NEW SOUTH WALES FILM AND TELEVISION OFFICE ANNUAL REPORT 99/00 MISSION
TO FOSTER AND FACILITATE EXCELLENCE AND GROWTH IN THE FILM AND TELEVISION INDUSTRY IN NEW SOUTH WALES 1 99/00 ANNUAL REPORT
THE GODDESS OF 1967 THE MONKEY’S MASK
NEW SOUTH WALES FILM AND TELEVISION OFFICE LEVEL 7, 157 LIVERPOOL STREET SYDNEY NSW AUSTRALIA 2000 TELEPHONE 61 2 9264 6400 FACSIMILE 61 2 9264 4388 EMAIL [email protected] WEBSITE www.fto.nsw.gov.au
ISSN 1037-0366
NEW SOUTH WALES FILM AND TELEVISION OFFICE
01 The Hon RJ Carr Premier of New South Wales Minister for the Arts and Minister for Citizenship Parliament House Sydney NSW 2000
Dear Premier
Pursuant to the provisions of Section 10 of the Annual Reports [Statutory Bodies] Act 1984, we have pleasure in submitting to you the Annual Report of the New South Wales Film and Television Office for the year ended 30 June 2000 for tabling in Parliament in accordance with the provisions of the Act.
Yours sincerely
Shane Simpson Jane Smith Chair Chief Executive
02 03 CONTENTS
PART 01 NEW SOUTH WALES FILM AND TELEVISION OFFICE
04 LETTER FROM THE CHAIR AND CHIEF EXECUTIVE 06 MEMBERS OF THE BOARD 07 ORGANISATIONAL CHART [AS AT 30 JUNE 2000] 08 CHARTER 09 FINANCIAL OVERVIEW
PART 02 11 DEVELOPMENT
12 YOUNG FILMMAKERS FUND 15 PROJECT DEVELOPMENT 17 CREATIVE INITIATIVES 19 INDUSTRY & AUDIENCE DEVELOPMENT 20 REGIONAL CINEMA INITIATIVES 21 NEW MEDIA INITIATIVES
PART 03 23 FINANCE
PART 04 27 GOVERNMENT DOCUMENTARY DIVISION
PART 05 29 PRODUCTION LIAISON
PART 06 33 PROFILE
PART 07 35 FTO AS AN ORGANISATION
37 DISTRIBUTION
PART 08 38 PERFORMANCE HIGHLIGHTS
PART 09 41 FINANCIALS
42 AGENCY STATEMENT 43 AUDITOR GENERAL’S REPORT 44 FINANCIAL STATEMENTS
PART 10 57 APPENDICES
75 INDEX
03 LETTER FROM THE CHAIR AND CHIEF EXECUTIVE
Dear Premier 99/00 has been a year of considerable achievement for the FTO as we continue to foster talent and innovation to ensure a dynamic film and television industry in NSW.
This year, the FTO has been proud to support a number of features that have achieved local and international acclaim. These include Better than Sex, selected as opening night film at the Sydney Film Festival and sold to several international territories at the recent Cannes International Film Festival and Looking for Alibrandi which has proven to be a great success at the Australian box office. The FTO also invested in all four features nominated for Best Picture at the 1999 AFI Awards (Praise, Siam Sunset, Soft Fruit, Two Hands) and the Best Picture nominations at the 2000 Film Critics Circle Awards (Feeling Sexy, Praise, Soft Fruit, Two Hands).
A further four years funding for the highly successful Young Filmmakers Fund (YFF) was announced in July, and the fund continues to support an extraordinary selection of strong and dynamic projects. Since the fund’s inception there have been a total of 76 screenings of YFF projects at local festivals, 86 at international festivals and 34 have won awards. A notable success for 99/00 was the selection of YFF documentary Chrissy for the jury prize in the Teddy awards at the 50th Berlin Film Festival.
The FTO has been focused on improving the local production environment. The Production Liaison Unit (PLU) has worked hard with filmmakers and government agencies to achieve significant progress in this area. In April the Local Government Amendment (Filming) Bill 2000 was passed in State Parliament. This legislation is the first of its kind in Australia and is designed to streamline the approval process for commercial filming projects on council controlled land. It is of critical importance to filmmakers because it provides a legal framework for applications and approvals specifically designed to accommodate the special needs of the film industry.
At the core of the new approach is the ‘filming protocol’, a document which sets down the application and approval processes for filmmakers and councils to follow in striking agreements for location filming. The protocol was developed in partnership with local and state government and the film industry and achieves a balance of all interests. This new, standard and predictable approvals process, to be applied consistently across the State, provides a better environment for the further growth of the industry in NSW.
Regional communities are increasingly recognising the benefits of film production to the local economy, and a number of FTO funded productions were filmed in regional NSW including Mullet (Illawarra region), The Goddess of 1967 (Lightning Ridge) and The Farm (Southern Highlands and Western Plains). To further encourage filmmakers to shoot films outside of the Sydney metropolitan region, we are delighted to report that the FTO will administer a Regional Filming Assistance Fund. The Fund will commence operation from January 2001 and will seek to defray transport and accommodation costs for Australian films shooting in regional locations.
NSW production levels reached their highest ever with a total of $325 million spent on feature and television drama production compared to $266 million in 98/99 and $289 million in 97/98. Of this, $178 million was from Australian productions, $59 million from co-productions and $88 million from foreign productions. The figures from 99/00 are estimates.
Offshore production continues to provide an important contribution to the NSW economy, with big budget productions such as Mission Impossible II and the Star Wars prequels shooting in Fox Studios and other locations around the State. Mission Impossible II in particular has featured Sydney as an exciting, modern city and press articles have forecast that the film will generate an estimated $200 million worth of free publicity for NSW.
Improving access to film activities in regional NSW is a key priority for the FTO and the office has been a lead agency in assisting regional communities to consider how they can reintroduce cinema into their towns. The 2nd Regional Cinema Conference, held in December 1999, was coordinated by the office and highlighted issues of concern for regional exhibitors including marketing and programming, access to distributors and working with regional cinema networks. A significant component of the conference program was the examination of distribution problems and the FTO has since been working to develop an effective strategy to resolve this difficult issue for regional operators. Negotiations have commenced with all major distributors to investigate the possibility of developing terms and conditions to address the specific requirements both of volunteer-run and independent cinemas.
04 CHRISSY BETTER THAN SEX ANGST THE FARM
The FTO also assisted in organising a regional cinema conference in the north-west of the state at Nundle, south of Tamworth. Nundle runs a successful community cinema for a village of 300 people and this was explored at the conference as a potential model for other similar sized communities. We are delighted that eight communities in the surrounding region have decided to establish a cinema following the conference.
A “Survivors Guide” is currently under production to assist people considering starting and operating a regional cinema, and we are pleased to announce the appointment of a Regional Cinema Officer, to commence early in the new financial year.
The FTO’s industry and audience development program supports a diverse array of projects, organisations and events which are critical contributors to the healthy development of the industry and can have significant economic benefit as well. For example it has been estimated that Electrofringe, an electronic media festival held in Newcastle in October and supported by the FTO, generated some $320,000 income for the local economy.
Digital visual effects are increasingly becoming an essential component of film and television production and this year Australia has achieved international recognition and acclaim for the ground breaking effects produced for the Academy award winning The Matrix. The FTO continues to seed the development of new talent in the digital arena through its innovative Digital Visual FX Traineeship Scheme. Eighteen trainees have so far been awarded placements, four are still completing their traineeships and ten have since been offered full-time employment.
Government-sponsored programs produced through the FTO’s Government Documentary Division again won top international awards. This year GDD programs won two golds, five silver, and five certificates for creative excellence or merit in New York and Chicago. Locally a program on the Green and Golden Bellfrog was part of the Olympic Co-ordination Authority’s submission to the 2000 Banksia Awards. The OCA submission won both the 2000 Gold Banskia Award and the Flora and Fauna Award.
This year has also seen the completion of most of the outstanding matters following the return of the Australian films from Pepper Distribution. Digital masters have been made of the titles and the settlement monies have now been disbursed to investors. Rights to market the films around the world have been licensed by sales agents who are active in those markets, while Australian and New Zealand rights are to be handled by local distributors who will exploit television, cable and home video sales.
The year has not been without its challenges, and internal priorities for the organisation have been the continued improvement of the office’s information and administrative systems as well as the implementation of procedures to deal with Y2K, the introduction of GST, and the 2000 Olympics.
The FTO would like to extend its thanks and congratulations to the outgoing Board Members for their valuable contribution throughout the year – to the previous Chair, Kerry Schott and also Jan Chapman and Rachel Perkins. The FTO welcomes the re-appointment of Laurie Pattton as Deputy Chair and the appointment of Glenys Rowe as a Board Member.
And finally, the successes of the past year would not have been possible without the continued hard work and dedication of the staff of the FTO. We thank them for their efforts, acknowledge their achievements and look forward to working together to meet the challenges of the year ahead.
Shane Simpson Jane Smith Chair Chief Executive
05 MEMBERS OF THE BOARD
1
2 The Board of the FTO is constituted by Section 6 of the NSW Film and Television Office Act, 1996. Section 6 stipulates that “the Board is to consist of seven members nominated by the Minister and appointed by the Governor. At least one of the members is to be from outside the film and television industry. Of the members, one is to be appointed Chairperson of the Board (whether by the instrument of the member’s appointment as a member or by another instrument executed by the Governor). The Chairperson is to be a member appointed from outside the film and television industry.”
The FTO Board was appointed on 1 January 1997. The Members of the Board as at 30 June 2000 are:
1 Mr Shane Simpson (Chair) Appointed for 3 years from 1 January 2000 Principal of Simpson’s Solicitors, founder and former director of the Arts Law Centre of 3 Australia and Chair of the Museums and Galleries Foundation of NSW, Board Member of the National Association for the Visual Arts, the Music Council of Australia, and the Australian Society of Authors appointee to the Copyright Agency Limited.
2 Mr Geoffrey Atherden Reappointed for 3 years from 1 January 2000 Writer for television, theatre and feature films, member of the Australian Film Institute Awards Advisory Committee and former President of the Australian Writers’ Guild.
3 Mr Laurie Patton (Deputy Chair) Reappointed for 3 years from 1 January 2000 Chief Executive, PharmaNet Online Limited. Former television executive (Seven Network) and founding CEO of PAN TV – producer of World Movies pay television channel.
4 4 Mr John Politzer Appointed for 3 years from 1 January 1998 Former REP film distribution consultant and acknowledged expert in film distribution. Also former Board Member of Griffin Theatre and the Sydney Film Festival.
5 Ms Glenys Rowe Appointed for 3 years from 1 January 2000 Independent Producer (Feeling Sexy, Idiot Box, Dogs In Space).
6 Mr Errol Sullivan Appointed for 3 years from 1 January 1998 Chief Executive of Southern Star Entertainment and Producer. Former Chair of the Film and Television Producers’ Association (now SPAA) and Chair of the Australian Film Institute (1988-90).
5
6
06 ORGANISATIONAL CHART AS AT 30 JUNE 2000
MINISTER FOR THE ARTS PREMIER
SECRETARY FTO BOARD MANAGER PROMOTION & NEW MEDIA OFFICER MINISTRY FOR THE ARTS SCREEN CULTURE NICK HORE SHARON BAKER
DIRECTOR MANAGER PRODUCTION POLICY OFFICER DIRECTOR JANE SMITH LIAISON (PART-TIME) JANE SMITH KINGSTON ANDERSON GARRY BRENNAN
EXECUTIVE ASSISTANT/ SENIOR LOCATIONS EXECUTIVE ASSISTANT/ DATA PROCESSING OFFICER OFFICER DATA PROCESSING OFFICER DANIELLE MCGUIGAN DAVID WATTS DANIELLE MCGUIGAN
MANAGER DEVELOPMENT PROJECT ADMINISTRATOR & FINANCE JANE FORREST MICHELLE HARRISION The Young Filmmakers Fund (YFF) is coordinated by Michelle Fillery and is administered through the FTO. The YFF is funded by the NSW Government. PROJECT OFFICER SAMANTHA JENNINGS The FTO’s work was assisted through the year by a number of industry people. They were:
Miro Bilbrough, Klaas Borst, Marguerite Bunce, PROJECT OFFICER Della Churchill, Tony Grierson, Milvia Harder, (PART-TIME) Kerry Herman, Peter Langmead, George Mannix, JUDITH JOHN-STORY Shilo McClean, John Meredith, Jeremy Rice, Phillip Roope, Trisha Rothkrans, Catherine Sinclair, David Watson, Meredith Watt, Martin Williams, Belinda Yong. MANAGER GOVERNMENT PRODUCER (PART-TIME) DOCUMENTARY JILL MOONIE EDNA WILSON
PRODUCTION ASSISTANT SYLVIA WILCZYNSKI
MANAGER FINANCE & ADMINISTRATIVE ASSISTANT/ ADMINISTRATION PROJECT ASSISTANT KAREN MYERS KATE RICE
07 CHARTER
THE GODDESS OF 1967 RISK
The New South Wales Film and Television Office (FTO) is a statutory authority established under The NSW Film and Television Office Act 1988, amended 1996.
The main functions of the office, set out in Section 6 of the Act (1996), are inter alia:
[A] to provide financial and other assistance to the film and television industry in carrying out the industry’s activities in NSW and to disseminate information about those activities,
[B] to provide financial and other assistance for persons (including directors, producers, actors, writers and technicians) whose work in the film and television industry merits encouragement,
[C] to provide financial and other assistance for script and project development for film and television,
[D] to contribute, financially and otherwise, to the work of film festivals and markets,
[E] to assist in the promotion of public interest in film as a medium of communication and as an art form and in the development of an informed and critical film audience,
[F] to provide policy and support services and advice to Government agencies on the production of films and sound recordings,
[G] to advise the Minister on the operation of the film and television industry in NSW,
[H] to undertake the production of films or sound recordings on its own behalf or for any other person, body or organisation (including any Government agency),
[I] to carry out such obligations and responsibilities determined by the Minister as may be necessary for the maintenance and administration of the film catalogue vested in the office.
08 99/00 FINANCIAL OVERVIEW
ANGST A WALK WITH WORDS
The FTO’s total expenditure for 99/00 was $8.278 million – split between operating expenses ($3.613 million), and Grants and Subsidies ($4.665 million).
TABLE 1 99/00 TOTAL EXPENDITURE 99/00 98/99 $000 $000
Operating Expenses 3,613 3,202 Grants & Subsidies 4,665 3,698
TOTAL EXPENDITURE $8,278 $6,900
The office also administers a $5 million Production Loan Finance revolving fund which is not included in the Grants and Subsidies allocations.
The Government’s recurrent funding to the FTO in 99/00 was $5.179 million, an increase of $304,000 over 98/99.
GRANTS The level of funds committed to Grants and Subsidies (Table 2) this year was nearly $1 million more than allocated by the NSW Government, and $200,000 higher than in 98/99.
This enhanced funding was possible through the use of $417,000 from returns of investment ($164,000 Script Development, $253,000 Production Investment), and through the Board’s endorsement of the use of interest and agency reserves to supplement the FTO’s activities, including Creative Initiatives & Industry and Audience Development grants.
1 TABLE 2 99/00 GRANTS AND SUBSIDIES 99/00 98/00 APPROPRIATION $000 $000 $000
Young Filmmakers Fund 450 449 350 Industry & Audience Development (includes New Media Screen Culture) 424 339 270 Script Development 1,010 990 890 New Media 156 172 100 Other Industry Promotion (includes Creative Initiatives) 336 236 0 Production Investment Fund 2,125 2,099 1,900 Australian Children’s Television Foundation 110 110 110 Legal expenses related to Grants and Subsidies 68 76 0
GRANTS AND SUBSIDIES 4,679 4,471 3,620
Notes 1 State Government accounting practices do not allow for the recognition of unpaid Grants as a liability, therefore figures quote d throughout the Financial Statements (see pp 41 - 56) are exclusive of commitments agreed but not paid at 30 June 2000. Figures quoted throughout the text of this report and within this Overview include all commitment decisions within the 99/00 financial year whether paid or not and exclude commitments made in previous years but paid in the 99/00 year. This treatment results in a variation of $14,000 in the 99/00 Grants figures shown in the Tables above.
09 99/00 FINANCIAL OVERVIEW
Not all funds budgeted for use in 99/00 were committed and these unused funds will be used to augment these areas in 00/01:
CREATIVE INITIATIVES $119,650 NEW MEDIA $76,859 YOUNG FILMMAKERS FUND $39,887
OTHER EXPENSES The FTO's operating costs were $132,000 higher than in 98/99 with increases relating mainly to preparation for GST and Y2K and staffing requirements.
The FTO's Operating Expenses as shown in the Financial Statements incorporate Government Documentary Division (GDD) expenses which are fully recouped. An adjustment to those expenses has been made in the following table to reflect the FTO's actual operating costs.
TABLE 3 99/00 FTO OPERATING COSTS 99/00 98/99 $000 $000
Employee Related Expenses 1,260 1,114 2 Other Operating Expense 1,257 1,271 Total from Financial Statements 2,231 1,928 Less GDD Expenses 974 657 FTO Operating Costs 2,517 2,385 Maintenance 11 22 Depreciation and Amortisation 111 138 FTO Expenses excluding Grants 2,639 2,545 Plus GDD Expenses 974 657
FINANCIAL STATEMENT EXPENSES EXCLUDING GRANTS 3,613 3,202
2 Includes $276,000 (99/00) and $405,000 (98/99) which related directly to the use of external assessors and other expenses relating to Grants and Subsidies.
10 DEVELOPMENT
TO SUPPORT AND ENCOURAGE TALENTED PEOPLE AND QUALITY PROJECTS IN ORDER TO INCREASE THE DEPTH OF CREATIVE RESOURCES IN THE INDUSTRY
211 YOUNG FILMMAKERS FUND
LIFE AFTER BIRTH
The Young Filmmakers Fund (YFF) was established in 1995 to support emerging and innovative talent in the NSW Film and Television industry.
The YFF has achieved significant industry recognition since its establishment and its success is largely due to the quality of projects produced. Each year the fund continues to attract many applications and produce strong projects with the overall quality of applications increasing with every round of funding.
YFF films have won awards both locally and at prestigious International festivals such as Cannes, Berlin and Sundance. Since the fund’s inception there have been a total of 76 screenings at local festivals, 86 at international festivals and 34 awards.
To be eligible for YFF funding applicants must be aged between 18-35. Grants of up to $25,000 are provided to produce films of any format or genre. The fund has supported short drama, animation, documentary and experimental films in 35mm and 16mm, digital video and internet projects.
Fifty-three projects have been funded through eight rounds.
The fund was reviewed in July 1999 and the State Government committed funding for a further 4 years.
In 99/00 the FTO has continued to support young filmmakers through Rounds 7 and 8 of the YFF and through a second round of funding for DIYtv in association with SBS Independent.
YFF ROUND 7 Ninety-one applications were received for Round 7 of the YFF, including eight from regional NSW. The assessment panel members were Judith John-Story from the FTO and external assessors Megan Harding, Nick Tantaro, Kathryn Millard and Judi McCrossin.
Susie Porter who has featured in the FTO funded films Two Hands, Feeling Sexy, The Monkey’s Mask and Better Than Sex announced the successful projects on 29 February 2000.
PROJECT TITLE TYPE AMOUNT APPLICANT(S)
Laquiem Experimental $25,000 Andree Greenwell My Old China Drama $25,000 NathanMcDonald/Linden Goh New Skin Drama $25,000 Anthony Hayes/Luke Doolan Duel In the Crown Documentary $25,000 Elizabeth Tadic/Selene Alcock
12 NO MESS SIX O’CLOCK SWILL YFF ROUND 7 YFF ROUND 8 FILMMAKERS WITH FILMMAKERS WITH SUSIE PORTER RACHEL GRIFFITHS
YFF ROUND 8 Seventy-one applications were received for Round 8 of the YFF, seven were from regional NSW. The assessors were Jane Manning, Tom Hearn, Kylie du Frense, Amanda Duthie, all previous YFF recipients, and Samantha Jennings (FTO).
Rachel Griffiths, writer and director of the YFF short film Tulip announced the successful applicants on 12 July 2000. The second round of DIYtv programs was also announced at this event.
PROJECT TITLE TYPE AMOUNT APPLICANT(S)
The Beach Story Drama $25,000 Karen Colston Warbling Matilda Drama $25,000 Fotini Manikakis/AnnaReeves Tree Drama $25,000 Eliza Johnson The Last Diggers Documentary $25,000 Daniel Whitely/Kim Reddin
YFF FILM FESTIVAL The second YFF Festival was held at the Chauvel Cinema in Paddington from 23-25 July 1999. Eighteen YFF films completed since the previous festival in March 1998 were screened. Admission was free and over 700 people attended the three-day event.
The festival provided an important opportunity to acknowledge the creativity and talent of the filmmakers, showcasing their films to the industry, cast, crew and family and to inspire others with the possibilities of working independently on a small budget.
MARKETING ALLOWANCES Marketing allowances are granted to YFF films of a high standard to assist with the costs of marketing and distribution. Marketing applications are assessed on the quality of the delivered film and the marketing plan and budget submitted. There has been significant marketplace interest in YFF films in recent years, both nationally and internationally.
Successful marketing applications in 99/00 have been the documentary Chrissy, which won a jury prize in the Teddy Awards at the Berlin Film Festival; Rabbit, which attended the British Short Film Festival; and Burnout, which was invited to screen at Sundance Film Festival in the USA. For a full listing of YFF festival screenings and awards see Appendix B.
In recognition of the national and international success of YFF films a Marketing Guide was commissioned by the FTO to provide advice to young filmmakers seeking to market their completed films in Australia and overseas. The guide was launched in March 2000.
13 YOUNG FILMMAKERS FUND
SELL-EBRITY SELL-ECTION COOKING WITH FRANK
DIYtv DIYtv ROUND 2 DIYtv is a collaboration between SBS Independent (SBSI) and VIDEO DARE $62,500 the FTO to produce scripted half-hour comedy-drama television Co-Writers: Craig Anderson, Bryan Moses, Doug Bayne, programs. The program challenges young filmmakers to subvert and Tony Walters exploit the medium of television and to produce material that will Producer: Sally Chesher surprise and captivate a younger television audience. Director: Craig Anderson
The first two DIYtv projects were broadcast on SBS in January 2000 IN THE SWIM $62,500 in the Saturday, 7.30pm timeslot. Sell-ebrity Sell-ection, went to air Writer: Kate Rice on 8 January, with an estimated 81,000 viewers and 103,000 viewers Producer: Anita Sheehan tuned in to Cooking with Frank on 15 January. Director: Katrina Douglas
The FTO and SBSI held a forum at the Australian Film Television and LET'S VOTE $62,500 Radio School on 20 November 1999 for over 200 people. The forum Co-Writers: Darryl Thoms, Wendy Anido, Zenon Kohler, was aimed at inspiring and guiding filmmakers towards making Wayne Arnold material for television the DIYtv way. Co-Producers: Wendy Anido, Darryl Thoms Director: John Atkins The guest speaker, John Saffran, best known from the ABC’s Race Around the World, talked about breaking the rules, subverting and BLOOD SPORTS $62,500 surprising within the medium of television. The successful filmmakers Writer: Helen Garner from the first round of DIYtv, creators of Sell-ebrity Sell-ection, Co-Producers: Michael Rowland, David Sheridan Jim Hearn and a virtual Paul Fogo (via the internet from the USA) Director: Michael Rowland and Catherine Lowing and Megan Harding who made Cooking With Frank, talked about the possibilities and realities of working in the DIYtv way. Michelle Harrison (FTO) and Barbara Masel (Commissioning Editor, SBSI) joined the other guest speakers for a YFF REVIEW question and answer session. In July 1999 the first four years of operation of the YFF was reviewed and funding was renewed for a further four years. The The FTO received 27 applications for the second round of DIYtv. FTO Board approved a four-year plan for the future operation of Jim Hearn, Louise Fox and Bill Harding together with Michelle the fund which includes: Harrison (FTO) and Debbie Lee (SBSI) comprised the assessment panel. Four projects were chosen and each received $125,000 • Two Rounds of YFF per year for four years (Rounds 7-14) ($62,500 from the FTO and $62,500 from SBSI) to produce their • Four DIYtv projects in 1999/2000 television project. The programs will be screened on SBS in 2001. • YFF Film Festivals in 1999 and 2001 • YFF Marketing allowances on application. The successful projects from the first and second round of DIYtv will form a package of six thematically-linked programs appropriate for national broadcast and international sales.
