malta.
SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Page 33 The table below outlines the funding mix of public service media in the 43 territories surveyed.
Page 34 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT RTÉ’s dependency on commercial income (45% in 2014) also RTÉ One, RATINGS FOR TOP 30 contributes to a distortion in the media and advertising mar- PROGRAMMES IN 2014 ket in Ireland. Competitor broadcasters, regional radio, news- papers and other media outlets claim unfair advantage. Locally produced content tends to resonate well with Irish audiences and generally enjoys very successful TAM rat- Since the economic downturn, RTÉ’s total income has fallen ings (as shown below). This indicates strong audience (and from €441M in 2008 to €328M in 2014, a fall of €113M or 26%. licence payer) demand for indigenous productions. The principal reason for the decrease is the dramatic drop in advertising revenue during the period. Ireland’s primary public 7 of the top 20 titles were produced by service broadcaster dependency on advertising income means a Irish independent producers. large proportion of its income is vulnerable to fluctuations. This is not the case in most European territories where the income 11 of the top 20 were in-house RTÉ productions. is stable. RTÉ’s funding needs to be stabilized and TG4’s fund- ing needs certainty. Currently a significant percentage of TG4 Transmission funding is discretionary government funding. Stability can be Position Programme Title Date achieved through eliminating evasion of the TV Licence Fee. 1 The Late Late Toy Show 28-11-2014 2 Love/Hate Episode 6 09-11-2014 PUBLISHER-BROADCASTER MODEL 3 Amber Episode 4 22-01-2014 Efficiencies and value for money must be a condition of this policy and for this reason we believe RTÉ should move towards 4 Mrs Brown's Boys: Mammy's Gamble 31-12-2014 the emerging trend of the publisher-broadcaster model, retain- 5 The Sunday Game Live Hurling Final 07-09-2014 ing core functions of news and current affairs within RTÉ. 6 Mrs Brown's Boys Christmas Special: 25-12-2014 Mammy's Tickle The publisher-broadcaster model such as Channel 4 and 7 RTE News: Nine O'clock 02-03-2014 TG4 is an efficient and cost-effective model to deliver qual- 02-02-2014 ity public service broadcasting in the rapidly changing digi- 8 The Voice Of Ireland tal media environment, as evidenced internationally. 9 The Late Late Show 28-02-2014 10 Rose Of Tralee 19-08-2014 SPI believes that programming made by independent produc- 11 Prime Time Inside Bungalow 3 09-12-2014 ers is high quality, cost-effective and makes the best use of 12 Fair City 04-02-2014 the public money. Independent producers have consistently delivered some of the highest rating and valued programmes 13 RTE News: Six One 06-01-2014 for Irish audiences since the introduction of the minimum 14 ROG - The Ronan O'Gara Documentary 02-01-2014 statutory spend in 1993 (see table below). The independent 15 Operation Transformation 04-02-2014 production sector offers diversity of ideas, innovative and 16 At Your Service 12-01-2014 quality content, transparency and accountability for every 31-12-2014 euro of the licence fee spent on programmes commissioned. 17 New Years Eve Live 18 Michaella Peru, And The Drugs Run 07-07-2014 RTÉ as a publisher-broadcaster would be a better use of the 19 RTE News (Late) 28-11-2014 licence fee and would result in a greater volume of quality, 20 Reeling In The Years 03-01-2014 original Irish programming available for Irish audiences. 21 The Fall 17-12-2014 Plans should be initiated to decouple RTÉ and TG4 from reliance 22 The Santa Clause 2 20-12-2014 on advertising income. The statutory spend on independently 23 Mrs Brown's Boys 09-02-2014 produced content should be doubled from the current level of 24 EastEnders 11-02-2014 €40M p/a to €80M p/a to pave the way for RTÉ to move towards 25 The Nolan's 10-02-2014 the emerging trend of the publisher-broadcaster model. 26 Up For The Match 20-09-2014 27 Quirke 16-02-2014 28 The Saturday Night Show 01-02-2014 29 Tony O'Reilly - The Real Deal 03-11-2014 30 Winning Streak 25-01-2014
Acquired Programme
Indigenous Irish/ Independent Productions
In House RTÉ Productions
Co-Production/ Enhanced Acquisition by RTE
SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Page 35 RTÉ One, RATINGS FOR TOP 30 PROGRAMMES IN 2013 9 of the top 20 titles were produced by Irish independent producers 8 of the top 20 were in-house RTÉ productions:
RTÉ One: 2013 Top 30 Programmes for All Individu- als Any Day/Any Time/Best Episode/Ranked by TVR
Position Programme Title Transmission Date 1 Late Late Toy Show 2 Love/Hate (Drama) 10-11-2013 3 Mrs Brown's Boys 02-02-2013 4 Eurovision Song Contest 18-05-2013 5 RTE News: Nine O'Clock 20-01-2013 6 Voice Of Ireland, The 20-01-2013 7 RTE News: Six One 13-03-2013 8 Operation Transformation 27-02-2013 9 Fair City 02-01-2013 10 Raw (Drama) 10-02-2013 11 Late, Late Show, The 25-01-2013 12 Rose Of Tralee, The 20-08-2013 13 At Your Service 20-01-2013 14 Late Late Show, The 18-10-2013 15 Prime Time 28-05-2013
16 Toy Story 3 16-02-2013 17 Irish Film And Television Awards, The 09-02-2013 18 Voice Of Ireland - Results, The 17-03-2013 19 Life On The Inside 18-02-2013 20 Hector Goes... 14-01-2013 21 RTE News (Late) 18-05-2013 22 Saturday Night Show, The 26-01-2013 23 Room To Improve 02-01-2013 24 Eastenders 08-01-2013 25 Dragons' Den Junior 28-04-2013
26 Leap Year 02-01-2013 27 Tommy Bowe's Bodycheck 24-02-2013 28 Reeling In The Years 02-01-2013 29 Dragons' Den 21-04-2013
30 Santa Clause, The 09-11-2013
Acquired Programme
Indigenous Irish/ Independent Productions
In House RTÉ Productions
Acquisition by RTÉ
Page 36 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Policy Film Policy for Ireland’s National Broadcaster
KEY POINTS: SPI proposes a change to the 2009 Broadcasting Act to provide for the following minimum spend by RTÉ on • In contrast to most European countries, Ireland Irish feature films and feature documentaries. has no legislative or regulated commitment from its’ national broadcaster, RTÉ, to spend a mini- 1.5% of RTÉ revenue allocated to Television Integrated Busi- mum amount on locally produced films. ness Division (i.e. licence fee + commercial income) in the preceding financial year (e.g. 2014: €172,862,000 = @1.5% = • This places Irish producers at a competitive disadvan- €2.59m) and in any case no less than €2.5m per annum. tage and results in fewer Irish films being made.