14 PROJECT DEVELOPMENT
THE BATTLESHIPS UNCLE CHATZKEL [CHATZKELIS LEMCHENAS AND ROD FREEMAN (PRODUCER/DIRECTOR)]
The FTO invests in the development of film and television projects A total of $1,016,583 was invested in development in 99/00. and in the professional development of filmmakers in the film and This was made up of an allocation of $792,948 ($890,000 minus television industry. overspend from 98/99) supplemented by revenues of $187,816 and write-offs totalling $76,640 (being undelivered projects over The development of projects is an essential first step towards a number of years). Expenditure for the fund was $63,467 and production and ensures there is a critical mass of projects providing a forward commitments totalled $22,646. healthy competitiveness in the industry. Supporting the development of successive drafts of scripts provides for well developed projects Funding was allocated across a range of projects. The percentage from which investors can select for production. Project development of investment was allocated as follows: 65.3% feature, 17.3% funding also gives depth to the professional experience of new and documentary, 4.3% animation, 0.2% television series, 4.3% travel, established filmmakers – not every script can go into production 7.4% initiatives and 1.2% for the AWG/FTO Mentorship Scheme. but filmmakers need the opportunity to keep working at their craft and exploring their story ideas. A full listing of projects supported through development funding in 99/00 can be found at Appendix A. The FTO encourages the formation of collaborative teams in development to sustain the energy, insight and the mutual nurturing This year 13 projects developed with FTO investment in previous required to take a project from concept to completion. years were financed into production. These include the feature Collaborative teams may include writer, director, producer, script films: Risk, The Goddess of 1967, The Monkey’s Mask, Angst and editor or other combinations of key creative personnel. The Mullet, animation: The Magic Pudding and the documentaries: evidence from recently completed films suggests that projects have Christopher Doyle Orientations, They Came They Saw They a greater chance of moving from development to production with Concreted, Uncle Chatzkel, Small Steps Giant Steps, Kimberley a strong, cohesive team working together from the early stages of Cops, The Glorious Aftermath and Guns Under Their Bums. development. The Goddess of 1967, The Monkey’s Mask, Risk and Guns Under Project development finance is available for the various stages of Their Bums were all partly financed by international investors. script development, including fees for the key collaborators, travel for financing, and pre-production assistance for such things as The FTO supports filmmakers who need to travel with film projects. casting, locations and preparation of budgets and schedules. It is increasingly important for filmmakers to seek international Applications for funding are assessed on their quality, creativity, investment as the markets for films become more competitive and potential viability and economic benefits to NSW. film production becomes more globalised. FTO funding is provided to filmmakers by way of an investment in the project, where travel The FTO funds new and experienced writers and a range of is required to finance their films, or, through grants, where the productions including feature films, telemovies, documentary, filmmakers have been invited to significant overseas festivals with a television series and animation. Development assistance has been completed film in which the FTO has invested. provided to 83 of the 212 applications this year. Some of these single applications require the assessment of multiple projects, Six filmmakers were supported to attend the Hot Dox conference for example, a co-funded series such as the National Indigenous in Canada, where Australia was the featured country, the Cannes Documentary Fund, where there are many scripts assessed. Most of International Film Festival and the American Film Market. the development requests are for feature films (78%), followed by (Two filmmakers included travel as part of their FTO Fellowship documentary (14%). Other areas of expenditure include travel award). Recipients of grants this year were: Glenys Rowe (Feeling grants, co-funded initiatives and writer mentorships. Sexy), Robyn Kershaw (Looking For Alibrandi), Andrew Horne (Darwin’s Evolutionary Stakes and Leunig), and Antionette Starkiewicz (Man). Ten filmmakers received travel assistance ranging between $2,100 and $7,400.
15 PROJECT DEVELOPMENT
HE DIED WITH A FELAFEL MULLET IN HIS HAND
The FTO continues to monitor changes in the industry and respond Following the results of the readers survey, FTO has decided to continue to the needs of the industry. To this end the application guidelines with the use of a readers report both as part of its decision making for the Development & Finance section are reviewed each year. The process and as a way of providing informed script development main changes to the development section of those guidelines has feed-back to the industry. The opportunity to read for the FTO also been to allow producers seeking development investment to travel allows industry practitioners another means by which they can for financing to apply for 100% of their travel expenses rather than exercise their analytical skills on a variety of projects. 50%. Ongoing net percentage profits have been changed, for the benefit of producers, to 0.5% for amounts up to $50,000, and to 1% for amounts over $50,000. PRINCIPLES OF DECISION MAKING The staff of the Development & Finance unit prepared and published a paper outlining the principles of decision making used READERS SURVEY in making investment decisions and the professional practice of the As part of the assessment process for FTO investment, industry staff. The paper deals with issues that are commonly raised or which personnel are used as external script readers and they provide a are often the subject of staff consideration but which the industry report to the FTO to be used in conjunction with the internal FTO may not be aware are integral to the practice of the FTO in dealing assessment. These reports are part of the information used to with applications and arriving at decisions. This paper is published inform the assessment and decision making process. on the FTO website (www.fto.nsw.gov.au).
There is ongoing debate within the film and television industry about the use of readers reports by different funding agencies. To INITIATIVES determine industry support for this method of assessment a survey The FTO invests in a number of initiatives each year co-financed of applicants over the past two years was conducted by the FTO. with television broadcasters and other government funded agencies. Filmmakers were given an opportunity to comment on the overall In the 99/00 we have invested in the National Indigenous assessment process as well as to nominate whether they wished the Documentary Series 3, with the ABC, to support new and FTO to continue with the use of readers reports. developing Indigenous filmmakers to make documentaries. The FTO has agreed to invest $75,000 in two new projects. Surveys were mailed to 340 filmmakers and of the 183 responses received, 67% wished to continue with the practice of using readers for development. New filmmakers were slightly more interested in WRITERS’ MENTORSHIP SCHEME receiving a readers report (70%), probably because this is one of the The AWG and the FTO continue to work together on the Writers’ few ways that they can receive detailed feedback and analysis on Mentorship Scheme. New writers are paired with an experienced their scripts. However, even in relation to production investment writer/mentor to assist them in developing a treatment for a there was strong support for the use of a readers report in the feature film. Mentors provide feedback and advice based on their process (more than 55%). Where the respondents suggested another professional experience. form of assessment it often included a readers report in a lengthier assessment process. The successful writers and their mentors this year were Vanessa Bates and Justin Walsh both mentored by Steve Wright; and Nick Sutton and Giula Sandler both mentored by John Alsop. Justin Walsh’s project The Perfect Drive: The Morris Fletcher Story, has subsequently been optioned by producer Marian Macgowan.
16 CREATIVE INITIATIVES
THE MONKEY’S MASK BETTER THAN SEX
$1,500,000 The creative initiatives program was established in 1998 and invests in NSW industry practitioners. Initiatives funded through this program focus on the development of talent. 1,000,000 Programs supported this year included Fellowships, Directors Attachments and TropNest. Funds for the program are met wholly 500,000 from FTO reserves. $280,329 was expended on Creative Initiatives in 99/00. For a full listing of projects supported through Creative Initiatives see Appendix F. 0 97/98 98/99 99/00 SCRIPT DEVELOPMENT COMMITMENTS FTO FELLOWSHIPS Professional development is provided through the FTO Fellowship $200,000 Scheme for mid-career filmmakers with some significant track record. The Fellowship may be used to further professional experience in scriptwriting, script and story editing, travel, study, professional 150,000 attachments, financing projects or combinations of these activities. Work may be carried out on single projects or a slate of projects in 100,000 development.
50,000 FTO Fellowship guidelines were reviewed this year to allow Fellowships to be repaid with a one off 10% premium instead of accumulating interest. 0 ROYALTIES RETURNS TO TREASURY SCRIPT DEVELOPMENT RETURNS 99/00 The successful filmmakers who received Fellowships from the FTO 98/99 in 99/00 were: Directors: Jonathan Teplitzky and Steve Vidler; 97/98 Producers: Bruna Papendrea, Antonia Barnard, Jenny Day, Charlie Doane; Writers: John O’Brien, Patricia Johnson and Stephen Sewell; and Documentary Filmmakers: Jo-Anne Macgowan and Mary Ellen FEATURES Mullane. DOCUMENTARIES INITIATIVES Several projects developed by previous FTO Fellowship recipients ANIMATION came to fruition this year. Bruna Papendrea has gone on to produce Better Than Sex Willfull TRAVEL the feature , Vicky Watons produced , The Monkey’s Mask MENTORSHIPS Samantha Lang directed , Helen Bowden produced Soft Fruit The Monkey’s Mask TELEMOVIES and Robert Connolly produced . TV DRAMA PRE PRODUCTION
SCRIPT DEVELOPMENT FUNDING BREAKDOWN
17 CREATIVE INITIATIVES
CREATIVE INITIATIVES
THE GODDESS OF 1967 ANGST
TROPNEST DIRECTORS ATTACHMENTS The TropNest Screenwriters Centre provides support for emerging The Directors Attachment Scheme was established jointly by the FTO talent through a writers-in-residence program at the TropNest cottage and the Australian Screen Directors Association (ASDA) to support at Fox Studios, Sydney. Successful applicants to the program are the professional development of new and emerging directors. The provided with a supportive environment in which to work and have program was designed to provide a bridge between short film and frequent contact with industry practitioners during their six-week feature film production and enabled attachees to gain “hands-on” residency. experience by directly observing the craft of directing by a more experienced colleague. During the second half of 1999 TropNest underwent an industry review of procedures and outcomes to ensure the program Because of a reduction in the numbers of feature films being remained relevant to the needs of the film and television industry. produced in NSW in 99/00, there were fewer possibilities for Following the review the TropNest program has been broadened to attachments than in previous years. Nonetheless, four directors include writers at all stages of their professional development, as were attached to NSW films. These were Claude Gonzalez (The well as continuing support for emerging writers. Goddess of 1967), Danni Landa and Liz Doran (The Monkey’s Mask), and Darlene Johnson (Angst). Emerging writers are now required to develop first drafts, rather than extended treatments, and script consultants will work with The Directors Attachment program was suspended in 2000 due to writers who have written more than one first draft that has attract- rising administrative costs and a limited number of opportunities ed interest, or have professional credits. Writers who have complet- for attachments. While participants have been grateful for the ed extended treatments with TropNest will be invited to further opportunity to witness and participate in the full production develop their projects. environment, the program has proved unfeasible to operate on the limited resources available. The program has also been extended to include an open program allowing for development of low budget projects, indigenous work, However, details of short-listed applicants have been maintained by and industry activities and events. The open program will also offer ASDA, and a number of the directors have since been contacted to assistance to first time feature film writers who are often faced with do similar attachments with NIDA, the ABC and with productions problems in development of their second project. overseas. ASDA have also been providing directors and production companies in NSW with a template for future informal attachment In 99/00 the FTO received five TropNest applications and supported arrangements. two treatments with development funding.
18 INDUSTRY & AUDIENCE DEVELOPMENT
MARDI GRAS FILM FESTIVAL FLICKERFEST OPENING NIGHT
Support for industry and audience development activities in NSW directly underpins the FTO’s objective to encourage talented people and quality projects so as to increase the depth of creative resources in the industry. Initiatives supported through this program provide skills development opportunities for practitioners through low cost technical and research facilities; and professional development activities such as seminars, conferences, workshops, publications, mentorship and attachment programs, and awards.
Industry and audience development activities increase public appreciation and knowledge of cinema by providing distribution opportunities for Australian films through activities such as festivals, screenings, exhibitions and touring programs. Support for these acti vities directly influences and effects the film, television and new media industries’ sustainability through the ability to create opportunity, and open markets, for Australian film and television product.
The FTO’s Industry & Audience Development program runs on comparatively limited resources, but still effectively delivers to a diverse range of constituencies and communities including regional cultural development, ethnic affairs, youth, indigenous, women and Western Sydney.
A significant number of activities supported by the FTO are generated from the community level. They include regionally initiated events (such as Electrofringe in Newcastle and Buzz – The Byron Bay Film Festival), specialist community events (such as the Mardi Gras Film Festival and the Jewish Film Festival), ethnic events (such as Carnivale’s Changing Images Short Film Festival), women’s activities (such as the WOW Film Festival and the Women in Film and Television Mentor Scheme), indigenous activities (such as Metro Screen’s Indigenous Mentorship program) and a diverse range of activities directly targeted at youth (such as TropFest).
Industry and audience development activities such as film festivals and conferences can also provide significant economic benef it to host communities. A recently conducted report into the economic benefits resulting from the Electrofringe media arts festival held in Newcastle in October 1999 estimated that the festival had generated $320,000 for the local community through spending in the retail, cult ure, accommodation and recreation sectors.
99/00 FUNDING In 99/00 the FTO received a total of 89 applications for Industry & Audience Development funding with requests totalling $863,342 (exclusive of the $110,000 requested each year by the Australian Childrens’ Television Foundation).
The office supported 61 events/organisations in 99/00, and commitments totalled $424,000 (exclusive of the $110,000 allocated to the Australian Childrens’ Television Foundation). The FTO’s base allocation of $220,000 for screen culture activities was supplemented with $137,500 from reserve funds and $66,500 for new media screen culture activities. A full listing of projects supported is available at Appendix E.
In recent years, the FTO’s Screen Culture budget has been under mounting pressure from increased NSW demand, and available funds have been dependant upon the level of FTO reserve funds allocated each year. In 99/00 the FTO submitted a Budget Enhancement Proposal to NSW Treasury and was successful in securing an additional $170,000 for industry and audience development activities. These funds will be available from 00/01 to replace the funds previously made available from agency reserves.
INDUSTRY & AUDIENCE DEVELOPMENT 96/97 97/98 98/99 99/00
Funds Requested 419,421 554,529 909,668 863,342 Funds Approved 328,834 457,000 349,400 424,000
* all figures (including requests) are exclusive of the $110,000 for the Australian Childrens’ Television Foundation.
19 REGIONAL CINEMA INITIATIVES
MONTREAL COMMUNITY STUART EVERETT THEATRE, TUMUT KYOGLE CINEMA
Despite cinema being Australia’s most popular cultural activity (and smaller communities. The majority of respondents were not in youth by far comprising the largest cinema audiences) over 50% of favour of forming a state-wide network for print sharing. towns in NSW have little or no access to cinema or cinema culture. In 1996, the Local Government and Shires Associations of NSW The report concluded that the proposed regional network was not (LGSA) surveyed their 177 members on a range of cultural issues. a viable solution to the identified distribution problems and in addition The majority of respondents identified cinema as one of the most would be difficult and cumbersome to manage in a way that safe- desired entertainment activities for their community. guarded the interests of both the exhibitors and the distributors.
Cinemas have the potential to contribute enormously to regional The FTO has since commenced discussions with major distribution development, particularly for rural youth that have limited access to companies to develop a standardised policy with terms and conditions entertainment and employment. Cinemas have direct influence on that address the specific requirements of regional operators. The FTO social and quality of life aspirations, and provide economic benefit expects to be able to announce the outcomes of these negotiations to the local community. early in 00/01.
In 99/00 the FTO has been working to promote opportunities for The FTO has also assisted in organising the Flicks in the Sticks the development of volunteer and independent cinema and has conference held in Nundle, a small village an hour south of been instrumental in assisting regional communities to consider Tamworth in the state’s north-west. The Nundle arts council holds how they can reintroduce cinema in their towns. fortnightly film screenings in the local memorial hall in an attempt to reinvigorate a sense of identity in a community faced with high In support of these objectives the office undertook the coordination unemployment, depression and suicide problems. of a series of Regional Cinema Conferences in partnership with Regional Arts NSW, the NSW Ministry for the Arts, the Local The Nundle cinema was established largely due to the efforts of the Government & Shires Association and the NSW Department of local area health worker, who saw it as an opportunity to provide an State & Regional Development. activity for local youth and to create an interest for the older members of the community. It can be considered a great success story as the The Second Regional Cinema Conference was held in December 1999 link has been made for the first time between cinema and health and focussed on areas of concern to regional cinema operators including benefits, and it has worked for a community of only 300 people. marketing and programming, and distribution issues. One of the key components of the conference program was the examination of a The conference was held in April 2000 and aimed at other small model for a regional film distribution network to provide economies of communities in the north-west region interested in establishing a scale and a level of expertise when dealing with distributors. volunteer run cinema. There were 30 participants and 13 communities were represented. Eight of these communities have since gone on Funding was secured from the Australian Film Commission ($7,500) to establish volunteer cinemas and it is expected that further for the investigation of regional distribution problems, with the inten- “micro” conferences, based on this model, will be held in other tion of applying the outcomes of this research nationally. regional communities in the future.
The FTO commissioned Andrew Pike of Ronin Films to produce a In 99/00 the office commenced work on a guide to establishing and report on the distribution issues faced by regional exhibitors and to operating a cinema, providing advice on issues such as: operational investigate the viability of a regional film distribution network. Previous models, business planning, equipment, training, funding, programming, conference participants were surveyed to identify distribution issues marketing and dealing with distributors. The guide will be available and to assess the level of interest in the proposed network. in October 2000.
Distribution issues of key concern to regional exhibitors included: A Regional Cinema Officer will be appointed in early 00/01 to assist delayed access to first release film prints; unreliable access to publicity and advise people as to the opportunities available for establishing materials; high freight costs; and film hire conditions unsuitable to cinema activities in their community.
20 NEW MEDIA INITIATIVES
ANIMAL LOGIC TRAINEES dLUX MEDIA ARTS [L-R: ZENON KOHLER, FUTURE SCREEN 99 TOBY GRIME, ALEX THOMAS, NATHAN HALLIFAX]
The FTO’s New Media Program supports the professional development In February 2000 the FTO board approved the continuation of the of creative talent in the rapidly evolving digital arena and promotes scheme and the fifth intake was advertised in April 2000. In March the effective application of digital media to film and television 2000 the FTO called for expressions of interest from eligible digital production. effects/new media companies to participate. Animal Logic and Brilliant Interactive Ideas, both partner companies for the two-year pilot, will continue their involvement. DIGITAL VISUAL FX (EFFECTS) TRAINEESHIP SCHEME As the central feature of its new media strategy, the FTO established a $100,000 has been allocated to this program for a further twelve two-year pilot program in 1998 to ensure skills development months. At the end of the twelve-month program the scheme will opportunities for aspiring creatives within the digital visual fx again be reviewed. industry. This program is run with the assistance and involvement of private sector companies. ROUND 3 The aim of the scheme has been to support the professional A total of 96 applications were received for the third round of the development of individuals who have a relevant background and scheme, which closed on 14 May 1999. An assessment panel consisting strong desire to establish creative careers in the digital visual fx of Shilo McClean, Marcus Darcy, Jane Maguire and Sharon Baker (FTO) industry. The scheme provides a strong learning environment reviewed the applications. Five trainees were awarded placements through on-the-job training. Trainees gain this experience working and commenced work in late 1999. The successful trainees were on real projects while earning a realistic wage over a six-month period. announced on 11 August 1999.
Sydney’s profile as a centre for world class international production TRAINEE PLACEMENT has increased dramatically over recent years. This has been due to a number of factors: the development of major, purpose built Zenon Kohler Animal Logic production facilities (Fox Studios Australia), the growing reputation Alexander Thomas Animal Logic of local creative and technical individuals and companies, the local Christian Hernandez Brilliant Interactive Ideas industry’s cost-effectiveness and Sydney’s benign climate, physical Kirstine Wallis Brilliant Interactive Ideas beauty and renown as a tourist friendly city. *Keate Barker Animal Logic
Most important has been the experiences of international filmmakers *Keate Barker decided to discontinue his traineeship within the first probationary month. in Sydney, and the results they have achieved. The recent multi Academy award winning The Matrix received four Oscars, one of which for Best Visual Effects was created in part, by two companies ROUND 4 involved in the pilot of the digital visual fx traineeship scheme — Applications for Round 4 closed on 5 November 1999 and a total of Animal Logic and Dfilm. 85 applications were received. The assessment panel comprised Shilo McLean, Rob Sandeman, Liz Carlon and Nick Hore (FTO). The use of digital visual effects at all levels of film and television Four trainees were awarded placements and commenced work in production has grown steadily, increasing the demand for expertise early 2000. in this area. The Digital Visual FX Traineeship Scheme addresses this demand by developing the local pool of experienced and talented TRAINEE PLACEMENT digital visual creatives, including 3D artists, 3D animators, compositors, fx producers, and digital designers/art directors. Mike Daly Animal Logic Toby Grime Animal Logic Successful applicants are employed by a participating company for Nathan Hallifax Animal Logic a six-month placement to work and gain experience in digital fx Patricio Ducard Brilliant Interactive Ideas production and design. The FTO subsidises the salary and oncosts of each placement by up to 50%.
21 REGIONAL CINEMA INITIATIVES NEW MEDIA INITIATIVES
AFI AWARDS 1999 dLUX MEDIA ARTS OPENING TRAILER FUTURE SCREEN 99
NEW MEDIA SCREEN CULTURE After two years of operation, the scheme has proven to be a very In recognition of the growing impact of new technologies for screen successful initiative. This has been borne out by the positive feedback based media the FTO has provided new media funds for Industry & received from trainees and host companies, and the retention rate Audience Development activities. Funds are provided for projects of trainees in the industry after completing their placements. that promote debate, understanding and skills development in the area of new technologies and their application to filmmaking. A total of eighteen trainees have been awarded placements since the scheme’s inception. Thirteen have successfully completed their Initiatives supported in 99/00 included funding to enable the traineeships and ten have secured permanent positions within the Brisbane International Animation Festival to tour to NSW ($1,800); industry. Three are pursuing freelance work as digital artists. The the Casula Power House Cyber Cultures: Sustained Release screen remaining four are still completing their traineeships. based media exhibition ($8,000); Cyberwrite an Australian Writers’ Guild conference exploring the potential of multi-media for the Trevor Smith undertook his traineeship through Dfilm. He has since craft of storytelling ($5,000); dLux Media Arts’ promotion of the worked as the foreman in the model department on Red Planet and development and discussion of innovative film, video and new is currently filling the same role on Star Wars Episode 1. Trevor is media work ($30,000); and Metro Screen’s Digital Media Seminar using the knowledge he developed in the traineeship to dramatically Program ($5,000). broaden his skills as a modelmaker, becoming directly involved in the digital process at concept development, and more fully understanding the 3D and 2D effects that his models will work in with. NEW MEDIA FUNDING REVIEW In 99/00 the FTO received continued funding for new media activities, Aidan Sarsfield began at Animal Logic in February 1999 and was at $150,000pa for four years, effective from 00/01. offered a full-time position as a 3D animator when his traineeship was completed. He has spent much of his time working on television The office conducted a review of new media funding options and commercials but has also gained experience on features including the resultant policy continues to focus on skills development and Holy Smoke, Mr Accident and Moulin Rouge. Also at Animal Logic, the application of new technologies to filmmaking. The FTO will Zenon Kohler has added the design of the opening titles of the 1999 review the policy on a twelve-monthly basis to ensure the program AFI Awards to his list of credits since completing his placement. is able to respond effectively to the changing needs of the new media environment.
METRO SCREEN NEW MEDIA ACTIVITIES In February 2000, the FTO Board approved the following funding Following the success of the Metro Screen program funded by the allocations for 00/01: FTO in 98/99, and the demand for the pilot program of digital media activities, the FTO funded a second year of digital programs. • continuation of the Digital Visual FX Traineeship Scheme ($100,000) $47,000 was provided for the 99/00 financial year. These funds supported: • continued support for Metro Screen’s Digital Studio workshop and seminar program ($40,000) • subsidised places for nine filmmakers to participate in a fifteen day intensive Internet Streaming Summer School, focussing on • support for new media strategic initiatives such as industry the utilisation of digital technologies pertinent to the filmmaking workshops and masterclasses ($10,000) process, • support for new media screen culture ($35,000) • a Tools and Technologies support program to transfer technical skills from experienced industry operators to newcomers to the • a contingency fund to provide for other projects that may digital arena, via targeted workshops and consultations. arise ($46,000).