• SPI proposes that 1.5% of RTÉ revenue allocated to Principles on w hich the Television Integrated Business Division in the this policy is based preceding financial year, and in any case no less than €2.5m per annum, be allocated to spend on We set out how such legislation, regulation or formal- Irish feature films and feature documentaries. ised minimum spend is achieved in individual ter- ritories. The outcome is a vibrant economic environ- CORE POLICY ment for the local indigenous film industry. In most European territories Public Service Broadcast- Ireland by contrast has no such legisla- ers play a pivotal role in the success of their domestic film tion or regulated commitment. production industries. This role is underpinned either by legislation, regulation or a formalised minimum spend com- The 2009 Broadcasting Act states: mitment on local film, on the part of the national broadcast- ers. The result is a healthy support and strong broadcaster RTÉ: “114.—(1) The objects of RTÉ´ are— (4) the principal express demand for indigenous films from the local territory. powers of RTÉ´ in pursuance of the objects outlined in subsec- tion (1) are……(n) to invest in, originate or procure films,” Ireland has no such legislation or regulated commit- ment. SPI believes Ireland’s national broadcaster RTÉ The Irish Broadcasting Act 2009 recognises film as a distinct should be compelled to play this pivotal role in Ireland. genre, underlining the importance of film to Irish audiences but it makes no distinction between Irish film and foreign Film is a costly medium when compared to other programme films and it imposes no obligation on the national broad- genres and for this reason, Ireland’s national broadcaster will caster to fund or support Irish feature films or feature length often overlook film in favour of lower cost programme genres documentaries. SPI believes that this issue must be rectified to support. For this reason, in order to support their indig- in order to support the growth of the Irish film industry. enous film industries, other territories have legislated or pro- vide regulation for minimum spend requirements for locally Cultural Benefits of Film produced films. Ireland has no such legislation or regulated commitment. Not having such legislation or regulation puts Heritage and culture are important determinants of na- the Irish film industry at a fundamental disadvantage. tional identity. It is therefore vital to create and preserve Irish heritage and contemporary society on screen for In 2014 the Irish Film Board invested just under €10 million in audiences both in Ireland and abroad. To tell stories by production activity. This permitted Irish producers to leverage Irish filmmakers for Irish audiences and the world. this funding to generate production expenditure of over €42 million in relation to IFB funded projects in that year. Support Films matter, they provide historical perspectives on events, a for a greater number of feature films and feature documen- mirror of contemporary society, they allow us to reflect on the tary films by RTÉ would result in more production activity in past, assess the present and imagine the future. They provide the State due to the producer’s ability to leverage funding. an opportunity to showcase Ireland as a tourism destination and provide tangible benefits for Ireland’s valuable tourism A principal factor when seeking co-production partners for industry. Examples of important Irish films which have reso- the financing of film is that a local broadcaster, particularly nated deeply with audiences in Ireland and across the world the national broadcaster, is an investment partner. Produc- include ‘The Quiet Man’, ‘Michael Collins’, ‘The Crying Game’, ers and financiers in other territories operate on this basis ‘My Left Foot’, ‘In the Name of the Father’, ‘In America’, ‘Once’, and therefore they find it difficult to understand why Irish ‘What Richard Did’, ‘The Guard’, ‘Song of The Sea’ and documen- producers do not enjoy the support of Ireland’s national taries ‘The Summit’, ‘Lón sa Spéir’, ‘One Million Dubliners’. broadcaster. It is problematic for Irish producers to explain to international partners why the national broadcaster does There is no specific reference to supporting Irish film not support Irish film projects at the early financing stage. in the 2009 Broadcasting Act and there is no mini- mum requirement to invest in Irish productions. Consequently, Irish producers operate at a competitive dis- advantage when compared to their European counterparts Screen Producers Ireland calls on the Irish Government to as the international market interprets this as a fault with legislate on this important issue to Ireland’s film makers. the project. This results in fewer Irish films being made.
SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Page 37 INTERNATIONAL COMPARISONS FINLAND YLE has a published strategy to invest €6m per annum Many European countries have had far greater success at 2014-2016 for films (incl. documentary). This is part of nurturing their respective indigenous film industries than a declaration of intent on a minimum number of fea- Ireland has. The following are some examples of this: ture film projects with the Finnish Film Foundation.
FRANCE GERMANY Under French law, PSB’s and Private Broadcast- Federal : In principle, there is no requirement on the PSB’s to ers must invest in cinema movies by Direct Con- invest in Federal film aid. However, there is a Film Support Act tribution and an Indirect Contribution. (‘FFG’) which states that contributions and grants are to be agreed between the PSB’s and the German Federal Film Board (FFA). Direct Contribution: Broadcasters must invest 3.2% of their turnover per year in European productions. 2.5% ZDF and ARD have undertakings in their individual Film Aid of the turnover must be invested in feature films origi- Agreements (FF-Abkommen), renewed every 4 years, to sup- nally made in the French language (“EOF” works). port co-productions and contributions in cash and in kind. The private broadcasters have an agreement with the FFA, Canal Plus is required to invest more as it is a cinema chan- (the VPRT Abkommen), whereby the broadcasters provide nel. Canal Plus must spend 12% of its total resources on cash contributions and media services to the film fund. pre-purchase of European films and at least 9% on pre- purchase of “EOF works”. In addition, at least 17% of its Regional: In principle, there is no requirement on re- “EOF” obligation must be spent on low-budget films. gional PSB’s to invest in regional film aid. Except for WDR (which belongs to ARD). WDR must assign an amount A special scheme applies to ARTE (Franco-German of its licence fee to the Westfalia Film Foundation. channel), where there are no obligations to cin- ema film. However, the channel typically invests 5% of its turnover in ARTE France Cinema. DENMARK The two Danish PSB’s Danmarks Radio & TV2 Danmark are regu- More details here: http://bit.ly/220kAPu lated by the Radio and Television Broadcasting Act and their ob- ligations are specified in a contract with the Ministry of Culture, Indirect Contribution (“soutien antenne” ): This is a tax paid by including the obligation to strengthen Danish film production. all broadcasters into a specified account in the Centre National de la Cinematographie (CNC). The tax is calculated by applying Every 4 years parliament agrees a “Media Policy” which cov- a rate to the amounts paid by the television services in perfor- ers all aspects of the PSB’s obligations and their licence fee. mance of contracts for the transfer of broadcasting rights. Amongst other issues, the agreement issued by the Ministry of Culture establishes the obligation of the PSB to have finan- France, key Film Stats 2013: cial involvement in “indigenous” film, not as an obligation to “invest”, but an obligation to buy a license to transmit. In • 270 feature films were produced in France during 2013 the last 4 years this figure was on average 53m. dkr (€ 7.1m) • Of which 154 were fully financed by France for feature (80%) and documentaries (20%) per annum. • Investment in French production totaled €1.3 billion • French PSB’s contributed €101.5m (un- der legislative requirements) AUSTRIA • Private Films Channels (incl. Canal+) €190m There has been a non-legal voluntary treaty „Film-Fernseh (under legislative requirements) –Abkommen“ between the Austrian PSB ORF to contribute • Over 42% of films aired on television were French €8m p/a to the Austrian Film Instutute (additional to AFI • The largest viewership for film on TV was recorded by budget of €20m.). Between 2000 and 2013, the ORF got ex- a French film ‘Rien à déclarer’ (‘Nothing to Declare’) tra money from the government and one of the conditions was to fulfill the „Film-Fernseh –Abkommen“. This condi- tion was set up into the ORF-Law and expired in 2013.
The programme of the new government (elected in 2013) included the announcement to support the production of film by the PSB. There is currently a draft law being discussed whereby the ORF has a legal obligation to the „Film-Fernseh –Abkom- men“ with a binding minimum budget of €8m per annum.