22 FINANCE
TO INVEST IN STRONG PROJECTS THAT ARE LIKELY TO BE MADE
323 FINANCE
HE DIED WITH A FELAFEL RISK IN HIS HAND
The FTO provides finance to assist film and television production to MINOR CASH FLOW LOANS occur in NSW to bring economic and cultural benefits to the state. All Two minor cashflow loans were provided to one feature film finance is provided by way of a repayable investment with copyright, totalling of $34,000. recoupment and profit participation for the FTO. The requests for a minor cash flow loans have reduced significantly in recent years. This seems to be because other institutions providing PRODUCTION LOAN FINANCING FUND (REVOLVING FUND) cashflow are able to do so in a more timely fashion to meet production The Revolving Fund was established by the NSW Government with a one needs. The FTO did receive several urgent applications for this kind off provision of $5 million. The Fund is used to cashflow marketplace of assistance from productions with potential short-term cashflow investment, payable on or after delivery, where the investor can problems, but as circumstances played out the funds were not eventually provide security, and therefore a reduced risk, to the fund. The funds required. are provided by way of a loan. The availability of the minor cash flow loan facility and the Overseas investors are required to cashflow at least 40% of their responsiveness of the FTO to urgent requests ensures the facility investment and agree that their distribution rights will revert to the FTO provides additional support for productions experiencing cashflow in the case of default. Alternatively, letters of credit, bank guarantees problems. In recognition of this the FTO Board have increased the or similar security is required. level of funding available under this facility to up to $150,000, to meet the urgent needs of producers. For Australian investors the FTO requires security by way of a first ranking charge, corporate guarantees and the reversion of rights to In the past year the FTO has had one minor cash flow loan that has the FTO in the event of default. Loans must be repaid in tranches at failed to repay half of the total amount due, being $40,000. The six and twelve months after delivery of the completed film. The fund FTO is attempting to pursue the producer who has defaulted on a therefore operates in a revolving way and new productions are personal guarantee as well as on the repayment agreement. The assisted each year as repayments are made. FTO has the support of the AFC, a co-investor in the production in attempting to recover these funds. There is a limit to the amount that any one company may secure in funds against its distribution guarantees. In 99/00 one company had reached that limit but as it repays loans it is able to redraw on PRODUCTION INVESTMENT the fund. The FTO invests in a number of productions each year to ensure employment for NSW creatives and crew and to encourage a high Since being fully drawn down in 98/99 the fund has operated level of quality and cultural value in the NSW production slate. successfully in the way it was intended. Since the fund offers loans at Applications for assistance are assessed in relation to creative a very competitive rate it is seen as a desirable addition to the elements including the script and the production team’s creative financing structure for feature film production in NSW and assists to strengths and production experience, budgets and financing maintain the costs of financing at a reasonable level. structure. Investments are usually for around 10% of the total budget. In 99/00 projects approved for production loans were Risk ($210,769), Australia: Land Beyond Time, a large format film ($750,000) and The FTO made changes to the guidelines in 98/99 to allow Subterano ($380,000). The FTO received $85,429 in interest and investment in outstanding low budget films up to a maximum of administration fees on loans drawndown this financial year. $500,000 and up to 50% of the budget. The first film funded under these new guidelines is Better Than Sex which was invited to open the 2000 Sydney Film Festival and made sales in excess of its production budget at the Cannes International Film Festival and Market 2000.
24 NEW MEDIA INITIATIVES DUST ROAD CONFESSIONS OF A BETTER THAN SEX HEADHUNTER
This year the FTO received 34 applications for production investment FEATURES and funded 15. Each year many more films are produced in TV DRAMA NSW than the FTO is able to support with the limited production investment funds available. However, for productions of merit TELEMOVIES where FTO funds are a necessary part of the financial strategy, FTO DOCUMENTARY investment can play an important role in ensuring that production LARGE FORMAT and post-production continue to take place in NSW. ANIMATION The FTO invested in 3 feature films, 1 large format documentary, SHORT/INITIATIVES 2 telemovies, 1 mini series and 1 documentary. The FTO also funded 1 animation series and 3 half-hour dramas as part of co-funded PRODUCTION INVESTMENT FUNDING BREAKDOWN initiatives. Total production investment committed for the year was $2,158,598. Two development projects with investment totalling $39,800 were also rolled over into production finance For a full listing of production investments see Appendix A. MINOR CASHFLOW
The FTO received $201,313 in production investment returns in 99/00. PROD. INVESTMENTS
The percentage break down of investment dollars is 36.33% feature film, 10.42% short drama/initiatives, 16.23% mini series, 22.85% telemovie, 9.54% large format and 1.57% for minor cash flow loans. Additional investment in previously funded features and short/ initiatives made up 3.06% of the investment.
The FTO supported more television projects in 99/00 than it has PRODUCTION INVESTMENT FUNDS RETURN BREAKDOWN in recent years. This may be due to a higher demand following a significant downturn in the television production sector. In the past year the ABC has undergone budget cuts and the Commercial Television Production Fund had ceased to operate through the Australian Film Commission. The FTO believed it was important to provide support to this crucial sector of the industry and to 2,500,000 continue to support developing talent through this medium. 2,000,000 The Farm Television productions supported by the FTO include — 1,500,000 an ABC mini series, One Night The Moon — an ABC television opera and The Road To Coorain – a telemovie co-financed with the 1,000,000 ABC and WGBH Boston. 500,000
0 97/98 98/99 99/00 PRODUCTION INVESTMENT RETURNS COMMITMENTS
25 FINANCE
THE MONKEY’S MASK MY MOTHER, MY SON
INITIATIVES CRITICAL ACCLAIM The FTO included an initiatives section in its guidelines for the first Films supported by the FTO received much critical acclaim in time this year as the office is increasingly asked to co-finance these 99/00. All films nominated for Best Picture in the Australian Film types of productions. The FTO requires that these initiatives have Institute (AFI) Awards (Praise, Siam Sunset, Soft Fruit, Two Hands) been well thought through at the originating stages and an appro- and the Film Critics Circle Awards (Two Hands, Praise, Soft Fruit, priate financing strategy is in place. The FTO also expects to partici- Feeling Sexy) received FTO investment. The FTO was the only pate in the selection process. investor to have invested in all nominated films and as a result FTO funded films collected a swag of awards including: Projects funded through initiatives this year are Road — part of the SBS Independent Sorry Stories, and My Mother, My Son and Dust AFI Awards: Best Film – Two Hands, Best Director – Gregor Jordan. — part of the Crossing Tracks series co-financed with SBS Best Actor – Russell Dykstra, Best Actress – Sacha Horler, Best Independent and the AFC. This series followed on from the original Original Screenplay Gregor Jordan. Indigenous Drama Initiatives: From Sand to Celluloid and Shifting Sands. Film Critics Circle Awards: Best Film – Two Hands, Best Director – John Curran for Praise, Best Screenplay – shared by Davida Allen The FTO also committed funds over two financial years to the for Feeling Sexy and Christina Andreef for Soft Fruit. Home Movies animation series in association with the AFC, SBS Independent and Cinemedia for production in 00/01. The FTO funded film Better Than Sex was selected to open the 2000 Sydney Film Festival.
SPACE STORIES FTO funded films were also invited to several international festivals. The FTO supported an emerging NSW documentary filmmaker Looking For Alibrandi was invited to Taormina and Seattle Film through the second series of Space Stories, a national series of Festivals; Soft Fruit won the International Critic’s prize at the San half-hour documentaries funded with SBS Independent. Projects Sebastian Film Festival and was subsequently invited to screen in were submitted exploring themes of people and place, and titled by Critic’s Week at Cannes 2000; and Confessions Of A Headhunter postcode, and each state film funding agency provided support to and Wind were invited to screen at Cinema D’Antipodes in Cannes one project in their state. 2000 (a sidebar event organised annually to highlight the cinema of Australia and New Zealand). This year the NSW project selected was Adaminaby – Our Drowned Town, produced by Gina Twyble and directed by Jeannine Baker.
26 GOVERNMENT DOCUMENTARY DIVISION
TO PROVIDE A COST- EFFECTIVE SERVICE FOR GOVERNMENT CLIENTS
427 GOVERNMENT FILMMAKING
BIG SHAME OUR JURY OUR VALUES
The FTO’s Government Documentary Division (GDD) provides expert creative personnel, actors, service providers and manufacturers film and video production services and advice for government within the industry to benefit from the expenditure. departments and agencies. The work of the division also supports the development of creative talent, particularly in the non-broadcast Program subject matter in 99/00 included Aboriginal Health, jury sector of the NSW industry. service, quality management, crime prevention, road safety and the Green and Golden Bellfrog. GDD again produced programs for the Through GDD NSW government organisations have access to Olympic Co-ordination Authority including corporate, orientation cost-effective film and video production services, producing effective and training programs for volunteer car drivers and bus drivers at training, motivational and instructive programs. Projects produced the Sydney 2000 Olympic Games. with the assistance of the division reflect government policies such as equal employment opportunity, anti-discrimination and cultural Stock footage, recording the on-going development of Homebush diversity, and promote a more tolerant and aware community. Bay and other Olympic sites, has been in great demand in the lead-up to the games, and has been used nationally and internationally in Services provided by the division in 99/00 ensured that government news and current affairs programs for public broadcast. This footage agencies were protected in matters such as insurances, copyright, showcases government and private sector collaboration resulting in legal agreements and clearances for talent and music. GDD also the efficient, on budget, and on time construction of the Homebush provided advice and recommendations to government and the film Bay Olympic site. and television industry and maintained financial and contractural record keeping of projects for transparency, accountability and audit On-going shoots for the Police Television Unit required access purposes. to cinematographers throughout NSW, and GDD contracted the services of regional film industry personnel at Newcastle, Maitland, GDD maintains a Trade Register of creative and technical talent and Goulburn, and Bathurst. except under exceptional circumstances, all government programs are put to tender to companies selected from the Register. The TOTAL REVENUES EARNED BY Register is made up of companies whose principals have been GDD FROM PRODUCTION AND PRINT SALES interviewed and their work assessed by the GDD producers. This 97/98 98/99 99/00 provides a guarantee of quality standard for both the FTO and the government client. $1,045,000 $900,000 $1,031,632
Through the Trade Register government organisations have access to a broad range of established and emerging industry professionals. Many filmmakers and actors who have previously worked on GDD CRITICAL ACCLAIM projects are now contributing their talents to the broader film and Programs produced through GDD are of a consistently high quality, television industry. In past years, actors Russell Crowe, David and NSW filmmakers again won major prizes at prestigious Wenham, and Gina and Gia Carides have all played roles in GDD overseas and local festivals and competitions. This year a total of productions, Crowe in a Maritime Services Board rehabilitation 13 awards, plaques and certificates were won (see Appendix C). program and a RTA training program, and Wenham, in a TAFE program and a Child Protection video alongside Gina and Gia Carides. A particular highlight in 99/00 was the Olympic Co-ordination Authority’s submission of the Green and Golden Bell Frog Project to the 2000 Banksia Awards. The submission included a seven PRODUCTION minute video produced through GDD, and won both the Gold In 99/00 GDD completed 20 programs, and supervised the Banksia Award and the Flora and Fauna Award. production of 19 archival shoots, 7 edits and compiles, and 4 revised programs. Eight programs were captioned for people with hearing The award winning programs are the result of successful collaborations impairment. This was down from the 98/99 total of 22 payments, between government departments, GDD and filmmakers, and 25 archival shoots, 11 edits and compiles and 4 revised programs. exhibit a high standard of government programming as well as This activity represented $1.3 million worth of production in NSW. encouraging creative excellence in non-commercial filmmaking.
GDD’s policy is to produce all its government programs wholly within NSW, so as to encourage employment and economic benefit within the state. This production provides the opportunity for
28 PRODUCTION LIAISON
TO FACILITATE FILMING IN NEW SOUTH WALES BY THE LOCAL AND INTERNATIONAL PRODUCTION INDUSTRY
529 PRODUCTION LIAISON UNIT
ANGST [ON LOCATION IN KINGS CROSS]
Film and television production is a creative business activity that provides significant cultural and economic benefits to the state. The FTO’s Production Liaison Unit (PLU) works actively to facilitate local and offshore production and to secure on-going support from government agencies for film production in NSW.
NSW is the traditional centre of the production industry in Australia, attracting about 60% of all production in Australia. In 99/00 NSW hosted film and television production to the value of $325 million which is the highest recorded spend ever. Of this, $178 million was from Australian productions, $59 million from co-productions and $88 million from foreign productions. This large increase in Australian production has been largely due to the high budget feature Moulin Rouge shot at Fox Studios. The figures for 99/00 are estimate s.
PRODUCTION EXPENDITURE IN AUSTRALIA $M TOTAL NSW VIC QLD SA/WA/NT
95/96 374 109 109 132 24 96/97 409 164 122 107 16 97/98 497 289 102 80 26 98/99 539 266 149 100 24 99/00 554 325 127 81 21.5
Source: Australian Film Commission (These figures exclude in-house drama productions). The figures for 99/00 are estimates.
For a full listing of local and international projects produced in NSW in 99/00, see Appendix D.
The FTO actively supports production in NSW by providing a wide range of services to filmmakers including information on locations, production facilities, industry contacts and methods of operation.
PLU produces a range of publications outlining NSW industry resources, personnel, locations and relevant government departments, and also maintains an extensive Location Resource Library that includes photographs, maps and background material on locations and services available to filmmakers across NSW.
LOCAL GOVERNMENT AMENDMENT (FILMING) BILL 2000 A major achievement for the FTO in 99/00 has been the work undertaken by PLU in the development of the Local Government Amendment (Filming) Bill 2000. The Bill was passed in State Parliament in April 2000 and is designed to streamline the approval process for commercial filming projects on council controlled land. This important legislative change is the first of its kind in Australia and represents the culmination of many years work aimed at improving the local production environment.
The Bill will facilitate making applications to councils for approvals and other determinations necessary in order to carry out filming activities, including the ability for councils to allow filming on community land. It is of critical importance to filmmakers because it pr ovides a legal framework for applications and approvals specifically designed to accommodate the special needs of the film industry.
The Bill will provide certainty for the film industry while providing local government a simple and easy to use method in provi ding permits for the use of council controlled land. The act also includes the provision for a protocol. The filming protocol sets down the application and approval processes which filmmakers and councils should follow in striking agreements for location filming. It also includes a fee structure based on usage and size of production.
30 MULLET ON LOCATION BOOTMEN [ON LOCATION THE FARM MISSION IMPOSSIBLE II IN NEWCASTLE]
The protocol was developed in consultation with both local LOCAL GOVERNMENT AND COMMUNITY STAKEHOLDERS government and industry. A working party consisting of delegates A healthy and vigorous local production environment requires the from the Premier’s Department, Local Government, FTO, Local co-operation of government, industry and the public. In 99/00 the Government & Shires Association of NSW and independent FTO worked to further educate local government and community producer Anthony Buckley was established in 1999 and guided the on the benefits of working with the film industry. PLU assisted in the process to its completion. development of filming policies and worked to broker solutions with individual councils where problems arose with film crews The protocol was distributed to the film industry and local working on location. government in draft form for feedback, and the FTO in consultation with the Department of Local Government, held a number of In October 1999 FTO hosted a stand at the annual Local workshops with local government and film industry representatives Government Conference in Dubbo which provided a valuable to ensure a consensus was reached on its content. opportunity to meet with key local government officials and to promote the benefits of adopting a film friendly policy. This piece of legislation is a major step forward in the streamlining of production for NSW. It recognises the importance of filmmaking In recognition of the FTO’s long standing work with local government, in the State and clarifies the relationship between local government and the office’s commitment to regional development, the Chief and the film production sector. Executive, Jane Smith was invited to speak to the delegates. Ms Smith spoke about a number of initiatives that impacted on regional NSW, such as improving access to cinemas in regional areas, the IMPROVING THE PRODUCTION ENVIRONMENT opportunities filming can provide for regional communities and the In developing initiatives to improve the production environment in role of the protocol in improving access to locations. NSW, PLU consults broadly and facilitates cooperation between the film industry and various government departments and agencies. Regional communities are increasingly recognising the benefits of PLU worked to achieve this end through participation in regulatory film production to local economic activity, and this year councils and and legislative reviews, through mediation, and via direct personal communities in Newcastle, Northern Rivers, Hastings, Broken Hill, liaison with industry interest groups such as location controllers. Illawarra and Maitland sought assistance from PLU in promoting their regions as film locations. In 99/00 reviews of film permits and fees in key government agencies were carried out, and Roads & Traffic Authority, National PLU representatives conducted visits to the Hunter and Illawarra Parks and Wildlife Service, Environmental Protection Authority and regions to provide advice on establishing and running a film policy the Olympic Co-ordination Authority have since implemented and to assist these regions with implementation of their strategy. filming policies and guidelines. The Hunter Region launched a film policy and appointed a part-time PLU worked with the Screen Producers Association of Australia location officer to Newcastle City Council so as to increase the (SPAA) and the Media Entertainment and Arts Alliance (MEAA) to amount of filming in their region. The FTO assisted with policy finalise a “Code of Conduct” for the film industry. The code is development and information dissemination via PLU’s extensive designed to clarify conduct by film crews when working on location, network. and the FTO is hoping to see it adopted in the 00/01 year. Film Illawarra was established with FTO assistance to represent the PLU also continued to provide advice to government on industry Illawarra region. A production liaison officer was appointed and a requirements with regard to the employment of children, the use of full photographic survey of the area was undertaken. Two films were prohibited weapons and firearms, and the portrayal of smoking. shot in the region during 99/00 with support from Film Illawarra, Mullet (set in Kiama) and Diving for Pearls (set in Wollongong).
31 PRODUCTION LIAISON
MISSION IMPOSSIBLE II THE POTATO FACTORY
In the Sydney Metropolitan region, PLU provided assistance to a Sydney also became home to the long-form drama series Farscape number of councils with policy development and advice including that has been successful for two seasons in the US. This show with Manly, North Sydney, Parramatta, Blacktown and Pittwater. its core of special effects and animatronics sets a new benchmark for Australian television production. Pittwater Council commissioned a study by Ian McDonnell from the University of Technology, Sydney following the Baywatch controversy. Throughout 99/00 PLU promoted NSW as a shooting destination The study looked at the attitudes to filming in the Pittwater Council and post-production centre for offshore producers. area and the economic impact on Palm Beach due to filming of the serial Home and Away. The study estimated that over 40% of the PLU representatives attended strategic trade events including visitors to Palm Beach came because of the long running serial, Locations Expo and Showbiz Expo in Los Angeles, and participated contributing around $500,000pa to the local economy. Survey in trade shows. The office also continued to work with AusFILM to outcomes were also positive, with a majority of residents (over facilitate familiarisation visits from key international production 70%) in favour of filming in the area. personnel. These activities provide opportunities for the FTO to expand international networks and to study market trends and the activities of major industry competitors. REGIONAL FILMING FUND A number of FTO funded productions were filmed in regional NSW Interest in shooting in NSW continues to rise. This year, PLU pitched this year including Mullet (Illawarra region), The Goddess of 1967 for 38 projects with a total potential value of US$550m. In 98/99 (Lightning Ridge) and The Farm (Southern Highlands and Western PLU pitched for 25 projects with a potential value of $322 million Plains), providing economic benefit to host communities. and in 97/98 projects with a potential value of $304 million considered filming in NSW. In May 1999, the Premier announced the initiation of a $500,000pa regional assistance fund to further encourage filmmakers to consider For a full listing of pitches by PLU and inward visits by overseas shooting films outside Sydney. The fund seeks to defray transport production representatives to NSW, see Appendix D. and accommodation costs for city-based filmmakers and to catalyse regional initiatives. OLYMPICS The FTO will operate the Regional Filming Fund from January 2001 PLU played an ongoing role in advising government and the and has developed guidelines and application forms for its operation. production sector and was involved in several committees to ensure A maximum of $50,000 per production will be available for productions that media had access to locations in and around Sydney during the filming in regional NSW. Australian productions only will be eligible Olympic period. for assistance. The main committee established by Tourism NSW, and with representatives from Sydney Olympic Broadcasting Organisation, PITCHING FOR WORK Olympic Co-ordination Authority, and the Australian Tourist NSW has proved a popular destination for off-shore production Commission focussed on site access to prime Sydney locations and in recent years has played host to a number of larger budget during the games, such as the Sydney Opera House, Royal Botanic productions such as The Matrix (shot and post-produced in Sydney Gardens, Darling Harbour, Sydney City and surrounding councils. 1998 and winner of four Academy Awards), Mission Impossible II, Moulin Rouge, Mars and the Star Wars prequels.
32 GOVERNMENT PROFILE FILMMAKING
TO MANAGE THE PROMOTION OF THE FTO
633 PROFILE
MANAGE THE PROMOTION OF THE FTO PARLIAMENTARY SCREENINGS In 1999 the FTO identified the need to increase its visibility and Screenings of FTO funded films are held at the Parliament House strengthen its brand management. Billy Blue Design and Writing Theatrette for Members of Parliament, electoral staff and guests. were commissioned to devise a new corporate identity for the office, so as to project an image of quality and excellence, and to In October 1999 the FTO screened Soft Fruit written and directed create a visual brand that is recognisably “FTO”. by Christina Andreef and produced by Helen Bowden. Soft Fruit won the Sydney Film Festival 1999 award for Best Australian Film, The rebrand process culminated in the launch of the new logo in the International Critic’s prize at the San Sebastian Film festival and October 1999 and provides a clear and coherent representation of was subsequently invited to screen at Critic’s Week in Cannes 2000. the FTO across its spectrum of activities. Applications cover the Also featured at the October screening was the Young Filmmakers broad gamut of FTO corporate and promotional material and Fund Film I was Robert Mitchum, written and directed by Tim Slade include stationery, guidelines and application forms, video cases, and produced by Kylie du Fresne. foyer signage, film and video end credits and publications such as the newsletter, brochures and marketing materials. LIAISON FTO functions are held to provide opportunities for the NSW film WEBSITE community to meet and establish networks with a diverse range of The FTO website provides an important information resource for international and local industry film personnel or as a celebratory online visitors and another avenue of access to FTO services. opportunity promoting recognition and reward in the domestic Information on all FTO programs of assistance, latest initiatives, industry. filming and locations information, and government documentary division services are included on the site and updated regularly. This year the following events were held:
Applicants are able to download funding guidelines and application JULY 1999 forms, and publications and reports from the site. YFF Festival AUGUST 1999 The FTO’s email news service is used and appreciated by a growing Digital Visual FX Traineeship Scheme – Round 3 Announcement number of recipients. This service complements the twice-yearly OCTOBER 1999 paper newsletter, and allows the FTO to disseminate information Corporate Identity Launch & Fellowship Announcement quickly and efficiently. Subscribers receive an email with a short OCTOBER 1999 summary of each story, and an address at the FTO site which gives more Parliamentary Screening of Christina Andreef & detailed information. As at 30 June 2000, 784 people subscribe to Helen Bowden’s Soft Fruit this service, an increase of 42% from the previous year. NOVEMBER 1999 DIYtv Forum at Australian Film Television & Radio School The number of visitors to the FTO website fluctuates from month NOVEMBER 1999 to month, but the total number of visitors is steadily increasing. Hosted networking event for delegates to Local Government & From 98/99 to 99/00 there has been a 27% increase in the number Shires Association of NSW Annual Conference in Dubbo of visitors. NOVEMBER 1999 Farewell for Jacqui Feeney & David Watson A survey for users of the website was developed, distributed and DECEMBER 1999 promoted in April 2000. Respondents were invited to complete a Regional Cinema Conference at Bondi Beach paper survey attached to the FTO Newsletter or an online version at the DECEMBER 1999 FTO website. Results of this survey will inform future developments Location managers and controllers networking event of the website. In this way, the FTO site can help satisfy the industry’s FEBRUARY 2000 information needs without duplicating other services. Young Filmmakers Fund – Round 7 Announcement MARCH 2000 Farewell to Board Members Kerry Schott, Jan Chapman & Rachel Perkins
34 FTO AS AN ORGANISATION
TO PROVIDE AN ORGANISATIONAL ENVIRONMENT THAT WILL DELIVER THE FTO’S OBJECTIVES
735 FTO AS AN ORGANISATION
ANGST RISK
Priorities for 99/00 were to continue improving the office’s internal REVIEW CONDITIONS OF EMPLOYMENT information and administrative systems while ensuring procedures Following consultation with the Union and staff, the FTO is were in place to manage Y2K, the introduction of GST, and the 2000 completing adoption of a revised flexible working hours policy. Olympics. ENHANCE STAFF PROFESSIONAL DEVELOPMENT The office was prepared for the Y2K transition with the only Staff were encouraged to undertake professional training throughout “glitch” being a date anomaly in an email program which was easily the year, including attendance at industry-based and GST seminars. corrected. Specialist training was also offered to, and completed by several Managers within the office. Preparations for the introduction of GST progressed throughout the year in consultation with KPMG and the Central Corporate Services Unit (CCSU). Issues affecting the FTO and client organisations were REVIEW AND IMPROVE FINANCIAL SYSTEMS identified and continue to be addressed. The FTO’s progress was FTO internal financial systems were modified to allow for the hindered in some areas, especially in relation to grants, as the implementation of GST and to streamline tracking finances in Australian Taxation Office’s rulings were drafted, reworked and conjunction with CCSU (which has responsibility for the FTO’s delayed. accounting and HR records).