Page 38 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT POLAND UK Poland Act on Cinematography 2005, is a comprehensive 16 page Communication Act 2003: (Chapter 21, Part 3, Chapter 4, document which “… defines the principles in respect of support- p235) requires that cultural activity in the UK is reflected ing film creativity and other activities in the field of cinematog- by the inclusion of feature films in the services of PSB’s. raphy and the protection of film art resources.” Chapter 1. Article 19. (7) Public television broadcasters are Key Points 2014 required to earmark at least 1.5% of their annual proceeds from subscriptions from television owners for film produc- BBC : Charter & Agreement 2006 states the need for tion purposes. The broadcaster shall submit to the Director an the BBC to have a film strategy overseen by the BBC annual report on discharging this duty by the end of the first Trust. BBC Films budget in 2013 was STG. £12m. quarter of the calendar year. If the amount referred to in the first sentence is not fully expensed on film production, the broad- Channel 4 : Digital Economy Act 2010 [22.(1)(1) Channel 4 must caster shall transfer to the Institute the difference resulting. participate in… (b) the making of high quality films intended to be shown to the general public at the cinema in the UK The Act also stipulates that cinema exhibitors, distributors, and (c) the broadcasting and distribution of such content commercial television broadcasters, digital platforms, cable and films. Film 4’s annual budget is approx. STG. £15m. television stations each contribute 1.5% of specified revenues to the Polish Film Institute. UK key Film Stats 2014: More details here: http://bit.ly/1ONjr6h • 223 feature films were produced in UK during 2014 Poland key Film Stats 2014: • Of which 154 were domestic UK features • Total UK film production activity was £1.5 billion Poland produced over 40 feature films in 2014. The average • The UK spend associated with inward investment features budget of a domestic film is 4 - 4.5m PLN (c. €1m). The Polish was £1,233 million, up 40% from £879 million in 2013. Film Institute (PISF) is the largest source of funding in Poland, • Seventeen big budget films (£30 million or over) ac- with additional funds coming from television, a well-developed counted for 89% of the total UK film production spend. network of regional film funds as well as private sources. By • FILM 4: annual production expendi- December of 2014 the number of titles distributed in Poland ture STG. £15M for feature film surpassed 240, with the three top spots in the box office held • BBC Films annual budget approx. STG. £12M for feature film by Polish productions (‘Gods’, ‘Warsaw 44’, ‘Jack Strong’). • British Film Institute expenditure on Pro- duction STG. £23M (2012) • (BBC TV Drama budget approx. STG. £200M) SWEDEN According to the Public service regulation, SVT shall “con- tribute to the development of Swedish film production”. In As outlined in the above, many European countries take a the Swedish Film Agreement (between the government and pro-active approach to nurturing their indigenous film in- the industry), SVT has committed to 42,1 MSEK (€4.7M) per dustries and this has resulted in greater success for the in- year to the Swedish Film Institute for the Swedish film funds. dustry. If Ireland is to replicate this success there must be In addition, SVT has a minimum guaranteed spend of 41,3 a regulated minimum spend on Irish film introduced. MSEK (€4.6) on co-production or purchases of new Swedish feature films or new Swedish shorts and documentaries.
According to a Declaration signed by SVT and FILMTVP (Swedish producers association) in 2010, the estimated share of independent production in relation to SVT’s pro- gram budget (excl. news, sports and foreign purchases) will not be less than 40 % annually for the foreseeable future.
Private broadcasters are also obliged to “contribute to the de- velopment of Swedish film production” under their licences.
SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Page 39 Legislative Reference to Cine ma Film Production for Broadcasters PBS’s
Legislative Reference to Cinema Film Production for Broadcasters PSB's
Legislative Obligation Govt./Ministry Policy Austria Belgium Croatia Denmark Estonia Finland France Germany Greece Hungary Ireland Italy Macedonia Netherlands Norway Poland Portugal Romania Spain Sweden UK
Yes No * Additional information attached.
Page 40 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Policy Of Fair Regulation of Broadcasters
KEY POINTS: While the “country of origin” principle deals adequately with the complex scenario of broadcasters having to comply with differ- • Broadcasters located outside of Ireland, many of whom ent regulations in every territory into which they broadcast, it benefit from Irish advertising revenue, have no obligation does not address the inequity being experienced by broadcast- to spend a minimum amount on locally produced content. ers located in smaller European territories, where a common language is shared with their nearest and larger neighbour. • “Opt-out” advertising by UK broadcasters amounted to approximately 22% of the market, draining €48 Ireland and the UK are good examples in this regard. Irish million out of the domestic Irish TV market. broadcasters compete with UK broadcasters for audience and advertising revenue. UK broadcasters such as SKY and Chan- • SPI proposes amending the Audio-Visual Media Ser- nel 4 sell “opt-out” advertising into Ireland. For example, in vices Directive (AVMS) to ensure that channels that 2014, the value of “opt out” advertising sold into Ireland was sell “opt-out” advertising into other territories are €48 Million. This means substantial advertising revenue which regulated to ensure minimum spend commitments are would otherwise remain in Ireland is lost to the UK. The UK and made to locally produced content in those territories. major international brand broadcasters who sell advertising and other services into the Irish market have no obligation to • It is currently unfair that broadcasters based in dominant produce locally produced content in Ireland. This is not equitable. media territories are permitted to sell “opt-out” advertising into small territories like Ireland but are not bound to re- International manifestations of the same problem exist in invest in the territory from which they receive this income. Austria where German broadcasters broadcast and provide “opt-out” advertising to the Austrian market but invest lit- CORE POLICY tle in indigenous Austrian programming. Similarly for Portugal where Spanish broadcasters provide “opt-out” ad- Regulation of broadcasters in Ireland requires vertising and invest little in Portuguese programming. change because it is not a level playing pitch. SPI wants to have this inequity addressed through amending the Irish broadcasters have many obligations under their broad- AVMS Directive to ensure channels that sell “opt-out” adver- casting licences and in the case of RTÉ, they also have an tising into other territories are regulated to ensure minimum obligation to spend a minimum statutory amount on in- spend commitments are made to locally produced content in dependently commissioned programmes. This is not the those territories. This will be for the benefit of both the Irish case with broadcasters located outside of the jurisdic- viewing public and the indigenous Irish audio-visual produc- tion, many of whom sell “opt-out” advertising into Ireland. tion industry. This will address the current inequity that exists. This is an unfair situation which disadvantages PSBs.
The rules governing European broadcasting across territo- rial borders is determined by the Audio-Visual Media Services Directive (AVMS Directive). The AVMS Directive dictates that broadcasters be regulated in the country in which they are established and not the country or countries into which they broadcast. This is known as the “country of origin” principle.
SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Page 41 Principles on w hich All Irish broadcasters have obligations to their Irish audi- this policy is based ences under broadcasting legislation. RTÉ, as a public service broadcaster, also has an obligation to a minimum spend on The current “country of origin” principle is not fair, independently commissioned programmes. No such content particularly for smaller European territories. creation or spend obligations apply to SKY or Channel 4.
For example, SKY broadcasts 11 channels into Ire- International manifestations of the same problem exist in land but has no broadcast regulatory obligations Austria where German broadcasters broadcast and provide here. SKY sells satellite subscriptions, fixed line broad- “opt-out” advertising to the Austrian market but invest little band and “opt-out” advertising to the Irish market. or nothing in indigenous Austrian programming. Similarly for Portugal where Spanish broadcasters provide “opt out” In 2014, SPI estimates the revenue earned by SKY advertising and invest little in Portuguese programming. INC in Ireland was in excess of €500 million. The rules governing European broadcasting across borders While SKY has been involved in financing some TV productions is determined by the Audio-Visual Media Services Directive made in Ireland, compared to income earned by SKY in Ireland, (AVMS Directive). The AVMS Directive dictates that broad- the amount spent by SKY on TV production in the country is neg- casters be governed in the country from which they broad- ligible. In 2014 SKY made a commitment to have a programme cast. This is known as the “country of origin” principle. commissioning editor located in their Dublin office for three days every month to engage with Irish independent produc- SPI policy proposes a change to the “country of origin” principle ers. This promise did not materialise. This indicates that SKY in the AVMS Directive so that broadcasters selling “opt-out” has little or no editorial or commissioning interest in Ireland. advertising into other jurisdictions are also bound by minimum obligations to invest in and commission locally produced content. “Opt-out” advertising sold by UK broadcasters transmitting into Ireland has had a major negative effect on all Irish broadcast- It is currently unfair that broadcasters based in dominant media ers advertising income. There are now 34 TV channels selling territories are permitted to sell “opt-out” advertising into small “opt-out” advertising in the Irish market. Sky Media Ireland is territories like Ireland but are not bound to re-invest in the terri- the advertising sales arm of SKY and is the agent for 31 of the tory from which they receive this income. This requires change. channels selling opt-out advertising in Ireland, including 11 SKY TV channels. Media Link manages the commercial interests for the three Channel 4 channels broadcasting into Ireland.
In 2014, the total value of the TV advertising market in Ireland was €217 million. “Opt-out” advertising by UK broadcasters amounted to approximately 22% of the mar- ket, draining €48 million out of the domestic Irish TV mar- ket. This is a major depletion of resources available to Irish broadcasters, particularly RTÉ and TV3, to invest in home produced programming for the Irish viewing public.
Page 42 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Policy on Irish Film Board Funding
KEY POINTS: Principles on w hich this policy is based • The Irish Film Board capital funding decreased by over 40% between 2008 and 2014. Since 2008 the capital funding for the Irish Film Board has been reduced year on year. The percentage decrease since 2008 to • Reinstating the funding to €20m per annum would in- 2015, is over 40%. The reduction has had a significant negative crease production expenditure to €84m and would, in effect on the film and television production sector. If Ireland is turn, have a positive impact on jobs in the sector. to compete on the world stage for film and television produc- tions, its national screen agency must be adequately funded. • The increase in funding would allow Irish producers to compete more effectively with their international coun- In 2014 the Irish Film Board invested just under €10 million in terparts and would have a positive impact on tourism. production activity. This permitted Irish producers to leverage this funding thereby generating production expenditure of CORE POLICY over €42 million in relation to IFB funded projects in that year. Capital funding for Bord Scannán na hÉireann/Irish Film Board urgently needs to be increased. If not, Irish pro- The Northern Ireland Comparison ducers will not be able to compete internationally. The Irish Film Board Oireachtas grant for 2015 was €11.25 million. By way of comparison, for the years 2014-2018 The national screen agency in all territories plays an inte- Northern Ireland Screen’s annual investment in produc- gral role in the success of the local audio-visual economy. tion is budgeted at €16.3 million (£11.75 million). This It provides funding and support for indigenous pro- in a market significantly smaller than the ROI. ductions as well as some incoming productions. In April 2014 Northern Ireland Screen announced a STG. £43 Between 2008 and 2014 capital funding for the Irish Film million, four-year investment plan entitled ‘Opening Doors: Board was been reduced year on year. The percentage de- A Strategy to Transform the Screen Industries in Northern crease since 2008 to 2014, is over 40%. The IFB Oireachtas Ireland’ anticipated to generate STG. £250M return on in- grant for 2016 is €11.7M. By comparison Northern Ire- vestment. This is a significant increase in the level of fund- land Screen’s annual investment in production is budg- ing under their previous scheme where NI Screen invested eted at €16.3M (STG£11.7M). Northern Ireland is a market STG. £27.3 million over the four years 2010-2014 generating significantly smaller than the Republic of Ireland. an estimated STG. £121 million return on investment.
The reduction in Irish Film Board funding has had a significant If funding for Ireland’s national screen agency the Irish Film negative effect on the film and television production sec- Board is not increased, it will jeopardize productions and put Irish tor, particularly indigenous film makers who provide much producers at a significant disadvantage compared to their in- needed work and opportunities for Irish creative talent. ternational counterparts. Film and television productions made in or about Ireland are important. They are a valuable cultural It is crucial that Irish Film Board funding is reinstated export with the ability to reach substantial global audiences. so that Irish producers can compete on a level play- ing field with their international counter-parts. Potential Tourism Benefits In 2014 the Irish Film Board invested just under €10 million in In 2010, over 6.1 million (CSO) visitors came to the Repub- production activity. This permitted Irish producers to leverage lic of Ireland generating revenue inflows of €3,556 mil- this funding thereby generating production expenditure of lion (CSO) and resulting in 178,000 jobs (Fáilte Ireland). over €42 million in relation to IFB funded projects in that year. In a Fáilte Ireland exit survey done in the same year, of tour- SPI seeks the reinstatement of the Irish Film ists leaving the country, 20% of tourists indicated that Board Oireachtas grant to €20 million p/a. films influenced their choice of Ireland as a destination.
This increase would permit Irish producers to lever- While respondents can list multiple influences, the response to age this funding and increase production expendi- film is significant. Over the last 5 years the influence of film has ture to €84 million, thereby increasing the number of increased from being the 6th, to the 4th most important factor jobs in the film and television production sector. influencing the tourist’s decision to visit Ireland. It is impera- tive that Ireland continues to be able to compete in order to maintain and grow employment levels in film and television production while also continuing to boost tourism numbers.
SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Page 43 Policy on Cable Re-Transmission & the Cable Copyright Exemption
KEY POINTS: The current law confers an unfair economic advantage on the cable companies operating in Ireland at the expense of Irish • The “Cable Copyright Exemption” in the Copyright Act independent producers and broadcasters. Cable companies allows cable companies to retransmit the work of Irish operating in other European countries must obey local copy- producers without adherence to copyright laws. right law. This puts Irish broadcasters and Irish producers at a disadvantage compared to their European counterparts. • This means that Irish production compa- nies are not fairly paid for their works, un- Any rationale underpinning the continued existence of Sec- like many of their European counterparts. tion 103 of the Irish Copyright and Related Rights Act 2000 is no longer relevant. In fact, it may never have been lawful in the first • The Broadcasting Act 2009 allows cable companies to place on the grounds that it seems to violate European Union law. re-transmit Irish channels without paying a fee. There is currently only one major cable company in Ire- • This means that Licence Fee payers are subsidising the land, Virgin Media. This major corporation benefits content offering of cable companies and our national from this exemption and is subsidised by Irish copyright broadcasters are at a competitive disadvantage. holders including our public service broadcasters. CORE POLICY Presently cable operators in Ireland pay approximately €10m per annum to other rights holders, e.g. foreign broadcasters At present, cable companies operating in Ireland are not re- and production companies, composers and record companies. quired to pay re-transmission fees to broadcasters or to adhere to copyright laws in relation to the works being transmitted. CABLE RE-TRANSMISSION Current broadcasting law means that cable companies are not CABLE COPYRIGHT EXEMPTION required to pay Irish channels a re-transmission fee. This is not Section 103 of the Irish Copyright and Related Rights Act 2000 the case in other European territories where broadcasters often (the “Copyright Act”) permits cable operators based in Ireland to receive remuneration from re-transmitters for their content. retransmit works (including audio-visual works) protected by copyright that are broadcast in the State and the “must-carry” Programming produced by Irish broadcasters and Irish inde- channels without obtaining permission from the copyright pendent producers forms a significant part of the Irish cable holders or paying retransmission fees. Section 103 should be offering. The cable companies who benefit from this offering changed so that copyright is preserved in these works when should be compelled to pay fees for the carriage of natively they are transmitted by a cable company based in Ireland. broadcast content. The State should not aid cable compa- nies in avoiding such payment for quality Irish content. This section of the copyright act, also known as the “Cable Copyright Exemption”, was introduced for two main reasons. The current situation means that Irish broadcasters add con- First, it was believed that the legislation would encourage the siderable value to the offering of cable companies without rollout of more cable services. Secondly, at the time the only receiving any recompense. Irish license fee payers are ef- cable company operating in Ireland was Cablelink. Cablelink fectively subsidising the offering of cable companies. was owned by RTÉ so to avoid what could have been perceived as “double dipping” it was felt they should be exempt from copyright clearance of Irish broadcasts. As Irish broadcasters (RTÉ, TG4 & TV3) and Irish independent production compa- nies are copyright owners of much of what is broadcast from within the State their rights are being restricted by virtue of the exemption and they are losing revenue rightfully due to them.
Page 44 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Principles on w hich these earned as a result of the unfair market advantages accru- policies are based ing to them (e.g. lost licensing costs) since its introduction. It is important that section 103 of the Irish Copyright and CABLE COPYRIGHT EXEMPTION Related Act 2000 is amended for the benefit of rights holders Breach of EU Copyright Law Obligations and to mitigate any risk to the State that the exemption gives rise to.Personal Video Recording Devices Section 101 of the Irish The continued existence of Section 103 of the Irish Copyright Copyright and Related Rights Act 2000 should also be changed Act runs contrary to Ireland’s legal obligations concern- so that copyright is preserved in programmes recorded and ing copyright exceptions under the European Information stored by cable operators for use by customers on their Per- Society Directive 2000, which, as a “maximum harmonisa- sonal Video Recorders (PVR’s). Section 101 of the Act currently tion” instrument, limits EU Member States’ power to legis- permits cable operators to provide a commercially valuable late further than what is provided for in that instrument. service without compensation to the copyright holder.
Articles 5.2 and 5.3 of the Information Society Directive (or “Infosoc” Directive as it is commonly referred) set out a de- CABLE RE-TRANSMISSION tailed and exhaustive list of copyright exceptions that EU The Broadcasting Act Member States may choose to implement in to national law. Retransmission by cable is not specifically listed among these On a similar note SPI advocates that the introduction of the exceptions nor can it be interpreted to be included within the words “and payment” to Section 77 (11) & (12) of the Broad- scope of other exceptions listed and so the S103 cable exception casting Act 2009 would further empower Irish broadcasters is therefore unlawful and without a legitimate legal basis. and rights holders. These changes would read as follows:
The companies that have suffered the most from this unlaw- (11) Without prejudice to the requirements imposed under ful copyright exception are Irish independent production sub-section (4), RTÉ, TG4 and the television service programme companies and Irish broadcasters (RTÉ, TG4 & TV3). Predomi- contractor shall ensure that their must-offer services are at nantly, they are the copyright holders in these broadcasts all times offered for re-transmission (subject to agreement and Ireland is the largest market for quality, culturally Irish as to fair, reasonable and non-discriminatory terms of use content. Depriving Irish rights holders of a valuable source of and payment) by means of any appropriate network that is remuneration in such a manner is harmful to its continued available for reception in an intelligible form by members creation and the Irish broadcasting industry in general. of the public on the whole of or in part of the State. used by a significant number of end users as their principal means Were Section 103 of the Copyright Act deemed to be incon- of receiving transmissions of programme material. sistent with Ireland’s EU law obligations the State would be required to make good on the lost profits of rights holders. (12) RTÉ, TG4 and the television service programme contrac- tor shall ensure that their must-offer services are at all times Breach of EU State Aid Rules offered for broadcast or re-transmission (subject to agreement as to fair, reasonable and non-discriminatory terms of use For the past fifteen years Section 103 of the Irish Copy- and payment) by means of every satellite television service. right Act has acted as a de facto State Aid to large non- Irish cable companies based in Ireland instituted by the These amendments address the issue that the must offer Irish legislature but financed by Irish rights holders. obligation which is currently expressed in the 2009 Broad- casting Act can be read as requiring Irish channels to make It could be argued that State Aid of this type is illegal as it would their free to air television services available to a wide range seem to be contrary to the Treaties Establishing the European of platforms with no return or consideration for the content Union. State Aid in the EU may generally only be granted on the being made. The Act as currently expressed can be read as basis of cultural grounds or on the basis of research and devel- requiring RTÉ, TG4 and TV3 to make their free to air TV ser- opment after having received approval by the European Com- vices available to a wide range of networks with no return mission. Alternatively the General Block Exemption Regulation being made to the broadcasters. This puts Irish channels at (GBER) is a piece of EU legislation designed to specify further a disadvantage when compared to their European broadcast exceptions to this rule and which absolves local governments counterparts who often receive significant remuneration from of the requirement to notify State Aid to the European Com- platforms for their content. It is not equitable and does not mission immediately though ultimately any state aid scheme represent good value for money for Irish license fee payers. must be approved and ratified by the European Commission.
We are unaware if Section 103 has received approval in this manner though if it was found to be inconsistent with the rules governing State Aid in the EU any beneficiaries of the scheme may be required to pay back what they have
SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Page 45 Page 46 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT SPI Overview SPI Overview
Screen Producers Ireland (SPI) is the representative organisation We encourage state organisations charged with developing the for independent production companies operating in Ireland industry to put in place development plans and policies for the in the film and television industry. As a membership sector to maximise potential. We support the continuance of organisation we promote growth and sustainability of a the Irish film and television production tax incentive, Section working environment conducive to a strong independent 481. We identify potential improvements to the scheme and production sector. It is our duty to be the most effective pursue Government to deliver on stated commitments. We voice of independent film, television, animation and digital work to ensure that independent producers are provided producers in Ireland. We address the needs of the sector and with fair regulation across all broadcasting platforms. using our knowledge and expertise we aim to deliver a strong and sustainable position for Irish production companies. We are focused on shaping an independent production sector that is comparable to best international standards.