In accordance with State Government suggestions regarding the The service level agreement between the office and Central Olympics, the office plans to alter its work practices for the duration Corporate Services Unit (CCSU) was reviewed in the context of of the 2000 Olympics and Paralympics. The office will be open from changes required with the introduction of GST. 7.30am to 3.30pm, although some Office units which will cater directly to Games-related business will have extended coverage. Staff in units not directly servicing Games activities, and whose BENCHMARKING duties allow, will be encouraged to work from home for the Games The FTO continues to review its benchmarking and performance period. indicators. Following workshops with the Ministry for the Arts and the Office of the Council on the Cost of NSW Government, the During 99/00 year the FTO focused on finalising its Disability Plan, Office is reviewing its benchmarking as part of the corporate plan. Government Energy Management, and Privacy policy. It is also in the process of revising its Information Management and Technology plan and a review of its web-based services.
While the office has successfully reviewed funding guidelines in some units during the year, it is now focussing on an audit of functions and processes with a view to re-engineering processes as appropriate.
36 PRODUCTION DISTRIBUTION LIAISON
CAREFUL HE MIGHT HEAR MY BRILLIANT CAREER YOU [SCREENSOUND [SCREENSOUND AUSTRALIA] AUSTRALIA]
In August 1998, the long running issue of the licensing of 20 Australian feature films to Pepper Distribution was resolved. During 99/00 the FTO has been working to resolve outstanding legal issues, remaster the films to contemporary digital standards and re-license each film for on-going commercial exploitation.
Throughout the year, negotiations with the producers of the films have continued, ensuring stakeholder and industry input into decision making.
This year the digital remastering was completed on all relevant films and new masters delivered to international sales agents. To date, international sales of these older films have been slow due to a saturated market. Careful He Might Hear You is the only film to achieve a significant sale, to British cable.
Rights to market the films around the world have been licensed by sales agents who are active in those markets, while Australian and New Zealand rights are to be handled by local distributors who will exploit television, cable and home video sales. While the expectation of earnings of these older titles is modest, FTO will continue its task to monitor the activities of sales agents and to ensure the continued appropriate exploitation of the films.
The disbursement of the balance of the settlement monies received from Pepper has been completed.
Storage arrangements have been reviewed and simplified, reducing cost of maintenance.
A new system for the on-going management of the film assets was designed and implemented, ensuring accurate and timely reporting to investors, taxation compliance and high quality record keeping.
37 PRODUCTION PERFORMANCE HIGHLIGHTS 99/00 LIAISON
38 8 PERFORMANCE HIGHLIGHTS 99/00
METRO MULTICULTURAL GARY CASHMAN AT MENTOR SCHEME 2000 NUNDLE CINEMA EUGENE HOH, PAULA [PHOTO: BARRY SMITH, ABOOD, FLORDELIZ THE NORTHERN DAILY BONIFACIO LOUBNA LEADER, TAMWORTH] HAIKAL.
QUALITY OF SERVICES Assisted with organisation of the Flicks in the Sticks Conference in The FTO continually monitors and reviews its services and programs Nundle to provide advice on establishing and running volunteer in response to evolving industry needs. cinema. Since this conference eight communities in North-West NSW region have established cinema activities. RESPONSIVE TO INDUSTRY NEEDS YFF launched The Marketing Guide for Young Filmmakers providing FTO worked with regional exhibitors and distributors to address the an overview of opportunities available for the exhibition and distribution requirements of regional cinema operators. exploitation of productions under 60 minutes in length (drama) and under 30 minutes in length (documentary). Supported Metro Screen’s Indigenous Mentor Scheme.
YFF held DIYtv forum with SBS Independent at AFTRS. Supported Metro Screen’s Multicultural Mentor Scheme.
YFF Film festival held to showcase recent YFF films and to inspire Supported Through Young Eyes mini film festival developed the young filmmaking community. through the BIG hART Violence Prevention Strategy and toured to Tamworth, Armidale, Narrabri, Moree and Walgett. Featuring work Frequently Asked Questions for YFF published on website. produced by over one hundred young people in the New England and North-West Region. YFF Coordinator spoke at NSW Writers Centre Spring Writing Festival, Conference of University Activity & Cultural Officers, at an New Media program reviewed and further funding confirmed information night for Young Filmmakers at Wollongong University, ($150,000pa for four years) focussing on skills development relating and was interviewed on 2SER, Western Sydney community radio, to new technologies and their application to filmmaking. Bellingen FM and ABC Radio Broken Hill. Digital Visual FX Traineeship Scheme reviewed and modified in Development & Finance staff gave talks or participated in special response to digital sector feedback. events at AFTRS, TropNest, Metro Screen, WEA Continuing Education, Sunrise, AWGIE Awards, SPAA Fringe and Digital Media Supported Metro Screen’s digital program, including Internet World 2000 Conference. Streaming Workshop, Tools & Technology support program and Digital Media seminar program. Participated in a number of short co-financed initiatives including the Writer’s Mentorship Scheme (with Australian Writers Guild), Local Government Amendment (Filming) Bill 2000 passed in State Space Stories (with SBS Independent and other state agencies) and Parliament designed to streamline the approval process for filming the selection process for the animation initiative, Home Movies on council controlled land. (with SBS Independent, AFC and Cinemedia). PLU increased government and community awareness of requirements Published the Principles of Decision Making paper. and benefits of the film industry by participating in regulatory and legislative reviews, mediation and location liaison at local government Reviewed and republished Development & Finance funding and community level. guidelines. PLU assisted Sydney Organising Committee for the Olympic Games Funded mid career filmmakers under the FTO Fellowship Scheme. (SOCOG), Sydney Olympic Broadcast Organisation (SOBO), Olympic Co-ordination Authority (OCA) and Tourism NSW to 2nd Regional Cinema Conference held December 1999 addressed develop an approach to filming in Sydney for non accredited media issues of concern to regional exhibitors such as marketing, pro- during the Sydney Olympic Games. gramming and distribution. FTO website users surveyed to determine the site’s usability and improvements in future designs. 8 39 PERFORMANCE HIGHLIGHTS 99/00
TWO HANDS AT YFF FILM FESTIVAL 1999 AFI AWARDS
INCREASED ACCESS TO FTO SERVICES WEBSITE Average number of visitors per month — 1385 (increased from 1025 per month in 98/99) YOUNG FILMMAKERS FUND Number of subscribers to FTONEWS electronic newsletter — 780 Round 7—91 applicants, 4 successful (as at 30 June 2000). Round 8—71 applicants, 4 successful Responded to 617 enquiries (telephone and email). PEER AWARDS DIYTV YFF—12 27 applicants, 4 successful GDD—13
DEVELOPMENT & FINANCE Development—212 applications, 83 successful FINANCIAL RESULTS Investment—34 applications, 15 successful REASONABLE RETURN OF INVESTMENT FELLOWSHIPS Since 1992 (until 30 June 2000) FTO has invested $9,643,871 for 14 applications, 9 successful an overall return of $2,237,378 (23.2% return of investment). NB. These figures exclude minor cashflow loans (which are repaid in full). In 99/00 INDUSTRY & AUDIENCE DEVELOPMENT the FTO made 2 minor cashflow loans totalling $34,800. 89 applications, 61 successful INVESTMENT CONTRIBUTION TO ECONOMIC BENEFIT DIGITAL VISUAL FX TRAINEESHIPS The FTO invested $2.1 million in film and television production, Round 3—96 applicants, 4 successful which generated approximately $21 million of production Round 4—85 applicants, 4 successful expenditure in NSW.
GOVERNMENT DOCUMENTARY DIVISION FILM PRODUCTION IN NSW 20 programs, 19 archival shoots, 7 edits and compiles, 4 revised Film production spend totalled an estimated $325 million. programs, and 8 programs captioned for people with hearing impairment. $1,031,632 revenue earned. EFFICIENCY Responded to 131 requests for Olympic stock footage. MILESTONES ACHIEVED To 30 June 2000 FTO had achieved 80% of the strategies outlined PRODUCTION LIAISON UNIT in its 99/00 Corporate Plan. Responded to 1500 phone enquiries (95% local), 1000 email enquiries (90% overseas) and 150 faxed enquiries (80% overseas). REASONABLE COSTS Hosted 11 inbound groups. YEAR OPERATING GRANTS TOTAL OPERATING COSTS Distributed 1200 copies of Stacks of Facts. COSTS TO GRANTS RATIO Pitched for 38 projects with a total value of US$550 million (est). $000 $000 $000 %
98/99* 2,546 7,531 10,077 25% 99/00* 2,639 8,197 10,836 24%
* Excludes expenses incurred through operations of the Government Documentary Division, and excludes commitments made but not paid.
40 FINANCIALS
941 AGENCY STATEMENT
Pursuant to Section 41C of the Public Finance and Audit Act 1983, we certify, to the best of our knowledge and belief, and in accordance with a resolution of the Board of the New South Wales Film and Television Office, that:
[A] the financial statements have been prepared in accordance with the provisions of the Act, the Public Finance Audit (General) Regulation 1995 (as applicable), the Financial Reporting Code for Budget Dependent General Government Sector Agencies and the Treasurer’s Directions;
[B] the Financial Statements exhibit a true and fair view of the financial position of the New South Wales Film and Television Office as at 30 June 2000 and of the operations for the year then ended;
[C] we are not aware of any circumstances at the date of this statement, which would render any particulars included in the financial statements to be misleading or inaccurate.
SHANE SIMPSON LAURIE PATTON Chairperson Deputy Chairperson
At: Sydney At: Sydney Date: 5 September 2000 Date: 6 September 2000
42 INDEPENDENT AUDIT REPORT NEW SOUTH WALES FILM AND TELEVISION OFFICE
Box 12 GPO SYDNEY NSW 2001
To Members of the New South Wales Parliament and the Members of the Board
Scope
I have audited the accounts of the NSW Film and Television Office for the year ended 30 June 2000. The members of the Board are responsible for the financial report consisting of the statement of financial position, operating statement, statement of cash flows and summary of compliance with financial directives, together with the notes thereto, and the information contained therein. My responsibility is to express an opinion on the financial report to Members of the New South Wales Parliament and members of the Board based on my audit as required by sections 34 and 41C(1) of the Public Finance and Audit Act 1983. My responsibility does not extend here to an assessment of the assumptions used in formulating budget figures disclosed in the financial report.
My audit has been conducted in accordance with the provisions of the Act and Australian Auditing Standards to provide reasonable assurance whether the financial report is free of material misstatement. My procedures included examination, on a test basis, of evidence supporting the amounts and other disclosures in the financial report, and the evaluation of accounting policies and significant accounting estimates.
In addition, other legislative and policy requirements, which could have an impact on the financial report of the NSW Film and Television Office, have been reviewed on a cyclical basis. For this year, the requirements examined comprised compliance with:
• core business activities being in accordance with the NSW Film and Television Office Act, 1992; • the Premier’s Department, SES Guidelines in respect of the Director’s contract of employment; • key provisions of Part 2 of the Public Sector Management Act 1988 and Parts 2, 3, 4, 5 and 6 of the Public Sector Management (General) Regulation 1996; and • operation of Special Deposits accounts in accordance with the NSW Film and Television Office Act, 1992.
These procedures have been undertaken to form an opinion whether, in all material respects, the financial report is presented f airly in accordance with the requirements of the Act, Accounting Standards and other mandatory professional reporting requirements so as to present a view which is consistent with my understanding of the Office’s financial position, the results of its operations and its cash flows.
The audit opinion expressed in this report has been formed on the above basis.
Audit Opinion
In my opinion, the financial report of the NSW Film and Television Office complies with sections 41B and 41BA of the Act and presents fairly in accordance with applicable Accounting Standards and other mandatory professional reporting requirements the financial position of the Office as at 30 June 2000 and the results of its operations and its cash flows for the year then ended.
M. T. SPRIGGINS DIRECTOR OF AUDIT (duly authorised by the Auditor-General of New South Wales under section 41C(1A) of the Act) SYDNEY 14 September 2000
43 NEW SOUTH WALES FILM AND TELEVISION OFFICE OPERATING STATEMENT FOR THE PERIOD ENDED 30 JUNE 2000
NOTE ACTUAL BUDGET ACTUAL 2000 2000 1999 $’000 $’000 $’000
EXPENSES Operating Expenses: Employee Related 2(a) 1,260 1,185 1,114 Other Operating Expenses 2(b) 2,231 1,021 1,928 Maintenance 2(c) 11 52 22 Depreciation 2(d) 111 143 138 Grants and Subsidies 2(e) 4,665 4,622 3,698
TOTAL EXPENSES 8,278 7,023 6,900
Less:
RETAINED REVENUE Sale of Goods and Services 3(a) 1,068 740 775 Investment Income 3(b) 309 250 300 Other Revenue 3(c) 1,007 0 632
TOTAL RETAINED REVENUE 2,384 990 1,707
NET COST OF SERVICES 22 5,894 6,033 5,193
GOVERNMENT CONTRIBUTIONS: Recurrent Appropriation 4 5,179 5,179 4,875 Capital Appropriation 4 0 30 45 Acceptance by the Crown Entity of Employee Entitlements and Other Liabilities 5 76 58 81
TOTAL GOVERNMENT CONTRIBUTIONS 5,255 5,267 5,001
SURPLUS / (DEFICIT) FOR THE YEAR (639) (766) (192)
[The accompanying notes form part of these statements]
44 NEW SOUTH WALES FILM AND TELEVISION OFFICE STATEMENT OF FINANCIAL POSITION AS AT 30 JUNE 2000
NOTE ACTUAL BUDGET ACTUAL 2000 2000 1999 $’000 $’000 $’000
CURRENT ASSETS Cash 20 6,552 8,344 8,787 Receivables 7 3,841 1,441 3,394 Other 0 10 0
TOTAL CURRENT ASSETS 10,393 9,795 12,181
NON CURRENT ASSETS Plant and Equipment 8 399 473 482 Receivables 9 248 - 203 Investment - 2,035 -
TOTAL NON CURRENT ASSETS 647 2,508 685
TOTAL ASSETS 11,040 12,303 12,866
CURRENT LIABILITIES Accounts Payable 10 314 1,463 349 Employee Entitlements 11 114 120 105 Other 12 369 828 806
TOTAL CURRENT LIABILITIES 797 2,411 1,260
NON CURRENT LIABILITIES Other 13 1,132 1,868 1,856
NON CURRENT LIABILITIES 1,132 1,868 1,856
TOTAL LIABILITIES 1,929 4,279 3,116
NET ASSETS 9,111 8,024 9,750
EQUITY Accumulated Funds 14 9,111 8,024 9,750
TOTAL EQUITY 9,111 8,024 9,750
[The accompanying notes form part of these statements]
45 NEW SOUTH WALES FILM AND TELEVISION OFFICE STATEMENT OF CASH FLOWS FOR THE PERIOD ENDED 30 JUNE 2000
NOTE ACTUAL BUDGET ACTUAL 2000 2000 1999 $’000 $’000 $’000
CASH FLOWS FROM OPERATING ACTIVITIES Payments Employee Related (1,236) (1,091) (1,040) Other (2,692) (1,078) (2,192) Grants and Subsidies (4,665) (4,622) (3,698)
TOTAL PAYMENTS (8,593) (6,791) (6,930)
RECEIPTS Sale of Goods and Services 1,067 740 899 Interest received 308 250 282 Other 573 0 632
TOTAL RECEIPTS 1,948 990 1,813
CASH FLOWS FROM GOVERNMENT Recurrent Appropriation 5,179 5,179 4,875 Capital Appropriation 0 30 45 Cash reimbursements from the Crown Entity 58 58 51
NET CASH FLOWS FROM GOVERNMENT 5,237 5,267 4,971
NET CASH FLOWS FROM OPERATING ACTIVITIES 22 (1,408) (534) (146)
CASH FLOWS FROM INVESTING ACTIVITIES Repayment of revolving fund advances 1,217 0 2,036 Returns from films 0 0 736 Distribution to film investors (259) 0 0 Reduction of amount owing to NSW Government (10) 0 (674) Purchases of Property, Plant and Equipment (28) (30) (443) Advances from revolving fund (1,747) 0 (1,236)
NET CASH FLOWS FROM INVESTING ACTIVITIES (827) (30) 419
NET INCREASE / (DECREASE) IN CASH (2,235) (564) 273
Opening Cash and Cash Equivalents 8,787 8,908 8,514
CLOSING CASH AND CASH EQUIVALENTS 20 6,552 8,344 8,787
[The accompanying notes form part of these statements]
46 NEW SOUTH WALES FILM AND TELEVISION OFFICE SUMMARY OF COMPLIANCE WITH FINANCIAL DIRECTIVES FOR THE YEAR ENDED 30 JUNE 2000
2000 1999 EXPENDITURE/ EXPENDITURE/ NET CLAIM ON NET CLAIM ON RECURRENT CONSOLIDATED CAPITAL CONSOLIDATED RECURRENT CAPITAL APPROPRIATION FUND APPROPRIATION FUND APPROPRIATION EXPENDITURE APPROPRIATION EXPENDITURE $’000 $’000 $’000 $’000 $’000 $’000 $’000 $’000
ORIGINAL BUDGET APPROPRIATION/ EXPENDITURE Appropriation Act 5,179 5,179 30 - 4,875 4,875 45 45 Additional Appropriations - - - - 60 - - - S21A PF & AA - special appropriation ------S24 PF & AA - transfer of functions between departments ------S26 Appropriations Act ------
5,179 5,179 30 - 4,935 4,875 45 45
OTHER APPROPRIATIONS/ EXPENDITURE Treasurer’s Advance ------Section 22-expenditure for certain works and services ------
------
TOTAL APPROPRIATIONS/ EXPENDITURE/ NET CLAIM ON CONSOLIDATED FUND (INCLUDES TRANSFER PAYMENTS) 5,179 5,179 30 - 4,935 4,875 45 45 AMOUNT DRAWNDOWN AGAINST APPROPRIATIONS 5,179 - 4,875 45 LIABILITY TO CONSOLIDATED FUND - - - -
The summary of Compliance is based on the assumption that Consolidated Fund moneys are spent first (except where otherwise identified or prescribled).
47 NEW SOUTH WALES FILM AND TELEVISION OFFICE NOTES ACCOMPANYING AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE FINANCIAL YEAR ENDED 30 JUNE 2000
1. SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES reflected as a liability in the statement of financial position. When expenditure is incurred in the production of videos, the amount (a) REPORTING ENTITY expended is treated as reducing the liability to the other party. The revenue and associated costs of videos produced during the year are The NSW Film and Television Office (FTO) promotes and assists the reflected in the operating statement. New South Wales film and television industry and provides executive producer services for documentaries made for government departments GDD charges a commission for managing the production of and authorities. documentary videos.
FTO is a separate reporting entity. There are no other entities under Sales of dubbed copies of videos are accounted for as user charge its control. revenue from print sales in the period in which they were provided to the customers. As FTO is a single program entity, the financial operations disclosed in the Operating Statement and Statement of Financial Position are those of the FTO’s program. Accordingly, a separate supplementary (d) NEW SOUTH WALES FILM CORPORATION AND program information schedule has not been prepared. AUSTRALIAN FILMS INTERNATIONAL INC
FTO is responsible for the management of films produced under (b) BASIS OF ACCOUNTING the auspices of its predecessor, the NSW Film Corporation. Some of these films were licensed to its American subsidiary, Australian FTO’s financial statements are a general purpose financial report Films International Inc. Monies held on their behalf are recognised which has been prepared on an accrual basis and in accordance with: as current assets, and obligations to distribute this money in accordance - applicable Australian Accounting Standards, with the relevant film contracts, are recognised as non current - other authoritative pronouncements of the Australian liabilities in the statement of financial position. Funds in American Accounting Standards Board (AASB) dollars were held in a separate account in the United States. This - Urgent Issues Group (UIG) Consensus Views account was closed at 7 July 1999 and the proceeds remitted to - the requirements of the Public Finance and Audit Act 1983 FTO’s Statutory and Other Funds Account. and Regulations, and - the Financial Reporting Directions published in the Financial Reporting Code for BudgetDependent General Government (e) SCRIPT DEVELOPMENT Sector Agencies or issued by the Treasurer under Section 9(2)(n) of the Act. Script development funding is recognised as payments are made. Unpaid instalments scheduled in the contract have been shown at Where there are inconsistencies between the above requirements, year end as commitments (see Note: 15). When a script goes into the legislative provisions have prevailed. production the principal is repaid to FTO and treated as revenue (see Note: 3(c)), while interest is returned to the Crown Entity. In the absence of a specific Accounting Standard, other authoritative (Note: 12). Further details are provided in Note: 16. pronouncements of the AASB or UIG Consensus View, the hierarchy of other pronouncements as outlined in AAS 6 “Accounting Policies” is considered. (f) PRODUCTION INVESTMENT SUBSIDY
The financial statements are prepared in accordance with the The Production Investment Subsidy was established to encourage historical cost convention. All amounts are rounded to the nearest film and television production in New South Wales. This objective one thousand dollars and are expressed in Australian currency. was adopted in the context of a decline in New South Wales share Foreign currency amounts have been translated to Australian dollars of production activity, caused by other States offering incentives. at the appropriate rate prevailing at balance date. The benefits to New South Wales are both economic and cultural. All commitments at year end have been shown in Note: 15. The accounting policies adopted are consistent with those of the Subsidies are provided on the basis that repayment to FTO will be previous year. Where necessary prior year’s amounts have been made from proceeds arising from any profitable production. adjusted to provide comparative information under changes to the Further details are provided in Note: 16. Financial Reporting Code.
(c) GOVERNMENT DOCUMENTARY DIVISION (GDD) (g) ADMINISTERED ACTIVITIES
Amounts received in advance by GDD for the production of FTO does not administer any activities on behalf of the Crown documentary videos are held on behalf of the other party and are Entity, except for interest earned on script development loans.
48 (h) REVENUE RECOGNITION having being extinguished resulting in the amount assumed being shown as part of the non-monetary revenue item described as (i) Parliamentary Appropriations and Contributions from Other ”Acceptance by the Crown Entity of employee entitlements and Bodies other liabilities”.