We communicate and negotiate with industry Screen Producers Ireland Strategic Objectives stakeholders including broadcasters, The Irish Our vision of the future is driven by five strategic objectives Film Board, The Broadcasting Authority of Ireland, which encapsulate and recognise the challenges that lie ahead. Enterprise Ireland, Government Departments and other 1. Support a National Policy Framework relevant Irish and international organisations. 2. Develop a communication plan to position the We develop good communications with relevant unions organisation as the voice of the sector representing employees in Film & TV Drama, to deliver effective and competitive collective agreements. 3. Develop a Membership Framework We host a broad range of industry seminars and 4. Align and integrate the TV, Film and TV Drama, Animation events for members on current issues. and Digital sector’s objectives to advise SPI direction Screen Producers Ireland Mission 5. Develop a sustainable business model and align the Membership orientated, focused on shaping an economic organisation’s capability to deliver the strategic objectives. and cultural environment that is conducive to the further development of a dynamic Irish independent creative content The strategic objectives of SPI are driven by the needs production industry, comparable to best international standards. of the sector and contained within the strategic plan 2014- 2016. In 2016 the Board of SPI will set down a new 3 year strategic plan for 2017 – 2020.
Page 48 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Page 49 Page 50 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT SPI board SPI Board 2015 BOARD MEMBERS
BOARD MEMBERS AT 31ST DECEMBER 2015 “Screen Producers NAME Company John Hennessy (Independent Chairman) Ireland is governed Larry Bass Shinawil Mark Byrne Element Pictures by an elected board Bernadine Carraher Mind The Gap David Collins Samson Films James Flynn Metropolitan Films of directors which Jackie Larkin Newgrange Pictures Liam Lavelle Independent Pictures includes some of Irial Mac Murchú Nemeton Stephen Rooke Tile Films Stuart Switzer Coco Television Ireland’s most OVERVIEW OF RESPONSIBILITIES prominent producers.” Basic principles
Board members have legal and ethical responsibilities Keeping an overview of direction and progress both as individual Directors and as a collective Board. These responsibilities apply to those persons formally registered • Protecting Assets as Directors with the Companies Registration Office and • Ensuring Accountability to ‘de facto’ directors (those, if any, who act as if they are • Fulfilling Legal Obligations Directors). Board decisions can only be made collectively. The Board must also ensure that the organisation complies The overarching responsibility is that of managing, on with other statutory and regulatory requirements, such as data an ongoing basis, any strategic, operational, financial and protection, employment, equality, health, safety and welfare reputational risks to which the organisation may be exposed. and tax legislation. It must satisfy itself that appropriate poli- cies, procedures and practices are in place in relation to these.
There were four meetings of the SPI board held in 2015 including the AGM w hich was held in J une.
April 29th June 18th SPI AGM September 9th December 10th Total Attended Missed
Larry Bass 2 1 1 In attendance
Mark Byrne 4 2 2 Absent
Bernadine Carraher 4 4 0 Not on the Board
David Collins 4 4 0
James Flynn 4 3 1
John Hennessy 4 4 0
Andrew Kavanagh 1 1 0
Jackie Larkin 4 1 3
Liam Lavelle 4 3 1
Irial MacMurchú 4 2 2
Philip McGovern 2 2 0
Stephen Rooke 4 2 2
Stuart Switzer 2 2 0
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SPI BOARD BIOGRAPHIES
JOHN HENNESSY CHAIRMAN
In addition to his role as Chairman of Screen of various Government advisory boards and a Producers Ireland, John Hennessy is outgoing member of the governing body of Irish Business chairman of the Higher Education Authority and Employer Confederation (IBEC). John was also (HEA) and has more than 40 years’ experience in a board member of the Labour Relations Com- the telecommunication industry, holding senior mission (LRC) until it was replaced by the WRC International positions across Swedish multi- na- in October 2015, Chairman and board member of tional, Ericsson. John was Managing Director of Killarney Telecommunications Limited and advi- Ericsson Ireland from 2003 to 2010 and Chairman sor to a number of start-up companies in Ireland. Board Member since: 2014 of the board until 2013. John has been a member John holds an MSc and is Chartered Director.
Larry Bass SHINAWIL In 1999 Larry established ShinAwiL Productions Larry is keen to grow the business of creative con- Ltd where he acted as Managing Director for 3 tent in Ireland as a pillar of our economy. In 2011 years, before forming a joint venture with Screen- the department of Arts, Culture and Gaeltacht ap- time Australia in 2003, and forming Screentime pointed Larry to sit on the editorial committee to ShinAwiL. In 2015 Larry bought out Screentime write a report to government, The Creative Capital from Banijay Group and ShinAwiL are now one of Report to grow the industry. Larry believes more the largest independent production companies business skills are required in creative industries. in Ireland. Larry is currently CEO of ShinAwiL. In 2009 Screentime ShinAwiL Ltd. opened its In 2000, Larry was elected to the national Board Member since: 2015 first UK office in Northern Ireland and 2012 saw Executive of Screen Producers Ireland (SPI), its first BBC NI commission, Undercover NI. serving as deputy chairman from January 2003 to February 2004, and as Chairman from Larry has Executive Produced the Irish versions February 2004 to February 2005. He also was of the multi award winning series’, The Ap- the Irish member of CEPI from 2003 to 2006. prentice that won 2 Irish Film and Television Awards, Dragons’ Den, MasterChef Ireland and Larry is an International Ambassador of the most recently the hugely successful The Voice International Rose d’Or, an advisory board of Ireland. Other recent productions include member of FÁS Screen Training Ireland and Home of the Year, What are you Eating?, Meet Entertainment Masterclass. He has also the McDonagh’s and Tested on Humans. sat on a jury for the Internationl Emmys, BANFF and Real Screen Television Awards. The ShinAwiL development team is cur- rently in development on original series’ Larry has guest lectured at DIT Dublin, IADT for the Irish, UK and USA market. Dublin, MipTV and MIPCOM, SPAA Aus- tralia and Entertainment Masterclass. Previous credits include Popstars, You’re A Star, Charity You’re A Star, Test The Teach- Larry served on the Board of the Broadcasting ers, Charity Lords of the Ring, Fame The Authority of Ireland from 2010 to 2015. Musical and The Obesity Clinic.
Mark Byrne ELEMENT PICTURES
Mark Byrne has been Head of Business Affairs at Irish Film Board, initially as Business & Legal Element Pictures since 2012. Recent productions Executive and later as Head of Legal Affairs. In include “Red Rock” for TV3 and the Academy 2006 Mark was co-producer of the IFTA award Awarding feature film “Room” directed by Lenny winning film “Middletown” starring Matthew Abrahamson and starring Brie Larson, Jacob MacFadyen. Mark is a former board member of Tremblay, Joan Allen and William H Macy and the Irish Film Institute and Filmbase and is an “The Lobster” directed by Yorgos Lanthimos star- alumni of “Inside Pictures”, the film business ring Colin Farrell, Rachel Weisz and John C Reilly training and leadership skills development pro- Board Member since: 2014 which won the Jury Prize at the 2015 Cannes Film gramme created by Qwerty Films and run by the Festival. Prior to joining Element Pictures, Mark National Film & Television School in the UK. Mark spent 6 years with Bord Scannán na hÉireann/the is also a member of the European Film Academy.
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BERNADINE CARRAHER MIND THE GAP FILMS
A Science and Business graduate, Bernadine has Films Ltd, has created, developed and produced been operating at Executive and Board level for some of the most memorable independent sector the past 25 years in the Irish Television industry productions for public and private TV networks in for corporate, independent and public clients. Ireland, the UK and the USA. Our latest produc- She has been hands-on across the full gamut tion, Lords & Ladles Series 2, is a major series for of business practice, project/business financ- RTÉ funded through Section 481 and the BAI and ing, production, operational and human capital we are in pre-production on our next major music development of the TV industry, including studio/ special for PBS in the US. We are currently produc- outside broadcast and complex multi-camera pro- ing 2 new panel shows for RTÉ, Eureka! - The Big Board Member since: 2014 jects, both nationally and internationally. With Bang Query’ a brand new Comedy-Science panel an incessant focus on delivery, Mind The Gap show for RTÉ2 television and Brendan O’Connors ‘Cutting Edge’ new live show for RTÉ One.
DAVID COLLINS samson FILMS David Collins runs Samson Films, one of Ire- produced through Accomplice Television. Current land’s leading independent film companies. projects in production in 2015 include The Truth Recent credits include Run and Jump (2013) Best Commissioner, Tiger Raid, and A Dark Song. Irish Feature at Galway Film Fleadh and the film adaptation of John Banville’s Booker Prize David is a board member of Screen Producers winning novel The Sea (2013) starring Ciarán Ireland and a founding director of the Lighthouse Hinds and Natacha McElhone, Coming Home Cinema in Dublin. He is also a member of the (2014) which won Best Documentary at Galway European Film Academy. Samson has recently Film Fleadh and other notable credits include the been awarded slate funding from Creative Board Member since: 2006 Oscar winning Once (2006) and the Television Media for a portfolio of film and TV Projects Re-elected: 2009, 2012 drama series Bachelor’s Walk and Pure Mule, both
JAMES FLYNN metropolitan FILMS
James Flynn is an independent producer During 2009 - 2013, James was the lead of feature films and television dramas and producer of The Borgias Series 1-3 which the principal of Metropolitan Films. was written, created and directed by Neil Jordan and was shot in Budapest. He has produced a number of award-win- ning indigenous feature films including James was also Executive Producer on Camelot Nora by Pat Murphy, H3 by Les Blair and In- for Starz Television written by Chris Chib- side I’m Dancing by Damien O’ Donnell. nall and produced by Morgan O’Sullivan.
Board Member since: 2008 In addition to two Academy Award® nominated He is an Executive Producer on Series 5 of Vi- Re-elected: 2011,2013 projects during 2010, The Door and The Secret of kings, written by Michael Hirst for MGM and Kells, James’ recent production credits include The History Channel, which begins shooting in As If I Am Not There, directed by Juanita Wilson, Wicklow and Dublin during June. He was Execu- Ondine by Neil Jordan, Calvary by John Michael tive Producer on the first four series of Vikings. McDonagh and Love/Hate Series 1-5 by Stuart Carolan and David Caffrey. James is currently James was Irish co-producer on the first three negotiating a U.S version of Love/Hate for cable series of John Logan’s Penny Dreadful which television and has just completed production on is lead produced by Neal Street Productions for Juanita Wilson’s second feature film, Tomato Red. Showtime. He is currently developing a number of feature film projects Stuart Carolan’s Skippy James was Producer on all four series Dies based on the novel by Paul Murray and of The Tudors from 2006 to 2010. Right of the Boom, written by Juanita Wilson and based on the novel by Artis Henderson.
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Jackie Larkin NEWGRANGE PICTURES
Jackie Larkin is a highly experienced producer of the Academy Awards is one of Ireland’s few who has been involved in Ireland’s film and inde- bi-lingual films. Other credits include Call Girl pendent television industry for the past 18 years. (2012), Stella Days (2011) starring Martin Sheen Jackie is joint managing director of Newgrange and A Thousand Times Good Night (2013). Pictures a film company she formed in Decem- ber 2003 and is currently developing a slate of She is a member of ACE the European Asso- feature film projects for the international market. ciation of Producers and graduated from the Media Business School in 2003. She is also a Jackie produced the feature film Kings, starring Board member of Screen Producers Ireland. Board Member since: 2013 Colm Meaney. Kings which was Ireland’s first ever entry to the foreign language section
Liam Lavelle Independent Pictures
Liam Lavelle works for Independent Pictures and has been in the business for over thirty years. He has produced a wide range of factual, maga- zine and lifestyle programming for RTÉ, TG4 and BBC NI. He is a former President of the Guild of Agricultural Journalists in Ireland, and an active member of UCD Marian Basketball Club.
Board Member since: 2007 Re-elected: 2010, 2013
Irial Mac Murchú Nemeton TV
Irial Mac Murchú founded Nemeton in 1993 Fight Clubs, Kennedy’s Cadets, KLM 607E and and from small beginnings, the company now The Brothers while sports credits include GAA employs 50 people. Nemeton specialises in sports Beo, Rugbaí Beo, GAA@125 and Laochra Gael productions for which it has won numerous awards and is TG4’s main supplier of its sports Nemeton also runs a post-graduate Higher coverage. Other clients include RTÉ, Sky Sports, Diploma in Television Production (in partner- BBC & Channel 7 (Australia). The company ship with Waterford Institute of Technology recently secured a contract for a major photogra- and Údarás na Gaeltachta) which has been phy web tv company in New York, Adorama TV. hugely successful throughout the industry Board Member since: 2012 supplying graduates in genres such as film, Other credits include documentaries: Na Chéad documentaries, web tv and digital marketing.
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STEPHEN ROOKE Tile Films
Stephen Rooke founded Tile Films Ltd. in 1989, graphic, PBS, History, France 5 and SBS Australia. after obtaining an Advanced Diploma in Media Recent film work includes: the 3 part drama series Production from Bournemouth Film School in ‘Wrecking the Rising’, ‘Seven Women’, ‘Waterloo’s the U.K. Stephen is Managing Director of the Warriors’, ‘Death or Liberty’, Ireland’s ‘Animal company and the leader of a vibrant production Rescue’, ‘Paramedics’, ‘Sacred Sites – Ireland’, ‘After team that brings a mix of creative and production Braveheart’, ‘The Lazy Chef’, ‘Saving the Titanic’, skills to the film-making process. Over the last ‘Fighting Irish of the Civil War’ and ‘Cromwell - twenty five years, Stephen has gained a reputa- God’s Executioner’. In February 2012, Stephen won tion as one of Ireland’s leading documentary/ the Irish Film & Television Academy (IFTA) Award Board Member since: 2012 factual programme-makers. He has directed/ for best documentary series with Waterways produced/executive produced over 200 film and - The Royal Canal. Other awards are for Saving television documentaries, including five docu- the Titanic which include Best Feature-length drama feature films, fifteen docu-drama series, Drama at the Celtic Media Festival, April 2013; best twenty documentary/factual series, six one-off drama-doc at the New York Festivals, April 2013 documentaries as well as two television drama and Best Feature Film at the British Independent series. Stephen’s film and television work has Film Festival, May 2013. His most recent award been seen at many film festivals and on over 40 is for Sacred Sites - Ireland which won a bronze channels throughout the world, including RTÉ, award at the New York Festivals, April 2015 TG4, UTV, S4C, BBC, ZDF, SVT, YLE, Channel 4, Smithsonian Channel, Discovery, National Geo-
Stuart Switzer COCO Television
Stuart Switzer is a founding Director of COCO Tel- Paraguay in front of an invited audience of evision and Managing Director of COCO TV since 1200 and has been selected to screen at nu- 1998. COCO Television is one of Ireland’s leading merous South American film Festivals and production companies, producing a wide range of at the London and Dublin Film Festivals , programming for the Irish and International mar- where once again Eliza caused quite a stir. kets and is home to an industry- leading team of full time producers and television professionals. Stuart has produced the feature ‘Traders’ which is a dark thriller written and directed COCO currently produce many of Ireland’s by first time Irish Writer/Directors. Released Board Member since: 2015 most popular television series such as ‘First in early 2016 to critical acclaim, ‘Traders’ has Dates’ , ‘‘Room to Improve’ , ‘The Consumer won the 7th Orbit Prize at the Brussels Inter- Show’ , ‘Crimecall’ , and ‘ Don’t Tell the Bride’, national Fantastic Film Festival and the Audi- the ‘St Patrick’s Festival programming’, ence Choice at the Belfast Film Festival. ‘Trending’, ‘The Unemployables’, and ‘No- rah Casey’s Traveller Business School’ , ‘Pat 1916 - a 3 x 1 Hour Internationl Kenny in the Round’ , ‘Pixies Sex Clinic’ etc. Documentary Series.