From this financial year, there is a change in accounting policy for Long service leave is measured on a nominal basis. The nominal the recognition of Parliamentary Appropriations. Parliamentary method is based on remuneration rates at year end for all employees Appropriations are generally recognised as revenues when FTO with five or more years of service. It is considered that this measurement obtains control over the assets comprising the appropriations/ technique produces results not materially different from the estimate contributions. Control over appropriations and contributions is determined by using the present value basis of measurement. normally obtained upon the receipt of cash. The Superannuation expense for the financial year is determined by An exception to the above is when appropriations are unspent at using formulae specified in the Treasurer’s Directions. The expense year-end. In this case, the authority to spend the money lapses and generally for certain superannuation schemes (ie. Basic Benefit and First State the unspent amount must be repaid to the Consolidated Fund in Super) is calculated as a percentage of the employees’ salary. For the following financial year. As a result, any unspent appropriations other superannuation schemes (ie. State Superannuation Fund and are now accounted for as liabilities rather than revenue. State Authorities Superannuation Scheme), the expense is calculated as a multiple of the employees’ superannuation contributions. In the case of FTO, there is no liability for Recurrent Appropriation for 1999/2000. (j) INSURANCE (ii) Revenue arising from the sale of goods and disposal of other assets is recognised when FTO has passed control of the goods or FTO’s insurance activities are conducted through the NSW Treasury other assets to the buyer and consideration is expected by FTO Managed Fund Scheme of self insurance for Government agencies. whether or not cash has been received. The expense (premium) is determined by the Fund Manager based on past experience. (iii) Revenue from the rendering of services is recognised as an when services have been rendered and there is a valid claim against external parties, whether or not cash has been received. (k) ACQUISITION OF ASSETS
(iv) Investment income is recognised for the total period of the The cost method of accounting is used for the initial recording of all investment whether or not cash has been received. acquisitions of assets controlled by FTO. Cost is determined as the fair value of the asset given as consideration plus costs incidental to (v) Revenues arising from the contribution of assets to FTO are the acquisition. recognised when FTO gains control of an asset or the right to receive the asset. Assets acquired at no costs, or for nominal consideration, are initially recognised as assets and revenues at their fair value at the date of acquisition. Fair value means the amount for which an asset could (i) EMPLOYEE ENTITLEMENTS be exchanged between a knowledgeable, willing buyer and a knowledgeable, willing seller in an arm’s length transaction. (1) Salaries, Annual Leave, Sick Leave and On-Costs Liabilities for salaries, annual leave and vesting sick leave are recognised and measured as the amount unpaid at the reporting date at current (l) PLANT AND EQUIPMENT pay rates in respect of employees’ services up to that date. Items of plant and equipment costing $5,000 and above individually Unused non-vesting sick leave does not give rise to a liability as it is are capitalised. not considered probable that sick leave taken in the future will be greater than the entitlements accrued in the future. (m) REVALUATION OF PHYSICAL NON-CURRENT ASSETS The outstanding amounts for payroll tax, workers’ compensation insurance premiums and fringe benefit tax, which are consequential As FTO does not own land, building or infrastructure assets, to employment are recognised as liabilities and expenses where the management considers it unnecessary to carry out a revaluation of employee entitlements to which they relate have been recognised. physical non current assets every five years, unless it becomes aware of any material difference in the carrying amount of any class of (2) Long Service Leave and Superannuation assets. It is considered by management that the written down value FTO’s liabilities for long service leave and superannuation are of its non current assets (computers, plant and equipment etc) assumed by the Crown Entity. FTO accounts for the liability as would approximately equate to market value.
49 NEW SOUTH WALES FILM AND TELEVISION OFFICE NOTES ACCOMPANYING AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE FINANCIAL YEAR ENDED 30 JUNE 2000
The recoverable amount test has not been applied as FTO is a not- Revolving Fund Loans for-profit entity whose service potential is not related to the ability FTO provides loans for Production Loan Finance out of a $5 million to generate net cash inflows. fund provided by New South Wales Treasury. Loans are recognised as they are paid. Payment is made net of interest, legal fees and an administration fee. Loans are shown grossed up as either Current or (n) DEPRECIATION OF NON-CURRENT PHYSICAL ASSETS Non Current Receivables depending on their repayment date. Interest is only taken up as income in the period to which it relates. Depreciation is provided for on a straight line basis against all The legal fees and administration fee are taken up as income when depreciable assets so as to write off the depreciable amount of each the loan is made. asset as it is consumed over its useful life to FTO. Each loan is subject to a legally binding contract signed by both FTO DEPRECIATION RATES % RATE and the borrower which sets out the terms of the loan, its interest rate and the repayment terms. The loans are secured by pre-sale - Computer equipment 25.000% and distribution guarantee agreements, first ranking charge on - General plant and equipment 8.751% the distribution company, direction deed and loan agreement. The - Office fitout Over the life of the lease carrying amount approximates net fair value.
Trade Creditors and Accruals The liabilities are recognised for amounts due to be paid in the (o) LEASES future for goods and services received, whether or not invoiced. Amounts owing to suppliers (which are unsecured) are settled in Leasing transactions are operating leases of buildings. Lease payments accordance with the policy set out in Treasurer’s Direction 219.01. are recognised as expenses over the lease term. Operating lease If trade terms are not specified, payment is made no later than the payments are charged to the Operating Statement in the period in end of the month following the month in which an invoice or a which they are incurred. statement is received. Treasurer’s Direction 219.01 allows the Minister to award interest for late payment. No interest was paid during the year (1998-99 $nil ). The carrying amount approximates (p) FINANCIAL INSTRUMENTS net fair value.
The terms, conditions and accounting policies applied by FTO in Funds held on behalf of Government Departments relation to financial instruments are as follows: FTO produces documentary videos on behalf of the New South Wales government. Payment is received in advance from agencies and Cash associated expenditure offset against it. Monies held on behalf of Cash comprises cash on hand and bank balances. Bank balances Government Departments represents the unspent portion of various within the Treasury banking system earn interest on daily bank projects currently in progress. The carrying amount approximates balances at the monthly average NSW Treasury Corporation (Tcorp) net fair value. 11 am unofficial cash rate adjusted for a management fee to Treasury. The average rate during the year was 4.25% (1998-99 Funds held on behalf of Investors in Motion Pictures 3.855%), and the rate at year end was 5.02% (1998-99 3.75%). Royalties are received from distributors of motion pictures in accordance with the terms and conditions of the individual distribution agreement. Receivables These royalties may then be distributed to the original investors in All debtors are recognised as amounts receivable at balance date. the motion picture in accordance with the individual contract. Collectability of debtors is reviewed on an ongoing basis. Debts Funds held on behalf of investors represent royalties received but which are known to be uncollectable are written off. A provision for not yet distributed under the terms of the contract. The carrying doubtful debts is raised when some doubt as to collection exists. amount approximates net fair value. The credit risk is the carrying amount (net of any provision for doubtful debts). Interest is earned on Revolving Fund and Cash Flow Funds held on behalf of the NSW Government Loans debtors. The carrying amount approximates net fair value. Funds left over on the closure of the NSW Film Corporation are shown as non current liabilities owing to the NSW Government. Cash Flow Loans The carrying amount approximates net fair value. FTO provides cash flow loans for a stipulated period of time at an agreed rate of interest to enable funding for projects which have Funds held on behalf of others a cash flow problem during the important period leading up to Grants are provided for script development. Under the terms and completion of production. Loans must be secured by a distribution contractual requirements, interest is charged on script development agreement, or presale to a broadcaster, and will not exceed the investments at 10% pa. The grant is repayable when the project amount of the presale or guarantee. The carrying amount goes into production, on commencement of principal photography. approximates net fair value. This interest is repaid to the Crown Entity. The carrying amount approximates net fair value.
50 2. EXPENSES 2(a). EMPLOYEE RELATED EMPLOYEE RELATED EXPENSES COMPRISE: 2000 1999 $’000 $’000 - Salary and wages (including recreation leave) 1,113 930 - Superannuation 69 63 - Payroll tax on superannuation 1 2 - Long service leave 6 16 - Workers compensation insurance 9 8 - Payroll and fringe benefits tax 62 95 1,260 1,114
2(b). OTHER OPERATING EXPENSES OTHER OPERATING EXPENSES INCLUDE: 2000 1999 $’000 $’000 - Advertising and promotion 65 54 - Auditor’s remuneration 23 23 - Insurance 5 3 - Consultancies 43 46 - Building occupancy charges 167 127 - Relocation costs 0 87 - Committee fees and expenses 42 55 - Doubtful debts 40 0 - GDD productions 974 657 - Legal fees 514 - Expenses associated with grants and subsidies 276 405 - Other operating expenses 591 457 2,231 1,928
2(c) MAINTENANCE MAINTENANCE COMPRISES: 2000 1999 $’000 $’000 - Repairs and maintenance 11 22 11 22
2(d) DEPRECIATION DEPRECIATION COMPRISES: 2000 1999 $’000 $’000 - Computer equipment 36 29 - General Plant and Equipment (4) 9 - Office Fitout 79 100 111 138
2(E) GRANTS AND SUBSIDIES GRANTS AND SUBSIDIES COMPRISE: 2000 1999 $’000 $’000 - Young Filmmakers’ Fund 1998/99 commitments 27 0 1999/2000 grants 155 260 - Screen culture 424 309 - Script development 1998/99 commitments 318 147 1999/2000 grants 692 795 - New media 156 146 - Other industry promotion 276 181 - Production Investment Fund 1998/99 commitments 1,234 748 1999/2000 grants 1,205 926 - Australian Childrens’ Television Foundation 110 110 - Legal expenses associated with Grants and Subsidies 68 76 4,665 3,698
51 NEW SOUTH WALES FILM AND TELEVISION OFFICE NOTES ACCOMPANYING AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE FINANCIAL YEAR ENDED 30 JUNE 2000
The totals of the funding program undertaken by FTO in 1999-2000 were: OUTLAID COMMITTED TOTAL $’000 $’000 $’000 Young Filmmakers Fund 155 295 450 Script Development 692 318 1,010 Production Investment (excluding cash flow loans) 1,205 920 2,125 New Media 156 0 156 Other Industry Promotion 276 60 336 Screen culture 424 0 424 Australian Childrens’ Television Foundation 110 0 110
3. REVENUES (a) SALE OF GOODS AND SERVICES COMPRISE: 2000 1999 $’000 $’000 - Revenue from GDD productions 955 678 - Revenue from GDD Print sales 113 97 1,068 775
(b) INVESTMENT INCOME COMPRISES: 2000 1999 $’000 $’000
- Interest 309 300
309 300
(C) OTHER REVENUE COMPRISES: 2000 1999 $’000 $’000 - Production investment returns 687 221 - Script development returns 164 236 - Other 156 175 1,007 632
4. APPROPRIATIONS TOTAL APPROPRIATIONS COMPRISE: 2000 1999 $’000 $’000 RECURRENT - Total recurrent drawdowns from Treasury (per Summary of Compliance) 5,179 4,875 RECURRENT APPROPRIATIONS (PER OPERATING STATEMENT) 5,179 4,875
CAPITAL - Total capital appropriations (per Summary of Compliance) 0 45 CAPITAL APPROPRIATIONS (PER OPERATING STATEMENT) 0 45
5. ACCEPTANCE BY THE CROWN ENTITY OF EMPLOYEE ENTITLEMENTS AND OTHER LIABILITIES 2000 1999 $’000 $’000 The following liabilities and/or expenses have been assumed by the Crown Entity. - Superannuation 69 63 - Payroll Tax on Superannuation 1 2 - Long Service Leave 6 16 76 81
52 6. PROGRAMS / ACTIVITIES OF THE DEPARTMENT
PROGRAM 1 Objective: To promote and assist the New South Wales Film and Television industry.
7. CURRENT ASSETS - RECEIVABLES RECEIVABLES COMPRISE: 2000 1999 $’000 $’000 - Sundry Debtors 65 64 - Accrued Interest 152 151 - Revolving Fund 3,664 3,179 - Less: Provision for Doubtful Debts (40) 0 3,841 3,394
8. NON CURRENT ASSETS - PLANT AND EQUIPMENT MOVEMENT TOTAL TOTAL 2000 1999 $’000 $’000 (i) PLANT & EQUIPMENT - At Cost 630 610 - Accumulated Depreciation at Cost 231 128 399 482
FTO continues to derive service potential and economic benefits from the following fully depreciated assets. COMPUTER EQUIPMENT QUANTITY COST $ 28 100,362
9. NON CURRENT ASSETS - RECEIVABLES NON CURRENT ASSETS - RECEIVABLES 2000 1999 $’000 $’000 - Revolving Fund 248 203 248 203
No provision for doubtful debts is required as all debts are considered collectable.
10. CURRENT LIABILITIES - ACCOUNTS PAYABLE CURRENT LIABILITIES - CREDITORS 2000 1999 $’000 $’000 - Other operating expenses 314 349 314 349
11. CURRENT LIABILITIES - EMPLOYEE ENTITLEMENTS EMPLOYEE ENTITLEMENTS COMPRISES: 2000 1999 $’000 $’000 - Recreation Leave Provision 88 80 - Accrued Salaries and Wages 26 25 AGGREGATED EMPLOYEE ENTITLEMENTS 114 105
The amount of recreation leave paid during the year has been charged directly to the operating statement.
53 NEW SOUTH WALES FILM AND TELEVISION OFFICE NOTES ACCOMPANYING AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE FINANCIAL YEAR ENDED 30 JUNE 2000
12. CURRENT LIABILITIES - OTHER CURRENT LIABILITIES - OTHER COMPRISES: 2000 1999 $’000 $’000 - Prepaid interest - Revolving Fund loans 37 24 - Funds held on behalf of other Government Departments 313 708 - Interest on script development loans payable to the Crown Entity 19 74 369 806
13. NON CURRENT LIABILITIES - OTHER NON CURRENT LIABILITIES - OTHER COMPRISES: 2000 1999 $’000 $’000 Funds held on behalf of: - Investors in motion pictures 262 955 - NSW Government 870 901 1,132 1,856
14. CHANGES IN EQUITY
CHANGES IN EQUITY - MOVEMENT 2000 1999 $’000 $’000 - Balance at the beginning of the financial year 9,750 9,942 - Surplus / (deficit) for the year (639) (192) BALANCE AT THE END OF THE FINANCIAL YEAR 9,111 9,750
15. COMMITMENTS (a) CAPITAL COMMITMENTS. FTO has no capital commitments as at 30 June 2000
(b) OTHER EXPENDITURE COMMITMENTS As at 30 June 2000, FTO had committed the following amounts for payment within the next twelve months: $’000 Young Filmmakers’ Fund 295 Script development 318 Production investment 920 Other Industry Promotion 60 TOTAL 1,593
Production Investment commitment includes GST of $86,539 and Script Development includes GST of $28,462. The total of $115,001 is a contingent asset for FTO.
LEASE COMMITMENTS Aggregate operating lease expenditure contracted for at balance date but not provided for in the accounts are: OPERATING LEASE COMMITMENTS REPAYMENT SCHEDULE NON CANCELLABLE OPERATING LEASES 2000 1999 $’000 $’000 - Less than 1 year 249 169 - Later than 1 year and not later than 5 years 497 735 TOTAL 746 904
The lease on FTO’s premises on level 7, 157 Liverpool Street, Sydney commenced on 1 June 1999. Rent was not payable until 1 October 1999. The lease is for a period of 4 years with an option of a further four. Amounts in 2000 include GST, not included in 1999. An estimated amount of $68,000 is expected to be claimable from the Australian Taxation Office for input tax credits.
54 16. SCRIPT DEVELOPMENT AND PRODUCTION INVESTMENT FUND The following table provides details of funding activities for Script Development and the Production Investment Fund. Accounting policies are detailed at Note: 1(e) and 1(f) respectively.
GRANTS RETURNS PROVIDED RECEIVED SCRIPT DEVELOPMENT $’000 $’000 - Period Ending 30 June 1998 1,043 211 30 June 1999 942 237 30 June 2000 1,010 164 PRODUCTION INVESTMENT - Period Ending 30 June 1998 1,757 567 30 June 1999 1,674 221 30 June 2000 2,439 687
Revenue receivable from the above sources is unable to be quantified due to the unknown future success of such projects over time. In any given year there is no correlation between Grants Provided and Returns Received. Returns are dependent upon the profitability of the project, and the timing of returns is unpredictable.
17. AMOUNTS WRITTEN OFF No amounts were written off during 2000 (1999 $nil).
18. MONIES HELD IN EXCESS OF 2 YEARS No unclaimed amounts have been held in the accounts of FTO in excess of two years. All amounts unclaimed are forwarded to the Treasury as Unclaimed Monies where they remain available for refund for a period of twenty years. No Unclaimed Monies were held by FTO at 30 June 2000 (30 June 1999 $nil).
19. BUDGET REVIEW
Net Cost of Services The budget figures do not include any revenue or costs in connection with the Government Documentary Division. After allowing an estimated $654,000 for GDD costs and revenue, total expenditure of $8,278,000 is $601,000 above budget and total revenue of $2,384,000 is $740,000 above budget. Other operating expenses including GDD is $516,000 over budget mainly due to increased activity in GDD arising from work connected with the Olympics. This is also reflected in increased GDD revenue. In addition, revenue includes $434,000 being FTO’s entitlement in the distribution of royalties in relation to the Pepper film library.
Assets and Liabilities Total assets are $1,263,000 below budget. Cash is $1,792,000 below budget and receivables $613,000 above budget. Investments in the budget refers to non current receivables. The increase in receivables is accounted for by increased revolving fund loans. This, in tur n, contributes to the reduction in cash.
Cash Flows The cash flow budget does not reflect the activities of GDD. After allowing for these, other operating expenses are $960,000 above budget. This reflects increased GDD expenditure of $493,000, a reduction in amounts held on behalf of other Government agencies $395,000 and a payment of script development interest to Treasury $74,000. Receipts are $304,000 above budget after including GDD. This is accounted for by increased GDD revenue of $297,000. The increase in outflows from investing activities results from the increase of $530,000 in the level of revolving fund loans.
55 NEW SOUTH WALES FILM AND TELEVISION OFFICE NOTES ACCOMPANYING AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE FINANCIAL YEAR ENDED 30 JUNE 2000
20. CASH AND CASH EQUIVALENTS For the purposes of the Cash Flow Statement, FTO considers cash to include Cash on Hand and Cash at Bank. Total Cash at 30 June, 2000 as shown in the Cash Flow Statement is reconciled to the related items in the Statement of Financial Position as follows: CASH COMPRISES: 2000 1999 $’000 $’000 - Cash at Bank 6,551 8,786 - Cash on hand 1 1 6,552 8,787
21. RESTRICTED ASSETS Cash at bank includes $1,087,875 which forms the available cash component of a revolving fund of $5 million used to fund film production by way of repayable advances. This balance fluctuates depending on the outstanding loans. In addition, funds of $870,224 relate to the activities of the former Australian Films International Inc and to the former New South Wales Film Corporation are also held i n Cash at Bank. The use of these funds is restricted.
22. RECONCILIATION OF CASH FLOWS FROM OPERATING ACTIVITIES TO THE NET COST OF SERVICES RECONCILIATION OF NET COST OF SERVICES TO NET CASH USED ON OPERATING ACTIVITIES 2000 1999 $’000 $’000 NET CASH FROM OPERATING ACTIVITIES (1,408) (146) - Consolidated Fund Appropriation (5,179) (4,920) - Acceptance by Consolidated Fund Entity of employee liabilities (76) (81) - Depreciation (111) (138) - Decrease/(increase) in provisions (8) (30) - Increase/ (decrease) in receivable (38) (106) - Decrease/ (increase) in creditors 926 228 NET COST OF SERVICES (5,894) (5,193)
23. CONTINGENT LIABILITIES Other than commitments mentioned elsewhere in these notes, FTO is not aware of any contingent liability associated with its operations.
(END OF AUDITED FINANCIAL STATEMENTS)
56 APPENDICES
57 APPENDICES
59 A PROJECT DEVELOPMENT AND FINANCE 59 SCRIPT DEVELOPMENT FUNDING 60 FTO PROJECTS IN PRODUCTION 61 PRODUCTION INVESTMENT APPROVALS 61 PRODUCTION LOAN FINANCE 61 SCRIPT DEVELOPMENT RETURNS 62 DEVELOPMENT ROLLED INTO PRODUCTION FINANCE 62 PRODUCTION INVESTMENT AND MINOR CASHFLOW LOANS 62 DEVELOPMENT ASSISTANCE 62 BUDGET & FINANCE ANALYSTS AND SCRIPT READERS 63 B YOUNG FILMMAKERS FUND & DIYTV 63 PROJECTS FUNDED YFF 63 FESTIVALS AWARDS AND SCREENINGS YFF 64 PROJECTS FUNDED DIYtv 64 FESTIVALS AWARDS AND SCREENINGS DIYtv 64 ASSESSORS 65 C GOVERNMENT DOCUMENTARY 65 PROGRAMS COMPLETED 66 AWARDS 66 D PRODUCTION LIAISON 66 PROJECTS PRODUCED IN NSW 67 INWARD VISITS 67 PITCHES 68 E INDUSTRY & AUDIENCE DEVELOPMENT AND NEW MEDIA 68 PROJECTS FUNDED 68 DIGITAL VISUAL FX TRAINEESHIPS 68 F CREATIVE INITIATIVES 68 PROJECTS FUNDED 69 G FREEDOM OF INFORMATION STATEMENT 70 H CONSULTANTS 70 I GUARANTEE OF SERVICE 70 J ACCOUNTS PAYABLE PERFORMANCE 70 K YEAR 2000 COMPLIANCE AND RISK MANAGEMENT 70 L STAFF STRUCTURE 71 M EQUAL EMPLOYMENT OPPORTUNITY REPORT 72 N OCCUPATIONAL HEALTH & SAFETY REPORT 72 O PRIVACY MANAGEMENT PLAN 72 P INDIGENOUS PROJECT SUPPORT 72 Q PROGRAMS, SERVICES AND INITIATIVES FOR OLDER PEOPLE 73 R ETHNIC AFFAIRS PRIORITIES STATEMENT REPORT 74 S REVIEWS AND AUDITS UNDERTAKEN 74 T CONSUMER RESPONSE (COMPLAINTS HANDLING) 74 U HUMAN RESOURCES - PERSONNEL POLICIES AND PRACTICES 74 V BOARD MEETINGS 74 W OVERSEAS TRAVEL 74 X GOVERNMENT ENERGY MANAGEMENT POLICY 74 Y RECYCLING REPORT 74 Z COST OF ANNUAL REPORT
58 APPENDIX A PROJECT DEVELOPMENT AND FINANCE
SCRIPT DEVELOPMENT FUNDING 99/00
PROJECT TITLE APPLICANT WRITER AMOUNT
ANIMATION Adventures of Henry, The Ambience Entertainment P/L Ken Methold $23,300 Michael Leunig Project New Town Films P/L Michael Leunig $20,000
DOCUMENTARY Against The Stream (Unsung Heroes Series) Macumba Media Enterprises P/L Beck Cole $5,500 Big Sister: The Remarkable Elizabeth Kenny Clare Bonham/Peter Charley Clare Bonham/Peter Charley $9,864 Breaking Bows and Arrows Liz Thompson Liz Thompson $10,000 Close Encounters…Rent Boys and theirWomen Clients Mayfan P/L Ruth Cullen $13,730 Diving Venus Ian Collie/Jo-anne McGowan Emily Gibson $17,800 Glorious Aftermath, The Nick Torrens Film Prodns P/L Nick Torrens $17,312 How to Make Trouble and Influence People Hilton Cordell & Associates P/L Ian Walker $16,000 Island At The Bottom of the World, The SeeView Pictures P/L Marée Delofski $13,400 Kimberley Cops Iguana Film Prodns P/L Paul Roy $9,845 Little Dove—Big Voyage Firelight Films Prodns P/L Jonathan King/Marcus Gillezeau $11,000 NZ Paint Job, The Porchlight Films P/L Ian Walker $10,800 Play’s the Thing, The Harriet McKern/ Georgia Wallace-Crabbe Harriet McKern $14,879 Seidler Film Art Doco P/L Daryl Dellora $10,250 Throwaway History Bearcage Prodns P/L Michael Cove/Jackson Pellow $15,350
FEATURES A Man’s Gotta Do Oilrag Prodns P/L Chris Kennedy $13,000 After the Money Renee Brack Renee Brack $10,000 All Quiet on the Suburban Front Phillip Middleton Phillip Middleton $10,500 Antique Half Mute Prodns Michael Thornhill $12,500 Asphalt Larsmo Holdings P/L Paul Leadon $10,000 Beneath Clouds Autumn Films P/L Ivan Sen $10,500 Beneath Clouds Autumn Films P/L Ivan Sen $14,800 Big Bad Blood Numbat Films P/L Jon Hewitt/Belinda McClory $16,350 Blind Love Tango Periscope Prodns P/L Susan Murphy $10,000 Cairo Suite, The Jim Sharman Prodns P/L Jim Sharman $16,000 Cairo Suite, The Jim Sharman Prodns P/L Jim Sharman $20,300 Calendar Girls Katharine Thomson Katharine Thomson $15,000 Cuckoo, The Ruth Little Ruth Little $12,500 Cuckoo, The Ruth Little Ruth Little $14,500 Cutting Stanley Zok Nyste Zok Nyste $10,500 Dead Fishy The Burradoo Film Company P/L Joan Sauers $17,000 Death of Marat, The Sirius Films P/L Wendy Thompson $19,250 Devil You Know, The Paulette Fisher Paulette Fisher $10,000 Dirty Deeds David Caesar David Caesar $13,000 Feeding Henry Sonja Armstrong Prodns P/L Rachel Landers $18,250 Goddess of 1967, The ** Eidolon P/L Clara Law/Eddie L C Fong $4,000 Good Intentions Bruno DeVillenoisy/ Bruno DeVillenoisy $11,700 Andrew O’Sullivan Andrew O’Sullivan Googie C & M Films Boaz Stark $15,000 Have I got a Life for You RB Films P/L Anthony Ackroyd $11,500 Hot House, The Bellwether Films P/L Jack Feldstein $14,000 Hotbabe4u Margaret Kelly/Luis Bayonas Margaret Kelly/Luis Bayonas $12,500 Jacaranda Michael Fanning Michael Fanning $14,100 Jacaranda Michael Fanning Michael Fanning $13,900 Low Fliers Storytime Prodns P/L Mark Forstmann $10,500 Man With Van Ben Kinealy/Andrew Wray Ben Kinealy/Andrew Wray/ $10,500 Guy Mansfield More Than Scarlett Red Carpet Prodns P/L Cate Shortland $14,000 Number 1 with a Bullet Trevor Farrant Trevor Farrant $12,500 Opposite Lock ASAP Prodns P/L Alan Lock/Ro Hume $14,500 Leigh McGrath Pest House, The The Great Southern Land Film Nicholas Parsons $5,000 Company P/L Remembering Stella Zarwot P/L Fiona Curran/Lisa Curran $13,000 Revelation Joan Sauers Kevin Cotter $12,000 Rocky Star Mucci, Yucci and Stephen Fearnley/ $16,268 Succi P/L Stephen Harrop/Andrew Traucki
59 PROJECT TITLE APPLICANT WRITER AMOUNT
Seven Little Australians Tom Blacket Media Moya Wood $19,000 77 RB Films P/L Tim Slade $11,500 Show Pony, The Michael Wren Michael Wren $13,500 Touch of Silk, The Honky Tonk Angels P/L Robin de Crespigny $13,500 Tracy Heart Porchlight Films P/L Jacqueline Perske $14,000 Troppo Peter Rasmussen Peter Rasmussen $13,000 Turning the Tide Wonderland Film & Claire Haywood $9,500 Theatre Prodns P/L Understanding Anatomy Simon Elrahi Simon Elrahi $11,500 Vicarious Rachel Landers Rachel Landers $12,500 Waiting for Matindi Elm Films P/L Emily Ballou $14,000 Waiting Rooms Michael Costello Michael Costello $12,000 Water Babies Mushroom Pictures P/L Alexandra Long $15,000 What Goes Around Comes Around Sam Dahlan Sam Dahlan $12,500 Whisper Agenda Film Prodns P/L Deborah Parsons $14,000
** Pre-Production Assistance
TELEVISION SERIES Five Little Gweilos A Nice Picture Company P/L Keith Thompson $2,500 (based on the original work of John Wu Li)
TRAVEL Sonja Armstrong $6,775 Tom Blacket $4,964 Andrew Horne $3,860 Robyn Kershaw $7,432 Gregory Miller $3,450 Kay Rasool $2,100 Glenys Rowe $4,104 Judy Rymer $3,500 Avrill Stark $3,600 Antionette Starkiewicz $3,850
INITIATIVES National Indigenous Documentary #4 (total commitment of $150,000 over financial years 99/00 & 00/01) $75,000
FTO/AWG MENTORSHIP PROJECT TITLE WRITER MENTOR AMOUNT
Cupidity Vanessa Bates Steve Wright $2,000 Da Giula Sandler John Alsop $2,000 My Life as a Theme Tune Nick Sutton John Alsop $2,000 Perfect Drive, The Justin Walsh Steve Wright $2,000
FTO ASSISTED PROJECTS THAT WENT INTO PRODUCTION 99/00
PROJECTS DEVELOPMENT INVESTMENT PRODUCTION INVESTMENT
Angst $20,720 $220,000 Christopher Doyle: Orientations $18,440 Crickets Sing for Ana Maria $2,555 Glorious Aftermath, The $17,312 Guns Under Their Bums $15,800 $17,276 Little Dove – Big Voyage $11,000 Kimberley Cops $9,845 Magic Pudding, The $15,500 Monkey’s Mask, The $19,850 $350,000 Mullet $24,000 $200,000 Risk $9,000 $314,120 Small Steps Giant Steps $14,640 They Came They Saw They Concreted $4,505 Uncle Chatzkel $11,000
60 PRODUCTION INVESTMENT APPROVALS 99/00
TITLE APPLICANT AMOUNT
FEATURES Risk CML Films P/L $314,120 Better Than Sex Better Than P/L $300,000 Mullet (includes rollover of $30,000 development investment) Porchlight Films P/L $200,000 Additional Investments in previously funded features: He Died With a Felafel In His Hand Notorious Films P/L $7,933 Dogwatch Black Ray Films P/L $7,173 The Monkey’s Mask Arenafilm P/L $50,000
SHORT/INITIATIVE Dust Autumn Films $30,000 Road Virus Media P/L $30,000 My Mother My Son Chili Films $30,000 Additional Investments in previously funded Short/Initiatives: Confessions of a Headhunter Scarlett Pictures P/L $1,200
SPACE STORIES – DOCUMENTARY INITIATIVE Our Drowned Town Prod: Gina Twyble/Dir: Jeannine Baker $60,000
HOME MOVIES – ANIMATION INITIATIVE Ada Writ/Prod: Lee Whitmore $37,500 Bring in the Air Writ: Tim Adlide (Dir also)/Elaine Paton/Prod: Lois Randall $37,500
LARGE FORMAT Australia: Land Beyond Time Living Pictures P/L $206,014
MINI-SERIES The Farm Burberry Productions P/L $350,000
TELEMOVIE One Night the Moon MusicArtsDanceFilms P/L $143,158 The Road from Coorain Chapman Films P/L $350,000
MINOR CASHFLOW LOAN Kick The James Gang P/L $15,000 Kick The James Gang P/L $19,000
PRODUCTION LOAN FINANCE FUND 99/00
APPROVALS REPAID IN FULL Land Beyond Time $750,000 In the Winter Dark (approved 96/97) Risk $210,769 Praise (approved 96/97) Subterano $380,000
SCRIPT DEVELOPMENT RETURNS 99/00
PROJECTS PRINCIPAL RETURNED INTEREST TO TREASURY Angst $20,720.00 $2,709.52 Christopher Doyle: Orientations $18,440.00 $897.50 Crickets Sing for Ana Maria $4,375.47 $624.53 Glorious Aftermath, The $16,000.00 $552.33 Goddess of 1967, The $4,000.00 $39.98 Kimberley Cops $8,665.00 $151.93 Magic Pudding, The $15,500.00 $3,520.41 Monkey’s Mask, The $17,730.00 $495.47 Risk $9,000.00 $4,745.34 Small Steps Giant Steps $14,640.00 $1,597.45 They Came They Saw They Concreted $4,505.00 $534.15 Uncle Chatzkel $11,000.00 $800.00 Little Dove – Big Voyage $11,000.00 $528.00
TRAVEL ASSISTANCE RETURNS Homelands/Tom Zubrycki $1,800.00 $906.40 Stolen Generation/Tom Zubrycki $3,400.00 $272.60 Fly Peewee Fly/Sally Riley $2,000.00 $394.52 TOTALS $162,775.47 $18,770.13
61 PROJECTS WHERE DEVELOPMENT INVESTMENT HAS BEEN ROLLED OVER INTO PRODUCTION FINANCE 99/00
Mullet $24,000 Guns Under Their Bums $15,800
PRODUCTION INVESTMENT & MINOR CASHFLOW LOANS 99/00
34 Applications 15 Approved
PRODUCTION INVESTMENT 3 Features 36.33% $784,120 6 Shorts/Initiatives 10.42% $225,000 1 Mini Series 16.23% $350,000 2 Telemovies 22.85% $493,158 1 Large Format 9.54% $206,014
ADDITIONAL INVESTMENTS 3 Features 3.01% $65,106 1 Short/Initiative 0.05% $1,200
MINOR CASHFLOW LOAN 2 Loans to a Feature 1.57% $34,000
TOTAL COMMITMENTS $2,158,598
RETURNS Investment Returns $201,313 Minor Cashflow Loan Returns $69,000 Minor Cashflow Interest $514 Minor Cashflow Loan Administration Fees $300
TOTAL RETURNS $271,127
DEVELOPMENT ASSISTANCE 99/00 BUDGET & FINANCE ANALYSTS
212 Applications Sally Browning Jane Corden Jenny Day Ben Grant Liesl Hillhouse Julia Overton 83 Approved Vicki Watson Liz Watts
SCRIPT DEVELOPMENT 50 Features 65.3% $664,418 SCRIPT READERS (includes 1 Pre-Prodn Assistance) 14 Documentaries 17.3% $175,730 Doug Aitken Karin Altman Martha Ansara 2 Animations 4.3% $43,300 Ray Argall Helen Bandis Antonia Barnard 1 TV series 0.2% $2,500 Rocky Bester Miro Bilbrough Michael Brindley Marguerite Bunce Pauline Clague Lucinda Clutterbuck TRAVEL Theo Cremona Matthew Dabner Graeme Duckham 10 4.3% $43,635 Roger Dunn Lori Flekser Victor Gentile Gregory Godhard Kym Goldsworthy Brian Hannant INITIATIVES John Harding Frank Hatherley Claire Haywood 1 7.4% $75,000 Amanda Higgs Howard Jackson Steve Kinnane Susan Lambert Curtis Levy Michael Lynch FTO/AWG MENTORSHIP Robert Marchand Catherine Marciniak Kathryn Millard 4 1.2% $12,000 Maurice Murphy Peter Neale Jonathan Ogilvie Deborah Parsons Jacquelin Perske Hugh Piper TOTAL DEVELOPMENT FUNDS COMMITTED $1,016,583 Ken Quinnell Sally Riley Peter Sainsbury Joan Sauers Bill Searle Megan Simpson Morgan Smith Graham Thorburn Michael Thornhill Jacqueline Turnure Russell Vines Emma Vuletic Martin Williams Eleanor Witcombe Moya Wood Steve Wright Alexa Wyatt Jonathan Yeo Aviva Ziegler Tom Zubrycki
62 APPENDIX B YOUNG FILMMAKERS FUND & DIYtv
PROJECTS FUNDED - YFF
PROJECT TITLE PROJECT GRANT APPLICANT/S TYPE AMOUNT
ROUND SEVEN Laquiem Experimental $25,000 Andree Greenwell My Old China Drama $25,000 Nathan McDonald/Linden Goh New Skin Drama $25,000 Anthony Hayes/Luke Doolan Duel In the Crown Documentary $25,000 Elizabeth Tadic/Selene Alcock
ROUND EIGHT The Beach Story Drama $25,000 Karen Colston Warbling Matilda Drama $25,000 Fotini Manikakis/Anna Reeves Tree Drama $25,000 Eliza Johnson The Last Diggers Documentary $25,000 Daniel Whitely/Kim Reddin
MARKETING ALLOWANCES Rabbit Drama $1,500 Tina Havelock-Stevens Burnout Drama $5,825 Liz Farmer-Burton/Libby Sharpe Chrissy Drama $5,860 Jacqui North
FESTIVALS, AWARDS, SCREENINGS YFF Tulip Winner, Palm Springs Short Film Festival, 1999 ROUND ONE Screened ABC Television, 1999 Jesus and the Rabbit of Damnation Byron Bay Short Film Festival, 1999, Winner: Best Actress (Tara Morice) Liu Awaiting Spring AFI Nomination: Best Editor Non-Feature, 1999 Masseur Edinburgh Film Festival, 1999 Sale to SBS Television, screened 1999 Outfest: Los Angeles Gay and Lesbian Film Festival, 1999 YFF Film Festival, 1999 Philadelphia Gay and Lesbian Film and Video Festival, 1999 YFF Film Festival, 1999 Temple on the Hill Out on Screen, Vancouver Queer Film and Video Festival, 1999 Sale to US Television, 2000 Switzerland Gay and Lesbian Film Festival, 1999 St Louis International Lesbian and Gay Film Festival, 1999 ROUND TWO Making Scenes: Gay and Lesbian Film and Video Festival, Ottawa, Canada, 1999 Dust to Dust West Australian Gay and Lesbian Film Festival, 1999 YFF Film Festival, 1999 Reel Affirmations: Washington Gay and Lesbian Film Festival, 1999 Tampere 29th International Short Film Festival, 1999 ImageOut: 7th Annual Rochester Lesbian and Gay Film and Video Festival, 1999 Melbourne Fringe Festival, 1999 Hamburg Gay and Lesbian Film Festival, 1999 Verzaubert Touring Gay and Lesbian Film Festival, 1999 Recycled Halle Gay and Lesbian Film Festival, Germany, 1999 YFF Film Festival, 1999 Woodford Folk Film Festival, Queensland, 2000 Flickerfest International Short Film Festival, Sydney, 2000 One that got Away Y2Queer Festival, 2000, Runner-up: Y2Queer Short Film Awards Night Noosa Film Festival, 1999, Winner: Best Short, Australian Comedy Retrospective Melbourne Queer Film and Video Festival, 2000, Winner: Best Queer Short Cinemagic, Ireland, 1999 Sydney Asia Pacific Film Festival, 2000 ATOM Awards, 2000, Finalist Rabbit BBC British Short Film Festival, 1999 Bloodlock AFI Nomination: Best Editor Non-Feature, 1999 ROUND THREE Brisbane International Film Festival, 1999 My Sister the Tree YFF Film Festival, 1999 4th International Film and Video Festival, Split, Croatia, 1999 Murphy’s Cork Film Festival, Ireland, 1999 YFF Film Festival, 1999 Antalya Golden Orange International Film Festival, Turkey, 1999, Winner: Best Actor (Joel Edgerton), Best Supporting Actor (Kieran Darcy-Smith) Heaven on the Fourth Floor Watch My Shorts, Melbourne, 1999, Winner: Best Editing, Best Sound Design YFF Film Festival, 1999 Bathurst Film festival, 1999, Highly Commended: Best Film, Highly Fast Buck Commended: Best Actor (Bunney Brooke) YFF Film Festival, 1999
Don’t try this at Home YFF Film Festival, 1999
63 ROUND FOUR No Mess War Story St Kilda Film Festival, 2000, Winner: Best Documentary YFF Film Festival, 1999 Mill Valley Film Festival, USA, 1999 Gate AFI Nomination: Best Screen Play in a Short Film, 2000 Gristle YFF Film Festival, 1999 Brisbane International Film Festival, 1999 PROJECTS FUNDED DIYtv Noosa Film Festival, 1999, Australian Comedy Retrospective (Co-production with SBS Independent) Temecula International Film Festival, 1999 Sydney Comedy Festival, Short Film/Animation Festival, 2000 Video Dare $62,500 Co-Writers: Craig Anderson, Bryan Moses, Doug Bayne, Tony Walters Hoppin’ Mad Producer: Sally Chesher Brisbane International Film Festival, 1999 Director: Craig Anderson Byron Bay Short Film Festival, 1999, Winner: Best Comedy Noosa Film Festival, 1999 In the Swim $62,500 Hofa Filmtage, Germany, 1999 Writer: Kate Rice Cork Film Festival, Ireland, 1999 Producer: Anita Sheehan Wellington, 1999, Auckland, 1999 (toured with Moving Image Centre, Auckland) Director: Katrina Douglas Aspin Short Film Festival, 2000 Woodford Film Festival, 2000, Winner: Best Comedy Let’s Vote $62,500 Side On Short Film Festival, Sydney, 2000 Co-Writers: Darryl Thoms, Wendy Anido, Zenon Kohler, Wayne Arnold Sydney Comedy Festival, 2000 Co-Producers: Wendy Anido, Darryl Thoms Director: John Atkins An Irishman Walks into a Pub Brisbane Film Festival, 1999 Blood Sports $62,500 YFF Film Festival, 1999 Writer: Helen Garner International Short Film Festival of Drama, Greece, 1999 Co-Producers: Michael Rowland, David Sheridan Director: Michael Rowland Burnout YFF Film Festival, 1999 Edinburgh Film Festival, 1999 FESTIVALS, AWARDS AND SCREENINGS DIYtv Sundance Film Festival, 2000 Nashville Independent Film Festival, 2000 Sell-ebrity Sell-ection Screened SBS Television, 1999 The Man in the Irony Mask Brisbane International Film Festival, 1999 Cooking with Frank Australian Documentary Conference, Adelaide, 1999 Screened SBS Television, 1999 Sydney! Vienna! Art Exhibition, Vienna, 2000 Chicago International Television Competition, 2000, Certificate of Real Life on Film Festival, Melbourne, 2000 Merit: Variety and Entertainment section Winner: DOCO 2000 Award for Excellence in Documentary Filmmaking for the Promotion of Human Rights & Cultural Diversity Inside Out: Toronto Lesbian and Gay Film Festival, 2000 ASSESSORS Out Takes 2000: New Zealand Lesbian and Gay Film Festival, 2000 YOUNG FILMMAKERS FUND Chrissy Kylie du Frense Screened SBS Television, 1999 Amanda Duthie Berlin Film Festival for the PANORAMA program, 2000, Winner: Megan Harding Jury Prize, Teddy Awards Tom Hearn Toronto International Lesbian and Gay Film Festival, 2000 Samantha Jennings (FTO) The New Festival: New York Gay and Lesbian Film Festival, 2000 Judith John-Story (FTO) San Francisco Gay and Lesbian Film Festival, 2000 Jane Manning Outfest Gay and Lesbian Film Festival, Los Angeles, 2000 Judi McCrossin St Kilda Film Festival, 2000 Kathryn Millard Melbourne Queer Film and Video Festival, 2000 Nick Tantaro Adelaide International Documentary Conference, 2000 Mardi Gras Film Festival, 2000 DIYtv ATOM Awards, 2000, Finalist Louise Fox Bill Harding ROUND FIVE Michelle Harrison (FTO) I Was Robert Mitchum Jim Hearn Brisbane International Film Festival, 1999 Debbie Lee (SBSI) SBS Television sale and screening, 1999 YFF Film Festival, 1999 Flickerfest International Short Film Festival, 2000 Hawaii International Film Festival, 1999 AFI selected to support ‘Festen’ at the Classic Cinema, Melbourne, 2000 St Kilda Film Festival, 2000 ATOM Awards Finalist, 2000
64 APPENDIX C Getting Better All the Time ARCHIVAL AND ENG SHOOTS GOVERNMENT Attorney General’s Department New Year Fireworks/Australia Day DOCUMENTARY Script: Geoff Bruer FTO DIVISION Production: Change Focus Media P/L Camera: Paul Ree Director: Barbara Chobocky Get It Get It Homebush Bay Archival NSW Roads and Traffic Authority RTA Awards Olympic Co-ordination Authority Script: Thrilling and Willing NSW Roads and Traffic Authority Camera: Tony Wilson Production: Scarlett Pictures P/L Script/Director: John Atkins Director: Danni Townsend Production: John Atkins Communications Homebush Bay Brickpit Olympic Co-ordination Authority The Olympic Legacy Benchmarking Camera: Steve Iliffe Olympic Co-ordination Authority NSW Health Script/Director: Michael Power Production: Film Work P/L Aquatic Centre Graphics Production: Flicks Australia P/L Director: Roland Ward Sydney International Aquatic Centre Post production: Flicks Australia P/L Green and Golden Bell Frog Shellharbour Presentations Olympic Co-ordination Authority NSW Police Service Evidentiary material Script/Director: Catharine Campbell Production: R & D Productions Nowra NSW Police Service Production: Ardent Media Production: MSV Media Services Fact Finding for Better Health Crime Prevention Workshops NSW Health Police TV News Footage NSW Police Service Script/Director: David Cooper NSW Police Service NSW Department of School Education Production: Coopervision Cameras: Steve Iliffe x 2, Jeff Gallimore, Script: Cathy Miller/Greg Woodland Glenn Goodacre NRS Production: Boathouse Productions Part of the Games Experience Director: Greg Woodland Olympic Roads and Transport Authority Multicultural Education Unit TAFE Sydney 2000 Games Interviews: Geelong Victoria Big Shame Script/Director: Rodney Long Camera: Denis Parker (Victoria) Education Centre Against Violence Production: A Little Rouge Production NSW Health Ambulance in Traffic Script/Director: Oliver Howes Working As A Team NSW Health Production: Country of Oz Productions NSW Health Camera: Bruce Hogan Production: Digibeta P/L Who’s the Loser Post Production: Streamline Digital Fraud Prevention Conference Education Centre Against Violence NSW Police Service NSW Health Traffic Management Centre Camera: Tim Alewood Script: Thrilling and willing NSW Roads and Traffic Authority Production: Country of Oz Productions Production: Blacksheep Productions NRL Grand Football Final, Penrith Lakes Director: Oliver Howes Director: Ben Allcott Equestrian Olympic Roads and Transport Authority Our Juries Our Values Camera: Paul Ree Office of the Sheriff EDITS/COMPILES Attorney General’s Department Road Whys Homebush Traffic Management Script: Grant Higgins NSW Roads and Traffic Authority Olympic Roads and Transport Authority Production: Beloved Pictures P/L Post Production: Island Films Camera: Mal Hamilton Director: Simon Von Volkenstein For Ankie’s Sake (Queensland Version) Aboriginal Mental Health Conference Olympic Security Command Centre Guardianship Tribunal NSW Health NSW Police Service Queensland Attorney General Camera: Grant Harris Script: Tony Eames Post Production: Summer Hill Films Production: Ortel TV Production Mobile Phone Panels Homebush Bay Director: Brian O’Reilly The Olympic Legacy (Minister’s version) Telstra Olympic Co-ordination Authority Camera: Tim Alewood Stage 1 Primary Routes (10 programs) Post Production: Flicks Australia P/L Stage 2 Secondary Routes (12 programs) Conflict Management Stage 3 Shuttle Routes (18 programs) CCF Presentation Griffith University QLD Olympic Co-ordination Authority Camera: Tony Delutis Olympic Roads and Transport Authority Post Production: MSV Media Services Sound: Mimmo Patti Sydney 2000 Games Script/Director: Rodney Long Millenium Parklands Production: Vitascope P/L Olympic Co-ordination Authority Post Production: Island Films Corruption 2000 Conference Opener NSW Police Integrity Commission Big Shame - Who’s the Loser Script: Karen McCarthy NSW Health Production: Glen Joseph Productions Post Production: Island Films Director: Glen Joseph Our Juries Our Values Office of the Sheriff Attorney General’s Department Post Production: Island Films