Notable recent successes include ‘Whose This landmark international documentary holiday is it Anyway’ which won best Euro- series examines the 1916 Easter Rising and the pean Format in Belin in September 2014. subsequent events that led to the establishment of an independent Irish State and indirectly to Stuart is Co-Executive Producer of ‘First Dates the breakup of the British Empire. Narrated by Ireland’ which is breaking viewership records Liam Neeson, this project is an initiative of the on RTÉ2 and is the most talked about television Keough-Naughton Center for Irish Studies at programme to hit our screens for some time. the University of Notre Dame. 1916 has sold all over the world and will be seen in more than Our feature documentary ‘Eliza Lynch Queen 50 countries by the end of 2016, and broad- of Paraguay’ premiered in Asuncion in 2014, cast by in excess of 90%of US PBS stations.
Stuart served as a Non Executive Director on the board of RTÉ, Ireland’s National Pub- lic Service Broadcaster, from 2010 to 2015.
SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Page 57 Page 58 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT SPI committees SPI COMMITTEES Committees 2015
During 2015, SPI operated two standing committees and one Working Group.
SPI FILM & TV DRAMA SPI ANIMATION COMMITTEE COMMITTEE 2015 2015 NamE cO mpany NamE cO mpany Johanna Hogan Parallel Films Andrew Kavanagh Kavaleer Productions Chairperson David Collins Samson Films Paul McGrath Whackala Paul Donovan Deadpan Pictures Cliff Parrott Magpie 6 Media James Flynn Metropolitan Films Michael Algar Keg Kartoonz Andrew Freedman Venom Films Dale Robinson Treehouse Republic Macdara Kelleher Fastnet Films Gerry Shirren Cartoon Saloon Andrew Lowe Element Pictures Des Martin Freelance Lesley McKimm Newgrange Pictures Chairperson Tristan Orpen Lynch Subotica Entertainment The committee met once during 2015 Priorities for the committee were:
• Ensuring Ireland’s production tax incentive remains The committee met 10 times during 2015 internationally competitive for animation production. Priorities of the committee were: • Ensuring stakeholders charged with developing policies to support the animation sector are • Ensuring stakeholders charged with developing adequately funded and informed on all key issues policies to support the film & TV drama sector are adequately funded and informed on all key issues. • Ensuring Ireland’s production tax incentive remains internationally competitive for film & TV drama. • Ensuring Ireland’s Film & TV drama employee relations environment is internationally competitive.
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SPI S481 WORKING GROUP 2015 Factual and Entertainment Committee
At the Board meeting held on December 10th 2015, the Board approved establishing a Fac- Name company tual and Entertainment Committee in 2016. James Flynn Metropolitan Films Jonathan Kelly Philip Lee Solicitors Andrew Lowe Element Pictures David Collins Samson Films Lesley McKimm Newgrange Pictures
The Working Group met on five occasions in 2015. In 2015 the SPI S481 Working Group considered further amendments to Section 481. The Working Group was initially formed in 2014 to inform SPI’s view on proposed amendments to S481. It met in 2015 to consider and make recommendations to Government on further amendments to the scheme. The Industry Policy Group in which SPI participated as a member made its formal recommendations to the Department of Finance in July. The key recommendation to increase the cap from €50M per project to €70M per project was accepted and announced in Budget 2016.
Priorities for the working group were:
To ensure the continuance of the S481 tax incentive in Ireland
To ensure that competitiveness with interna- tional fiscal incentives is maintained
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SPI EXECUTIVE & CORPORATE STRUCTURE
The Board is the legal employer of all SPI staff. The key employee The CEO reports to the Board and, within that con- in terms of the Board is the CEO. All staff ultimately report to the text, has an ongoing relationship with the Chairperson CEO. The relationship between the CEO and the Board is pivotal who represents the Board. The Chairperson, on behalf and needs to be underpinned by a high level of mutual respect of the Board, provides advice and support to the CEO. and trust. The CEO, who is directly accountable to the Board, The Chairperson acts on behalf of the Board to ensure manages the day-to-day running of the organisation, making that the CEO’s performance is appraised annually. management decisions that are in accordance with the agreed strategic, operational and annual plans and the direction provid- In 2015 there was a fulltime staff of 4 including the CEO. ed by the Board. The CEO is responsible for operational matters.
THE BOARD OF DIRECTORS
COMPANY SECRETARY CHAIRPERSON CAROLINE SKINNADER JOHN HENNESSY
COMMITTEE & WORKING GROUPS CEO 1 Film & TV Drama 1 S481 BARBARA GALAVAN 2 Animation 2 Broadcast
MEMBERSHIP & BUSINESS AFFAIRS EXECUTIVE ACCOUNTS CATHERINE TIERNAN CAROLINE SKINNADER OFFICE MANAGER SUZY MCMAHON
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Balance Sheet As at 31 December 2015
Page 68 SCREEN PRODUCERS IRELAND | 2015 ANNUAL REPORT Cash Flow Statement For the Year Ended 31 December 2015
Notes to the Financial Statements For the Year Ended 31 December 2015
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PRINCIPAL OFFICE CONSULTANTS 77 Merrion Square, Crowe Horwath Dublin 2. Accountancy and Business Advisory Practice Marine House, Clanwilliam Court, PRINCIPAL BANKERS Dublin 2. Bank Of Ireland Employment Law Compliance Provider Graphite HRM Block W, East Point Business Park, AUDITORS Dublin 3. O’Donovan Stewart & Company Ltd., Industrial and Employee Relations Practitioner The Mews, Janet Hughes 10 Pembroke Place, Beag Beg, Caherlistrane, Dublin 2. Co. Galway.
Company Secretarial & Corporate Governance Services JMDL Corporate Consultants Limited LEGAL FIRMS Chater House, 5 Pembroke Row, Philip Lee Solicitors Dublin 2. 7/8 Wilton Terrace, Dublin 2. IR / HR Consultant Gareth Kyne Mazars Oengus Lodge, Block 3, Harcourt Centre, Newgrange, Harcourt Road, Slane, Co. Meath, Dublin 2. Specialist VAT & RCT Consultants Dermot O’Brien & Associates Unit 3, Greenmount Office Park, Harolds Cross, Dublin 6W.
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