65 PROGRAMS SUBTITLED Silver World Medal 2000 Banksia Awards (Australia) for the hearing impaired Big Shame Education Centre Against Violence 2000 Gold Banksia Award The Olympic Legacy (Overlay) NSW Health Flora and Fauna Award Olympic Co-ordination Authority Production: Country of Oz Productions Olympic Co-Ordination Authority Writer/Dir/Prod: Oliver Howes Part of the submission was Making the Difference The Green and Golden Bellfrog videos Commission of Children & Young People Finalist Certificate Production: Ardent Media Unreal Images Writer/Prod:/Dir: Catharine Campbell Big Shame - Who’s the Loser NSW Health NSW Health Production: Iguana Films Writer/Dir: Clare Bonham APPENDIX D Getting Better all the Time Producer: Paul Roy PRODUCTION LIAISON Attorney General’s Department 33rd Annual International Film and PROJECTS PRODUCED IN NSW IN Get it Get It Video Festival 2000 99/00 Roads and Traffic Authority USA * Received FTO assistance through the Production Liaison Unit Crime Prevention Workshops Silver Screen Award NSW Police Service/Dept. Education and Big Shame Training Education Centre Against Violence FEATURES/TELEMOVIES NSW Health Angst* Fact Finding for Better Health Production: Country of Oz Productions Airtight* NSW Health Writer/Dir/Prod: Oliver Howes Better than Sex Bootmen Silver Screen Award Cracking On AWARDS Crime Prevention Workshops Down and Under* Intercom Festival ’99 NSW Police Service/ Dept. Education & Dusk The International Communications Film Training Goddess of 1967, The and Video Competition, 1999, Chicago USA Production: Boathouse Productions He Died with a Felafel in his Hand* Writers: Cathy Miller/Greg Woodland Ihaka: Blunt Instrument Gold Plaque Producer: Cathy Miller In the Red* Your Day in Court Director: Greg Woodland La Spagnola Victims of Crime Bureau Love Smarts Attorney General’s Department Silver Screen Award Loving You, Loving Me Production: EE Films Get It Get It Potato Factory, The Writer/Dir: Norman Neesen NSW Roads and Traffic Authority Marriage Acts Producer: Louise Meek Production: Scarlett Pictures Mission Impossible II* Writers: Thrilling and Willing Monkey’s Mask, The* Silver Plaque Producer: Kath Shelper Moulin Rouge Fishways Director: Danny Townsend Mullet* Department of Land and Water Conservation My Husband My Killer* Production: DNA Productions Certificate of Creative Excellence Nowhere to Land* Writer: Peter Campbell Penrith Whitewater Centre Red Planet* Producer: Angela Barbour Olympic Co-ordination Authority Risk* Director: Scott Bradley Production: Bold Productions Serenades Writer/Dir/Prod: Brent Meyer Star Wars Episode II Certificate of Merit Three Stooges, The* Creating the Vision Certificate of Creative Excellence Willful* Olympic Co-Ordination Authority The Olympic Legacy Production: Eden Street Films Olympic Co-ordination Authority Writer: Maryella Hatfield Production: Flicks Australia TV DRAMA Producer: James Roberts Script/Dir: Michael Power Above the Law Director: Maryella Hatfield/Michael Greeley Producer: Bill Mulham All Saints Dogs Head Bay New York Festival Film and Video Non- ATOM Awards 1999 Farscape Series 2 broadcast Competition 1999 Australian Teachers of Media Grass Roots New York, USA Home and Away Finalist Certificate Water Rats Gold World Medal Their Safety in Our Hands Farm, The* Your Day in Court Roads and Traffic Authority Victims of Crime Bureau Institute of Early Childhood Attorney General’s Department Production: Chili Films Production: EE Films Writer/Prod: Penny McDonald Writer/Dir: Norman Neesen Director: Jessica Douglas-Henry Producer: Louise Meek
66 INWARD VISITS 99/00 Cammie Morgan and Debbie Pinckes Korean producer, Myong Se visited post (Filmline Entertainment) and Bill production facilities and toured studios. MacDonald and Candy Walters (William Ex: Korea (March 00) MacDonald Productions) surveyed locations at Morrisett and Brooklyn for Hudson Hickman (MGM Worldwide TV), the telefeature The Farm. Also toured Aaron Khristeus (Turner Television) and Fox Studios, Spectrum Films, Soundfirm Sally Newman (Firebrand Films) toured and Animal Logic and met with the AusFILM sponsor-owned facilities representatives from AusFILM sponsors. and met DOPs and UPMs. Ex: Los Angeles (August 99) Ex: Los Angeles (May 00)
Charles Johnson (Paramount) and Jim Weatherill (Bellasarious Productions) scouted locations for the series JAG that PITCHES 99/00 later shot for ten days in February. The TITLE PRODUCER STATUS shoot was also a litmus test for other Airquake Columbia Tri-Star Television Unknown Paramount series proposed for Sydney. Anyone But You Paramount Pictures In development Ex: Los Angeles (October 99) Arac Attack Centropolis Entertainment In rewrite Blind Ambition Yorkshire Television Post-production Steve McGlothen (Disney) surveyed Blonde Robert Greenwald Productions Pre-production (VIC) locations for the telefeature Wahines. Cloudstreet Roxbury Entertainment Pre-production (WA) Ex: Los Angeles (September 99) Come Pay Day HBO Unknown Down and Under Warner Bros Slated for 2001 Joanne Reay and Andrew Goth (Gothic Family Linen Frederick S. Pierce Company awaiting finance Films) toured post-production facilities, Figaro’s Opera Paramount Television Scouting July 2000 met industry heads of departments, fx First Target Columbia Tri-Star TV Scouting locations and stunt coordinators and designers From Alice to the Ocean Spy Glass Entertainment Looking for Director for the feature Pure. Glimpse of Hell Mitch Engel (Independent) Budgeting Ex: Los Angeles (November 99) Head Start Gannon/Jenkins Television Pre-production Heart and Soul Gannon/Jenkins Television Scouting locations Jody Levin (New Line), Ted Gagliano Intimate Details Dick Clark Film Group Looking for new writer (Fox), David McCann (Disney) and It Looks Alive To Me Disney Looking at location options Greig MacRitchie (Universal) met the Me and My Shadows Columbia Tri-Star Television On hold administrators of AusFILM sponsor Natasha’s Story Von Zerneck/Sertner Films Looking at location options post facilities. Nine Miles Down Destination Films In Development Ex: Los Angeles (November 99) Nowhere to Land Von Zerneck/Sertner Films Aired 2000 Pearl Harbour Walt Disney Pictures Production Confirmed for Hawaii Independent producer Paul Levine Pet Heroes Sony Pictures Awaiting decision scouted for locations for Red Tide, What Pubcrawl Stefanino Productions Scout planned You Don’t Know and two other projects, Pure Gothic Films Looking at location options met with industry representatives and Red Planet Village Roadshow/ Completed toured facilities. Andrew Mason Ex: Los Angeles (September 99) Red Tide Paul Levine Co. Re-financing Round the World Walt Disney TV Awaiting response Two Hong Kong producers scouted with Nellie Bly Sydney for their sequel Gen Y Cops and See You in my Dreams Randell Productions Awaiting response visited post-production facilities, fx and Shinobi Manifest Films Feature animatronics specialists. Shooter Paramount Pictures Looking at location options Ex: Hong Kong (January 00) The Chimes Avenue Pictures/CBS Awaiting response The Donner Party Seven Arts Pictures Intend to shoot in Australia Fourteen representatives from CCTV in late 2000 Beijing visited production houses and labs The Farm Scanbox International In turnaround and undertook a general scout of Sydney. The Painted Veil New Regency Looking at location options The group included directors, freelance The 3 Stooges Icon Films Completed producers and advertisers. The Ultimate The Disney Channel Looking at location options Ex: Beijing (February 00) Christmas Present Untitled River Project #1 Peter Meech Looking at location options Three Japanese producers from the Toie Untitled River Project #2 Jersey Films Looking at location options Company researched and scouted for Ursa Major Badham Company Looking at location options locations and co-producers for a WWII Wahines Disney Shoot completed feature, and a love story set in Australia. Wallflowering Producer: Todd Nelson Locations scouted Ex: Japan (February 00) What You Don’t Know Paul Levine Co Awaiting finance
67 APPENDIX E NEW MEDIA SCREEN CULTURE INDUSTRY & AUDIENCE DEVELOPMENT Australian Film Institute - Research & Information $5,000 & NEW MEDIA Australian Writers Guild - Cyberwrite $5,000 Cyber Cultures: Sustained Release $8,000 APPROVALS 99/00 dLux Media Arts $30,000 Independent Filmmakers Network Website $4,000 SCREEN CULTURE Metro Screen - Digital Seminar Program $5,000 Australia & NZ Film & Video Catalogue $4,000 Mike Leggett Seminar Attendance $200 Australian Film, Television and Radio School Real Time - OnScreen $500 Script Writing Award $2,000 3rd Brisbane International Animation Festival – Sydney Tour $1,800 Australian Cinematographers’ Society Awards $1,000 Electrofringe $5,000 Australian Film Commission Marketing Seminar $1,500 WIFT- Our Brilliant Careers $2,000 Australian Film Institute Awards Screenings (NSW) $30,000 TOTAL $66,500 Australian Film Institute Screen Culture Events $15,000 Australian Guild of Screen Composers Awards $5,000 TOTAL SCREEN CULTURE GRANTS 99/00 $424,000 Australian International Documentary Conference $5,000 Australian Screen Directors Association Conference 1999 $7,000 Australian Screen Directors Association SCREEN CULTURE ASSESSORS Screen Culture Events $12,000 Sharon Baker (FTO) David Watson Sabina Wynn Australian Writers Guild Conference $4,000 Australian Writers Guild AWGIES $5,000 Buzz - The Byron Bay Short Film Festival $500 DIGITAL VISUAL FX TRAINEESHIP SCHEME Carnivale $10,000 Cinema D’Antipodes $2,000 ASSESSORS St Kilda Film Festival Tour 2000 $1,000 Sharon Baker (FTO) Elizabeth Carlon Marcus Darcy Erika Addis Seminar Attendance $995 Nick Hore (FTO) Jane Maguire Shilo McCLean Festival of Jewish Cinema $3,000 Rob Sandeman Film Critics Circle Awards 2000 $3,000 Flickerfest $16,000 TRAINEES Flickerfest screenings at Byron Bay $550 Mike Daly Patricio Ducard Toby Grime Independent Filmmakers Journal $8,000 Nathan Hallifax Christian Hernandez Zenon Kohler Metro Magazine $5,000 Alexander Thomas Kirstine Wallis Metro Screen $35,000 Metro Screen Indigenous Mentor Scheme $10,000 Metro Screen Multicultural Mentor Scheme $10,000 APPENDIX F North West Arts Screen Culture Program $5,000 CREATIVE INITIATIVES NSW Writers’ Centre Spring Writing Workshop $800 Real Time - OnScreen $2,500 CREATIVE INITIATIVES 99/00 Queer Screen $13,000 Sydney Film Festival Soft Cover Catalogue $28,329 Screen Producers’ Association of Australia (SPAA) TropNest Development Program 2000 $50,000 Conference 1999 $8,000 ASDA Directors Attachments $12,000 Screen Producers’ Association of Australia- SPAA Fringe $3,000 Fellowships $190,000 Short Sited Film Festival $1,000 TOTAL $280,329 Sydney Asia Pacific Film Festival $4,000 Sydney Film Festival 2000 $16,000 FELLOWSHIPS 99/00 Sydney Film Festival Business Review $32,925 TYPE/NAME COMPANY AMOUNT Sydney Film Festival – Rouben Mamoulian Award $2,500 Sydney Film Festival – Travelling Film Festival $20,000 PRODUCER Sydney Fringe Festival $1,000 Bruna Papandrea Sierra Pictures P/L $10,000 Sydney Opera House – Indigenous Employment Forum $5,000 Antonia Barnard Unthank Films P/L $20,000 The Comedy Workshop – The Great Aussie Sitcom Search $1,000 Charlie Doane Late Saturday Films $10,000 Tropfest 2000 $25,000 Jenny Day Spirited Films $10,000 University of Sydney – Union National Student Film & Video Festival $1,000 WRITER University of Technology, Sydney - Golden Eye Awards $500 Stephen Sewell $20,000 WIFT- Lottie Lyell Awards $2,000 John O’Brien $20,000 WIFT- Mentor Scheme $6,000 Patricia Johnson $20,000 WIFT- Women on Women Film Festival $10,000 Workers’ Education Association Film Study Group $730 DIRECTOR TOTAL $357,500 Steven Vidler Miracle Fish Films P/L $20,000 Jonathan Teplitzky Meercat Films P/L $20,000
DOCUMENTARY Mary-Ellen Mullane Iris Pictures P/L $20,000 Jo-Anne Macgowan Resonance Productions P/L $20,000 TOTAL FELLOWSHIPS $190,000
68 APPENDIX G SECTION H FREEDOM OF INFORMATION STATEMENT Costs and fees of requests processed during the period [ie those included in lines A4, A5 and A6]. Please DO NOT include costs and fees for unfinished SECTION A requests [ie those requests included in Line A8] Number of new FOI requests – information relating to numbers of new requests ASSESSED COSTS FOI FEES RECEIVED received, those processed and those completed from the previous period H1 ALL COMPLETED REQUESTS 0 0 FOI REQUESTS PERSONAL OTHER TOTAL A1 NEW [INCLUDING TRANSFERRED IN] 0 0 0 SECTION I A2 BROUGHT FORWARD 0 0 0 Discounts allowed – number of FOI requests processed during the period* A3 TOTAL TO BE PROCESSED 0 0 0 where discounts were allowed A4 COMPLETED 0 0 0 TYPE OF DISCOUNT ALLOWED PERSONAL OTHER A5 TRANSFERRED OUT 0 0 0 I1 PUBLIC INTEREST 0 0 A6 WITHDRAWN 0 0 0 I2 FINANCIAL HARDSHIP – PENSIONER/CHILD 0 0 A7 TOTAL PROCESSED 0 0 0 I3 FINANCIAL HARDSHIP – NON PROFIT ORGANISATION 0 0 A8 UNFINISHED [CARRIED FORWARD] 0 0 0 I4 TOTALS 0 0 I5 SIGNIFICANT CORRECTION OF PERSONAL RECORDS 0 0 SECTION B *Note: except for Item 15, Items 11, 12, 13 and 14 refer to requests recorded in A7. For 15, however, What happened to completed requests? [Completed requests are those in line A4] show the actual number of requests for correction of records processed during the period. RESULT OF FOI REQUEST PERSONAL OTHER B1 GRANTED IN FULL 0 0 SECTION J B2 GRANTED IN PART 0 0 Days to process – number of completed request [A4] by calendar days B3 REFUSED 0 0 [elapsed time] taken to process B4 DEFERRED 0 0 ELAPSED TIME PERSONAL OTHER B5 COMPLETED* 0 0 J1 0-21 DAYS 0 0 *Note: The figure on line B5 should be the same as corresponding ones on A4 J2 22-35 DAYS 0 0 J3 OVER 35 DAYS 0 0 SECTION C J4 TOTALS 0 0 Ministerial Certificates – number issued during the period C1 MINISTERIAL CERTIFICATES ISSUED 0 SECTION K Processing time – number of completed request [A4] by hours taken to process SECTION D PROCESSING HOURS PERSONAL OTHER Formal Consultations – number of requests requiring consultations [issued] K1 0-10 HOURS 0 0 and total number of FORMAL consultation(s) for the period K2 11-20 HOURS 0 0 ISSUED TOTAL K3 21-40 HOURS 0 0 D1 NUMBER OF REQUESTS REQUIRING K4 OVER 40 HOURS 0 0 FORMAL CONSULTATION(S) 0 0 K5 TOTALS 0 0
SECTION E SECTION L Amendment of personal records – number of requests for amendment of Reviews and Appeals – number finalised during the period personal records during the period L1 NUMBER OF INTERNAL REVIEWS FINALISED 0 RESULT OF AMENDMENT REQUEST TOTAL L2 NUMBER OF OMBUDSMAN REVIEWS FINALISED 0 E1 RESULT OF AMENDMENT – AGREED 0 L3 NUMBER OF DISTRICT COURT APPEALS FINALISED 0 E2 RESULT OF AMENDMENT – REFUSED 0 E3 TOTAL 0 Details of Internal Review Results – in relation to internal reviews finalised during the period SECTION F BASES OF INTERNAL REVIEW PERSONAL OTHER Notation of personal records – number of requests for notation processed GROUNDS ON WHICH INTERNAL during the period REVIEW REQUESTED UPHELD* VARIED* UPHELD* VARIED* F3 NUMBER OF REQUESTS FOR NOTATION 0 L4 ACCESS REFUSED 0 0 0 0 L5 DEFERRED 0 0 0 0 SECTION G L6 EXEMPT MATTER 0 0 0 0 FOI requests granted in part or refused – basis of disallowing access – number L7 UNREASONABLE CHARGES 0 0 0 0 of times each reason cited in relation to completed requests which were granted L8 CHARGE UNREASONABLY in part or refused INCURRED 0 0 0 0 BASIS OF DISALLOWING OR L9 AMENDMENT REFUSED 0 0 0 0 RESTRICTING ACCESS PERSONAL OTHER L10 TOTALS 0 0 0 0 G1 SECTION 19 *Note: relates to whether or not the original agency decision was upheld or varied by [APPLICATION INCOMPLETE, WRONGLY DIRECTED] 0 0 the internal review G2 SECTION 22 [DEPOSIT NOT PAID] 0 0 G3 SECTION 25 [1] [A1] [DIVERSION OF RESOURCES 0 0 Under the Freedom of Information Act 1989 an agency is required to publish G4 SECTION 25 [1] [A] EXEMPT 0 0 an annual Statement of Affairs. The Statement is required to: outline the G5 SECTION 25 [1] [B], [C], [D] [OTHERWISE AVAILABLE] 0 0 structure and functions of an agency; outline the way in which its functions G6 SECTION 28 [1] [B] [DOCUMENTS HELD] 0 0 affect the public; describe any arrangements which enable the public to G7 SECTION 24 [2] DEEMED REFUSED, OVER 21 DAYS 0 0 participate in agency policy development; describe the kinds of documents G8 SECTION 31 [4] held by the agency; and state how to obtain documents which are eligible for [RELEASED TO MEDICAL PRACTITIONER] 0 0 public scrutiny under legislation. G9 TOTALS 0 0 Copies of the FTO’s Statement of Affairs are available from FOI Coordinator, FTO, GPO Box 1744, Sydney NSW 1043, or Tel: 9264 6400, or from the FTO website at www.fto.nsw.gov.au
69 APPENDIX H APPENDIX J CONSULTANTS ACCOUNTS PAYABLE PERFORMANCE
Barker Gosling Lawyers Legal Services $2,840 SCHEDULE OF ACCOUNTS PAYABLE Billy Blue Design and Writing Professional & Design Services $29,960 1ST 2ND 3RD 4TH Brenda Odewahn Professional Services $380 QUARTER QUARTER QUARTER QUARTER Central Corporate Services Unit Financial and HR Services $63,600 $’000 $’000 $’000 $’000 Clayton Utz Legal Services $22,570 Current 11 8 8 0 Deloitte Touche Tohmatsu Legal Services $1,586 TOTAL 11 8 8 0 DGR Consulting Management Coaching $11,250 DGR Consulting Corporate Planning $3,600 TIMELINESS OF ACCOUNTS PAYABLE Foster Hart Legal Services $10,875 1ST 2ND 3RD 4TH George Mannix Professional Services $34,171 QUARTER QUARTER QUARTER QUARTER Harper & Associates Legal Services $3,275 $’000 $’000 $’000 $’000 Huon Computer Consultants Pty Ltd Professional Services $8,755 Percentage of accounts paid on time 98.93% 98.60% 98.38% 99.32% Kennedy Court Legal Services $4,950 Total dollar amount of accounts paid on time 2,797 2,785 1,690 1,958 KPMG Professional Services – GST $29,762 Total dollar amount of accounts paid 2,827 2,825 1,718 1,972 Lorsas Pty Ltd Publicity Services $39,109 Mercer Cullen Egan Dell Job evaluation & descriptions $1,800 ACCOUNTS COMPLAINTS Nice Machine Professional services $240 During the 99/00 financial year there were no instances where penalty interest Nina Stevenson & Associates Legal Services $36,711 was paid in accordance with section 18 of the Public Finance and Audit (General) O’Melveny & Myers Legal Services $8,738 Regulation 1995. Randall Harper Legal Services $24,570 Ronin Films Professional Services – $11,000 Regional Cinema APPENDIX K Shilo McClean Professional Services $3,250 Y2K Stonebridge Productions Professional Services – Regional Cinema, Marketing $28,527 The FTO completed its Year 2000 (Y2K) project satisfactorily and on schedule. Tony Grierson Consulting Professional Services – GST $15,000 The changeover from 1999 to 2000 was uneventful and all systems functioned Watson & Watson Solicitors Legal Services $783 as expected apart from one minor problem which was easily resolved.
RISK MANAGEMENT APPENDIX I The FTO is covered by the Treasury Managed Fund, a self-insurance scheme GUARANTEE OF SERVICE administered by GIO (NSW). The all-inclusive scheme covers workers’ compensation, commercial motor vehicles, property and public liability. SERVICE STANDARDS • responses to correspondence within three weeks of receipt No claims were instigated this year. • telephone inquiries to be addressed within two working days or progress advice to be given in each period of three working days where the matter is unable to be resolved quickly APPENDIX L • decisions on script and project applications, in normal circumstances, to STAFF STRUCTURE: be made within 4-6 weeks of receipt of the application A THREE-YEAR COMPARISON • the advice to script and project applications, in normal circumstances, to be made within three working days of the decision CLASSIFICATION AND GRADINGS STAFF NUMBERS AS AT • tender applications, on behalf of the commissioning Government 30/6/98 30/6/99 30/6/00 departments to be invited from production companies and/or Senior Executives 1 1 1 personnel within two weeks of project approval by the client Clerk Grade 12 - 1 1 • the advice to tender applicants of their success or otherwise within Clerk Grade 11/12 2 1 1 three working days of the approval of recommendations Clerk Grade 11 1 1 1 • whenever sought, general information of the Office’s activities Clerk Grade 10 1 - - (ie brochures, guidelines etc) to be provided within one week of the Clerk Grade 9/10 1 2 2 written or verbal request Clerk Grade 9 1 1 1 • discretion and confidentiality of customers’ projects and requests to be Clerk Grade 7/8 2 6 4 maintained Clerk Grade 5/6 - 1 1 Clerk Grade 5 3 - - CONTACT Clerk Grade 4/5 - - - With a small staff it is not always possible for the FTO to provide immediate Clerk Grade 3/4 3 3 3 information and advice, but every endeavour should be made to do so. Clerk Grade 3 - 1 - Clerical Officer Grade 8 - - 1 CONFIDENTIALITY Clerical Officer Grade 5 - 1 - The staff of the FTO are required to maintain and keep confidential to the Clerical Officer Grade 1/2 - - - FTO all confidential information which they receive in the course of their TOTAL 15 19 16 employment with the FTO relating the affairs of the FTO, the affairs of clients of the FTO or any other party which has dealings with the FTO. This extends to information gained by employees, the confidentiality of which is not readily apparent. Specifically, staff of the FTO must not express or inadvertently disclose any confidential information relating to the FTO or its clients or any party dealing with the FTO to any third party without the prior approval of the Director.
70 APPENDIX M EQUAL EMPLOYMENT OPPORTUNITY REPORT
As at 30 June 2000 full-time and part-time staff numbered 16.
Of the total 16 staff as at 30 June 2000, thirteen were women and three were men. There were three vacant positions.
PARLIAMENTARY ANNUAL REPORT EEO TABLES TABLE 1 PERCENT OF TOTAL STAFF BY LEVEL SUBGROUP AS PERCENT OF TOTAL STAFF AT EACH LEVEL SUBGROUP AS ESTIMATED PERCENT OF TOTAL STAFF AT EACH LEVEL PEOPLE WHOSE LEVEL STAFF TOTAL (NUMBER) RESPONDENTS MEN WOMEN ABORIGINAL PEOPLE & STRAIT TORRES ISLANDERS PEOPLE FROM ETHNIC, RACIAL, ETHNO-RELIGIOUS MINORITY GROUPS FIRST LANGUAGE SPOKEN AS A CHILD WAS ENGLISH NOT PEOPLE WITH A DISABILITY PEOPLE WITH A DISABILITY REQUIRING WORK-RELATED ADJUSTMENT
< $26,276 $26,276 - $38,582 3 33% - 100% $38,583 - $48,823 2 50% 50% $48,824 - $63,137 6 50% 17% 83% > $63,137 (non-SES) 4 75% 25% 75% SES 1 100% 100% TOTAL 16 50% 19% 81% Estimated Subgroup Totals 8313
TABLE 2 PERCENT OF TOTAL STAFF BY EMPLOYMENT BASIS SUBGROUP AS PERCENT OF TOTAL STAFF AT EACH LEVEL SUBGROUP AS ESTIMATED PERCENT OF TOTAL STAFF AT EACH LEVEL PEOPLE WHOSE TOTAL STAFF STAFF TOTAL (NUMBER) RESPONDENTS MEN WOMEN ABORIGINAL PEOPLE & STRAIT TORRES ISLANDERS PEOPLE FROM ETHNIC, RACIAL, ETHNO-RELIGIOUS MINORITY GROUPS FIRST LANGUAGE SPOKEN AS A CHILD WAS ENGLISH NOT PEOPLE WITH A DISABILITY PEOPLE WITH A DISABILITY REQUIRING WORK-RELATED ADJUSTMENT
Permanent Full-Time Part-Time Temporary Full-Time 12 50% 25% 75% Part-Time 3 33% 100% Contract SES 1 100% 100% Non-SES Casual TOTAL 16 50% 19% 81% 8313 Notes: 1. Table 1 does not include casual staff. 2. Figures for EEO groups other than women have been adjusted to compensate for the effects of non-response to the EEO data collection. EEO statistics reported in years prior to 1998 may not be comparable due to a change in the method of estimating EEO group representation.
BENCHMARKS REPRESENTATION NSW FILM &TELEVISION OFFICE 99/00 PUBLIC SECTOR 98/00 BENCHMARK OR GOVT TARGET
Women 81% 54% 50% Aboriginal People & Torres Strait Islanders 1.5% 2% People Whose Language First Spoken as a Child was not English 14% 19% People with a Disability 7% 12% People with a Disability Requiring Work-related Adjustment 2.2% 7%
DISTRIBUTION INDEX NSW FILM &TELEVISION OFFICE 99/00 PUBLIC SECTOR 98/99 BENCHMARK
Women n/a 91 100 Aboriginal People & Torres Strait Islanders 80 100 People Whose Language First Spoken as a Child was not English 96 100 People with a Disability 100 100 People with a Disability Requiring Work-related Adjustment 99 100
As at 30 June 2000 the FTO had an EFT staff of 16 and none were Aboriginal or physically disabled.
The following strategies were advanced during the year: •review of position descriptions followed by re-evaluation of jobs where appropriate •orientation program and supporting information providing new employees with information about the FTO, including its employee relations policies.
71 PROGRAMS APPENDIX N The funding criteria for all programs and projects were originality, quality and REPORT ON OCCUPATIONAL HEALTH excellence. This included script and project development and tenders for the AND SAFETY making of Government documentaries. One minor workers compensation claim was made and resolved during the year. DISABILITY PLAN There were no work-related illnesses or prosecutions under the Occupational Work is in progress to re-draft a Disability Plan taking account of the Health and Safety Act 1983. Government’s priorities and the FTO’s new Corporate Plan structure. The Disability Plan is expected to be completed and approved during 00/01. APPENDIX O WOMEN PRIVACY MANAGEMENT PLAN The NSW Government published its Action Plan for Women in November 1996. The key objectives of this plan are: As required by the Privacy and Personal Information Protection Act 1998, to • to reduce violence against women protect the privacy of individuals from the inappropriate collection, storage, • to promote safe and equitable workplaces which are responsible to all use and disclosure of personal information by the NSW public sector agencies, aspects of women’s lives the FTO is developing a Privacy Management Plan. • to maximise the interests of women in micro-economic reform • to promote the position of women in society • to improve access to educational/training opportunities for women, and APPENDIX P • to improve the health and quality of life for women INDIGENOUS PROJECT SUPPORT
The FTO participated in several initiatives this year, particularly in the areas of As part of the Government’s commitment via the Cultural Development Policy education, and promoting the position of women in society: to working with Aboriginal and Torres Strait Islander communities in New • Women on Women (WOW) Film Festival South Wales, and as part of the implementation of the recommendations of • Mentor Scheme - attachments for women in film, television or multi the Royal Commission into Aboriginal Deaths in Custody, a number of funding media industries to experienced industry professionals initiatives were undertaken throughout the year by the FTO: • Women in Film and Television Careers Seminar • $5,000 towards the Aboriginal and Torres Strait Islander Employment • Women in Film and Television Lottie Lyell Awards and Training Opportunities Forum at the Sydney Opera House • $10,000 towards continuing costs of Metro Screen’s Indigenous SENIOR EXECUTIVE SERVICE Mentorship Scheme SES LEVEL POSITION TITLE SEX • Development - $40,645 to assist the development of one documentary 1 Chief Executive Female and two feature film scripts • Finance - $233,158 invested in the production of three short television The number of SES positions at the FTO remained unchanged from the pre- programs and one telemovie vious year at one: Chief Execuitve. The position of Chief Executive is held by • Initiatives - $75,000 committed as part of the National Indigenous Jane Smith. The FTO had no SES positions of or above Level 5. Documentary Fund
APPENDIX Q PROGRAMS, SERVICES AND INITIATIVES FOR OLDER PEOPLE
PROJECT/INITIATIVE DESCRIPTION CONTRIBUTION FROM OTHER SOURCES Encouraging Participation The FTO continues to maintain an open policy on all applications and investment decisions based on its published funding criteria. Working with relevant agencies The FTO’s Government Documentary Division (GDD) Department of Ageing & and organisations oversaw production of a program on people with Disability Inclusion/participation/representation disabilities moving into Group Homes and some of the in projects groups shown and interviewed were older people. Inclusion/participation/representation GDD oversaw production of Substitute Consent which Guardianship Board in projects included the case study of an older woman who due to dementia was unable to make her own decisions. The actor who played the character was Alice Livingstone. Inclusion/participation/representation GDD is currently working on production of Heritage RTA in projects Bridges which interviews original bridge crew workers about the older manual methods of working on bridges. Inclusion/participation/representation GDD oversaw production of a program about Volunteers ORTA in projects for the Olympics Roads & Traffic Authority which featured mostly older and retired volunteers. Inclusion/participation/representation GDD oversaw production of a program about patient Health Department in projects registration details which featured an older actor, Germaine Clancy.
72 APPENDIX R ETHNIC AFFAIRS PRIORITIES STATEMENT REPORT
In accordance with requirements under the Ethnic Affairs Commission Amendment Act 1996, FTO has developed an Ethnic Affairs Priorities Statement (EAPS). FTO is committed to building on the State’s culturally diverse society through its programs of assistance. This year, the FTO identified priority areas of opportunity within core business to incorporate the principles of cultural diversity. These are in the FTO’s 99/00 Corporate Plan and include: • access to information on FTO programs and activities • data capture • key decision making processes • staff training • training for community applicants • loans and grants criteria • audience development • multicultural screen culture • liaison with key government bodies
These key issues and their recommended strategies are based on delivering outcomes against three key result areas covering (1) social justice, (2) community har- mony and (3) cultural and economic opportunities. FTO’s core business operates largely under the key result area of economic and cultural opportunities, with the Government Documentary Division also delivering outcomes aligned with social justice.
KEY EAPS ISSUES AND STRATEGIES FOR THE FTO FROM 99/00 CORPORATE PLAN ETHNIC AFFAIRS KEY RESULT STRATEGIES/TASK RESPONSIBILITY RESOURCES/ TIMELINE PERFORMANCE INDICATORS OUTCOMES ACHIEVED INITIATIVE AREA BUDGET Access to Cultural & Identify languages for Manager, PLU Within On-going Number of specific Printed material available Information Economic publication production in existing publications and publicity in Japanese and Korean Opportunities areas of market opportunity. materials. (Demand for resources in other Level of increase in NSW languages not recorded). No production from culturally non-English publications were diverse backgrounds produced in the 99/00 year. Industry Cultural & Broaden the pool of Manager, D&F Within On-going Support Carnivale and Metro Greater awareness of Experience Economic individuals involved in and Manager existing Screen who are active FTO programs Initiative Opportunities industry experience programs, Promotions & within the NESB communities. Readership database includes particularly encouraging people Screen Culture Proportion of readers from wide diversity and from diverse backgrounds NESB or culturally diverse industry expertise. backgrounds Data Capture Cultural & Compile a list of industry Manager, D&F, Within On-going Bi-lingual production A range of bi-lingual interpreters Economic affiliates with production Manager GDD, existing personnel identified as identified. The FTO is employing Opportunities experience and professional Manager, PLU services required local people to deal with level interpreting qualifications. international guests who are thinking of bringing projects to Australia. This international connection is making our industry more competitive. In the last six months we have employed or dealt with members of the Indian, Korean, Chinese and Japanese community in our work. Staff Training Cultural & Provide staff with tailored skills Manager, Within On-going All staff understand EAPS Training on principles of cultural Economic development on cross cultural Admin existing principles. diversity undertaken by staff and Opportunities issues and use of language services. EAPS principles included in staff handbook for staff inductions. Understanding of cultural diversity included in all new position descriptions. Loans & Grants Cultural & Continue to make core decisions Manager, D&F Within On-going Scripts and projects supported This is part of the ongoing Criteria Economic on the basis of cultural creativity and Manager existing reflect cultural diversity cultural assessment by the FTO Opportunities in funding projects which Promotions & Project assessors in selecting resonate for a range of audiences Screen Culture material for investment to ensure that where possible contemporary/diverse culture is reflected in cinema/television production. Screen culture works to a diverse range of government policies and priorities including multicultural and it is not possible, cost effective or desirable to favour one group over another. Multicultural Cultural & Explore opportunities for Manager Within Ongoing Participate in events Six events funded in 99/00 Screen Culture Economic funding multicultural audience Promotions & existing supporting multicultural ideals including Carnivale. Opportunities development in the industry Screen Culture Liaise with key Cultural & Participate in policy debates with Director’s Office, Within On-going Continue contact across Outcomes will be reported Government Economic key Commonwealth and State Policy Officer, existing portfolio to liaise on regularly via progress reports. bodies Opportunities agencies which impact on funding Manager D&F, multicultural program culturally diverse projects Manager development. Promotions & Cooperative implementation Screen Culture of specific strategies Government Social Justice/ Continue to integrate the Manager GDD Within On-going Number of GDD programs The Government Documentary Filmmaking Cultural & principles of cultural diversity existing sub-titled into languages Division has an on-going Economic in the development of other than English commitment to cultural diversity. Opportunities government film and video Number of GDD programs that This has been reflected wherever products. reflect cultural diversity through possible in video programs content or employment produced through the division for other government entities. The Division believes that as cultural diversity enriches Australian society it also enriches video programs and reflects the true Australian community.
73 APPENDIX S APPENDIX W REVIEWS AND AUDITS UNDERTAKEN OVERSEAS TRAVEL
Production Loan Finance Fund February 2000 – Kingston Anderson, Manager Production Liaison Unit Script Development Travelled to Los Angeles, USA to participate in Locations Expo – the Tax Compliance - FBT, Payroll Tax, Sales Tax & PPS international trade fair on filming locations and facilities. FTO shared a stand with other states under the Ausfilm banner Held meetings with representatives of the major studios and production companies having APPENDIX T projects suitable for Australian locations. CONSUMER RESPONSE (COMPLAINTS HANDLING) May 2000 – Jane Smith, Chief Executive/Michelle Harrison, Manager Development & Finance No complaints were received in relation to FTO activities. Travelled to France for the 53rd International Cannes Film Festival to participate in meetings of the international film industry and assess the performance of Australian films in the international marketplace. APPENDIX U HUMAN RESOURCES - PERSONNEL June 2000 – Kingston Anderson, Manager Production Liaison Unit POLICIES AND PRACTICES Travelled to Los Angeles, USA for the Showbiz West trade fair, the largest film production and facilities trade fair in the world. Attended Ausfilm Breakfast at FLEXIBLE WORK PRACTICES the Wyndham Bel Age Hotel attended by all states and LA producers and FTO continues to demonstrate its support for flexible work practices. All staff Showbiz Expo. Held meetings with representatives of the major studios and have access to staff development opportunities and the entitlements afforded production companies having projects suitable for Australian locations. under the Office’s personnel policies.
EQUITY AND ETHNICS APPENDIX X Staff are informed of the FTO’s policies which promote equal employment GOVERNMENT ENERGY opportunity. MANAGEMENT POLICY
CORPORATE COMMITMENT APPENDIX V The FTO is committed to achieving and sustaining reduced greenhouse gas BOARD MEETINGS emissions and energy cost savings. Reduced energy consumption, greater use of ‘green’ energy technologies and buying energy economically are all integral The FTO Board met on 15 occasions in 99/00. Eight of the Board Meetings to this objective. were held by teleconference to consider urgent matters or urgent funding applications. Listed here are meetings attended by FTO Board Members. PLANNING The FTO is a small office-based agency of 17 people, situated at one location. DR KERRY SCHOTT It neither owns nor manages buildings, does not have a vehicle fleet, and does Meetings: attended - 7; eligible to attend - 8 not manufacture goods. The FTO uses standard office equipment such as Ms Schott’s term with the Board finished on 31 December 1999. She was computers and photocopiers. replaced as Chair by Mr Shane Simpson. The FTO moved into new premises in June 1999. These premises, unlike the MR SHANE SIMPSON FTO’s previous premises, are fitted with a separate electricity so the FTO can Meetings: attended - 7; eligible to attend - 7 accurately track and compare energy usage.
MR GEOFFREY ATHERDEN The FTO’s energy consumption was considered in the fitout of the new Meetings: attended - 12; eligible to attend - 15 premises with energy-efficient appliances installed, balanced air-conditioning and a timed lighting system. All FTO computers and photocopying equipment MS JAN CHAPMAN have energy-save options installed. Meetings: attended - 8; eligible to attend - 8 Ms Chapman’s term with the Board finished on 31 December 1999. She was PERFORMANCE replaced on the Board by Ms Glenys Rowe. The FTO’s energy usage for 99/00 was: KWh 89,888 MS GLENYS ROWE Cost $8,644 Meetings: attended - 5; eligible to attend - 7 FUTURE DIRECTION MR LAURIE PATTON The FTO will finalise its Energy Management Plan in 00/01. The Office’s over- Meetings: attended - 13; eligible to attend - 15 all aim is to reduce energy usage over the 00/01 year, although the avenues for this are restricted due to the small size of the agency. MS RACHEL PERKINS Meetings: attended - 5; eligible to attend - 9 Ms Perkins resigned from the Board in mid-March 2000. The vacated position APPENDIX Y was not filled during the 99/00 year. RECYCLING REPORT
MR JOHN POLITZER FTO’s waste paper was collected on a regular basis for recycling. Recycled Meetings: attended - 4; eligible to attend - 4 paper was used where possible in photocopiers and laser printers. Mr Politzer was granted a leave of absence from the Board effective from 27 May 1999. He resumed his Board activities in April 2000. APPENDIX Z MR ERROL SULLIVAN COST OF ANNUAL REPORT Meetings: attended - 10; eligible to attend - 15 900 copies of the FTO’s 99/00 Annual Report have been produced with a unit cost of $16.55
74 A C E INDEX ABC 14, 16, 18, 25 Cannes International Film Electrofringe 5, 19 A Walk with Words 9 Festival 4, 12, 15, 25, 26, 34 Environmental Protection Adaminaby — Our Drowned Careful He Might Hear You 37 Agency (EPA) 31 Town 26 Carides, Gia 28 Everett, Stuart 20 Alcock, Selene 12 Carides, Gina 28 Allen, Davida 26 Carlon, Liz 21 Alsop, John 16 Carnivale 19 F American Film Market 15 Carr, The Hon. Robert 3 Farm, The 4, 5, 25, 31, 32 Andreef, Christina 26, 34 Cashman, Gary 39 Farscape 32 Angst 5, 9, 15, 18, 30, 36 Central Corporate Services Feeling Sexy 4, 6, 12, 15, 26 Animal Logic 21, 22 Unit (CCSU) 36 Fellowships 17, 39, 40 Atherden, Geoffrey 6 Changing Images Film Festival Film Critics Circle Awards 4, AusFILM 32 19 26 Australia: Land Beyond Time Chapman, Jan 5, 34 Film Illawarra 31 24 Chauvel Cinema 13 Filming Protocol 4, 30, 31 Australian Childrens’ Chrissy 4, 5, 13 Flickerfest 19 Television Foundation Christopher Doyle Flicks in the Sticks 20, 39 (ACTF) 9, 19 Orientations 15 Fogo, Paul 14 Australian Film Commission Cinema D’Antipodes 26 Fox Studios 4, 18, 21 (AFC) 20, 24, 25, 26, 30, 39 Cinemedia 26, 39 Fox, Louise 14 Australian Film Institute (AFI) Code of Conduct 31 From Sand to Celluloid 26 4, 6, 22, 26 Commercial Television FTO Website 16, 34 Australian Film Television & Production Fund 25 Radio School (AFTRS) 14, Conference of University G 34, 39 Activity & Cultural Glorious Aftermath, The 15 Australian Screen Directors’ Officers 39 Goddess of 1967, The 1, 4, 8, Association (ASDA) 18 Confessions of a Headhunter 15, 18, 32 Australian Taxation Office 36 25, 26 Goh, Linden 12 Australian Tourist Connolly, Robert 17 Gonzales, Claude 18 Commission 32 Cooking with Frank 14 Goods & Services Tax (GST) Australian Writers Guild Creative Initiatives 9, 10, 17 5, 10, 36 (AWG) 6, 22 Crossing Tracks 26 Government Documentary AWG/FTO Writers Crowe, Russell 28 Division (GDD) 5, 10, 28, Mentorship Scheme Curran, John 26 40 15, 16, 39 Cyber Cultures: Sustained Green and Golden Bellfrog 5, Release 22 28 B Cyberwrite 22 Greenwell, Andree 12 Baker, Jeannine 26 Griffiths, Rachel 13 Banksia Awards 5, 28 D Grime, Toby 21 Barker, Keate 21 Daly, Mike 21 Guns Under their Bums 15 Barnard, Antonia 17 Darcy, Marcus 21 Bates, Vanessa 16 Darwin’s Evolutionary Stakes H Battleships, The 15 15 Hallifax, Nathan 21 Baywatch 32 Day, Jenny 17 Harding, Bill 14 Beach Story, The 13 Department of Local Harding, Megan 12, 14 Berlin Film Festival 4, 12, 13 Government 31 Hayes, Anthony 12 Better than Sex 4, 5, 12, 17, 25, Development & Finance 16, He Died With a Felafel in his 26 39, 40 Hand 16, 24 BIG hART 39 Dfilm 21 Hearn, Jim 14 Big Shame 28 Digital Media World 2000 39 Hearn, Tom 13 Billy Blue Design and Writing Digital Visual FX Traineeship Hernandez, Christian 21 34 Scheme 5, 21, 22, 34,39, 40 Holy Smoke 22 Bootmen 31 Directors’ Attachments 17, 18 Home and Away 32 Bowden, Helen 17, 34 Diving for Pearls 31 Home Movies 26, 39 Brilliant Interactive Ideas 21 DIYtv 12, 13, 14, 34, 39, 40 Horla, Sacha 26 British Short Film Festival 13 dLux Media Arts 21, 22 Horne, Andrew 15 Buckley, Anthony 31 Doane, Charlie 17 Hot Dox 15 Burnout 13 Doolan, Luke 12 Buzz—The Bryon Bay Film Doran, Liz 18 I Festival 19 du Fresne, Kylie 13, 34 I was Robert Mitchum 34 Ducard, Patricio 21 Indigenous Drama Initiaitives Duel in the Crown 12 26 Dust 25, 26 Industry & Audience Duthie, Amanda 13 Development 5, 9, 19, 22, Dykstra, Russell 26 40 Internet Streaming Summer School 22, 39
75 J N R T Jewish Film Festival 19 National Indigenous Rabbit 13 Tadic, Elizabeth 12 Johnson, Darlene 18 Documentary Fund 15, 16 Race Around the World 14 Tantaro, Nick 12 Johnson, Patricia 17 National Institute for the Readers’ survey 16 Taormina Film Festival 26 Jordon, Gregor 26 Dramatic Arts (NIDA) 18 Regional Arts NSW 20 Teplitzky, Jonathan 17 National Parks and Wildlife Regional Cinema 4, 5, 20 They Came, They Saw, They K Service 31 Regional Cinema Conference Concreted 15 Kershaw, Robyn 15 New Media 9, 10, 19, 21, 22, 39 5, 20, 34, 39 Thomas, Alexander 21 Kimberly Cops 15 New Skin 12 Regional Cinema Guide 20 Through Young Eyes 39 Kohler, Zennon 21, 22 Newcastle City Council 31 Regional Cinema Officer 5, 20 Tools & Technologies support KPMG 36 No Mess 13 Regional Filming Fund 4, 32 program 22, 39 NSW Department of State & Risk 8, 15, 24, 36 Tourism NSW 32, 39 L Regional Development 20 Road 25, 26 Trade Register 28 Landa, Danni 18 NSW Film & Television Office Road to Coorain, The 25 Travel Grants 15 Laquiem 12 Act 6, 8 Roads & Traffic Authority Tree 13 Last Diggers, The 13 NSW Ministry for the Arts 20, (RTA) 28, 31 Tropfest 19 Lee, Debbie 14 36 Ronin Films 20 TropNest 17, 18, 39 Leunig 15 NSW Writers Spring Writing Rowe, Glenys 5, 6, 15 Tulip 13 Life After Birth 12 Festival 39 Two Hands 4, 12, 26 Local Government & Shires Nundle Cinema 20 S Twyble, Gina 26 Association of NSW Saffron, John 14 (LGSA) 20, 31, 34 O Samantha, Lang 17 U Local Government O’Brien, John 17 San Sebastian Film Festival 26, Uncle Chatzkel 15 Amendment (Filming) Bill Office of the Council of the 34 University of Technology, 4, 30, 39 Cost of Government 36 Sandeman, Rob 21 Sydney 32 Local Government Conference Olympic Co-ordination Sandler, Guila 16 31 Authority (OCA) 5, 28, 31, Sarsfield, Aidan 22 V Locations Expo 32 32, 39 SBS 14 Vidler, Steve 17 Looking for Alibrandi 4, 15, 26 Olympic Games 5, 28, 36, 39 SBS Independent (SBSI) 12, 14, Lowing, Catherine 14 One Night, The Moon 25 26, 39 W Our Jury Our Values 28 Schott, Kerry 5, 34 Wallis, Kirstine 21 M Screen Producers Association Walsh, Justin 16 Macgowan, Jo-Anne 17 P of Australia (SPAA) 31 Warbling Matilda 13 Macgowan, Marion 16 Papandrea, Bruna 17 Script Development 9, 15 Watsons, Vicky 17 Magic Pudding, The 15 Parliamentary Screenings 34 Seattle Film Festival 26 WBGH Boston 25 Maguire, Jane 21 Patton, Laurie 5, 6 Sell-ebrity Sell-ection14 WEA Continuing Education Man 15 Pepper Distribution 5, 37 Sewell, Stephen17 39 Manning, Jane 13 Perfect Drive, The 16 Shifting Sands 26 Website (FTO) 39, 40 Mardi Gras Film Festival 19 Perkins, Rachel 5, 34 Showbiz Expo 32 Wenham, David 28 Maritime Services Board 28 Pike, Andrew 20 Siam Sunset 4, 26 Willfull 17 Mars 22, 32 Pittwater Council 32 Simpson, Shane 3, 5, 6 Wind 26 Masel, Barbara 14 Police Television Unit 28 Six O’Clock Swill 13 Wollongong University 39 Matrix, The 5, 21, 32 Politzer, John 6 Slade, Tim 34 Women in Film & Television McClean, Shilo 21 Porter, Susie 12 Small Steps, Giant Steps 15 Mentor Scheme 19 McCrossin, Judi 12 Potato Factory, The 32 Smith, Jane 3, 5, 31 WOW Film Festival 19 McDonald, Nathan 12 Praise 4, 26 Smith, Trevor 22 Wright, Steve 16 Media Entertainment and Pre-production Assistance 15 Soft Fruit 4, 17, 26, 34 Arts Alliance (MEAA) 31 Premier’s Department 31 SPAA Fringe 39 Y Metro Screen 19, 22, 39 Principles of Decision Making Space Stories 26, 39 Y2K 5, 10, 36 Metro Screen Digital Media paper 16, 39 Stacks of Facts 40 YFF Film Festival 13, 14, 34, 39 Seminar Program 22, 39 Production Investment 9, 25 Staff (FTO) 7 YFF Marketing Allowances 13, Metro Screen Indigenous Production Liaison Unit 39 Star Wars 4, 22, 32 14 Mentor Scheme 19, 39 Production Liaison Unit (PLU) Starkiewicz, Antionette 15 YFF Marketing Guide 13, 39 Metro Screen Multicultural 4, 30, 31, 32, 39, 40, Subterano 24 Young Filmmakers Fund (YFF) Mentor Scheme 39 Production Loan Finance Sullivan, Errol 6 4, 7, 9, 10, 12, 13, 14, 34, 40 Millard, Kathryn 12 Revolve Fund 9, 24 Sundance Film Festival 12, 13 Minor Cashflow Loans 24 Project Development 15 Sunrise 39 Mission Impossible II 4, 31, 32 Sutton, Nick 16 Monkey’s Mask, The 12, 15, 17, Sydney Film Festival (SFF) 4, 6, 18 25, 26, 34 Montreal Community Theatre Sydney Olympic Broadcast 20 Organisation (SOBO) Moulin Rouge 22, 30, 32 32, 39 Mr Accident 22 Sydney Organising Committee Mullane, Mary Ellen 17 for the Olympic Games Mullet 4, 15, 16, 31, 32 (SOCOG) 39 My Brilliant Career 37 My Mother, My Son 26 My Old China 12
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