SCREENWEST ANNUAL REPORT 2010-11
ScreenWest Annual Report 2010-11 1
STATEMENT OF COMPLIANCE
Hon John Day MLA Minister for Planning; Culture and the Arts; Science and Innovation
In accordance with section 63 of the Financial Management Act 2006, we hereby submit for your information and presentation to Parliament the Report of ScreenWest (Inc.) for the financial year ending 30 June 2011.
The Report has been prepared in accordance with the provisions of the Financial Management Act 2006.
Yours sincerely
Erica Smyth Chair SCREENWEST
24 August 2011
2 ScreenWest Annual Report 2010-11
CONTENTS
1.0 Overview of the Agency...... 5 1.1 Executive Summary...... 5 1.2 Operational Structure...... 8 1.3 Performance Management Framework...... 14 1.3.1 Outcome Based Management Framework...... 14 1.3.2 Changes to Outcome Based Management Framework...... 15 1.3.3 Shared Responsibilities with Other Agencies...... 15
2.0 Agency Performance...... 16 2.1 Report on ScreenWest’s Funding Program...... 16 2.1.1 Funding Application Assessment Members...... 16 2.1.2 Funding Program Allocations 2010-11...... 16 2.1.3 Funding Program Key Outcomes and Highlights 2010-11...... 17
3.0 Significant Issues Impacting SCREENWEST...... 24
4.0 Disclosures and Legal Compliance...... 25 4.1 Financial Statements...... 25 4.2 Additional Key Performance Indicators Information...... 56 4.2.1 Certified Performance Indicators 2010-11...... 56 4.2.2 Additional Indicators...... 58 4.3 Ministerial Directives...... 59 4.4 Other Financial Disclosures...... 60 4.4.1 Pricing Policies of Services Provided...... 60 4.4.2 Capital Works...... 60 4.4.3 Employment and Industrial Relations...... 60 4.5 Governance Disclosures...... 61 4.5.1 Interests of Senior Officers...... 61 4.6 Other Legal Requirements...... 62 4.6.1 Expenditure on Advertising, Market Research, Polling and Direct Mail...... 62 4.6.2 Disability Access and Inclusion Plan Outcomes...... 62 4.6.3 Compliance with Public Sector Standards and Ethical Codes...... 64 4.6.4 Recordkeeping Plans...... 64 4.7 Government Policy Requirements...... 65 4.7.1 Substantive Equality...... 65 4.7.2 Occupational Safety, Health and Injury Management...... 65
APPENDIX 1: Assessment Meetings and Members 2010-11...... 68 APPENDIX 2: PRODUCTIONS WITH SCREENWEST FUNDING 2010-11...... 73 APPENDIX 3: FUNDING APPROVALS 2010-11...... 82
ScreenWest Annual Report 2010-11 3
Acronyms
ABC Australian Broadcasting Corporation AFTRS Australian Film Television and Radio School AIDC Australian International Documentary Conference AWG Australian Writers’ Guild ACS Australian Cinematographers Society ADG Australian Directors Guild ASE Australian Screen Editors Guild ASP Association of Screen Professionals Inc DCA Department of Culture and the Arts FTI Film and Television Institute (WA) MDA Media Development Authority SBS Special Broadcasting Service SPAA Screen Producers Association of Australia US United States WA Western Australia(n) WAnimate Western Australian Animation Association XML X|Media|Lab
4 ScreenWest Annual Report 2010-11
Acronyms 1.0 OVERVIEW OF THE AGENCY 1.1 Executive Summary
It was a year of critical success and challenges for the Western Australian screen industry. WA productions screened nationally and internationally to acclaim, however, overall production levels were down on previous years.
For ScreenWest, it was a year of review, analysis and critical thinking with a new five-year strategic plan developed. More than 150 stakeholders - including producers, industry practitioners, digital creatives, service providers, broadcasters and Government partners - took part in an extensive consultation process.
The ScreenWest Strategic Plan 2011-2016, which came into effect on 1 July 2011, will provide a flexible, high-level yet concise guide to ScreenWest’s operations, providing guidance on how best to support the WA screen industry over the next five years. Integral to the plan is working in partnership with the industry and other stakeholders.
WA productions on screen
Television screening highlights during the year included the SHOWTIME launch of Tim Winton’s iconic Cloudstreet (Screentime); ABC prime time Indigenous documentary-dramaJandamarra’s War (Wawili Pitjas and Electric Pictures); SBS observational documentary SAS - The Search for Warriors (Prospero Productions); and Straight Shootin’ (Spear Point Productions), a candid and lively Indigenous lifestyle series for NITV where host Mary G and her panel aren’t afraid to call a spade a spade.
Three WA feature films had a national theatrical release in the first half of 2011: Mad Bastards, Wasted on the Young and Blame. Wasted on the Young and Blame were both supported through ScreenWest’s West Coast Visions initiative, a program designed to develop promising local filmmakers; and Mad Bastards was supported under the General Production Fund. A fourth full-length production - Red Dog - was a feature in a number of international festivals in the lead-up to its national theatrical release in August 2011.
Award and festival highlights for 2010-11 include:
• Mad Bastards (Bush Turkey Films) – one of only 13 films selected from 1,073 submissions to compete in the World Cinema Dramatic section at the prestigious Sundance International Film Festival. The first time a Western Australian feature film has been selected In Competition at Sundance.Mad Bastards also screened at the US Karlovy Vary International Film Festival (Czech Republic), Shanghai International Film Festival (China), Galway Film Festival (Ireland) and was the Closing Night Film at the Adelaide Film Festival.
• Red Dog (Woss Group Films) – world premiere In Competition at the Berlin International Film Festival (Germany), Opening Gala film at the London Australian Film Festival (UK), won the Audience Award at the Vail Film Festival (US), and won Best Film at the Showcomotion Young Peoples Film Festival (UK).
ScreenWest Annual Report 2010-11 5 • Blame (Factor 30 Films and 3Monkey Films) – screened at the Toronto International Film Festival (Canada), Chicago International Film Festival (US), Buenos Aires International Film Festival of Independent Cinema (Argentina),CPH PIX Film Festival (Copenhagen, Denmark), Cinema des Antipodes section at the Cannes Film Festival (France), and the inaugural Australian Film Festival in India.
• Wasted on the Young (WBMC) – screened at the Toronto International Film Festival in the Discovery program (Canada) and SXSW 2011 - South by Southwest Film Festival (US).
• Surviving Mumbai (Electric Pictures) – nominated for two Emmy Awards (US), Outstanding Historical Program, Long Form and Outstanding Individual Achievement in a Craft, Research.
• Bridge Between Two Worlds (Artemis International) – awarded a Special Commendation at the United Nations of Australia Media Peace Awards in the Special Category of Increasing Awareness and Understanding of Children’s Rights and Issues.
• Every Family’s Nightmare (Prospero Productions) – Highly Commended in the TV Investigative Documentary category at the AIB Awards (Association for International Broadcasting).
• Kuru: The Science and the Sorcery (Siamese) – won Best Documentary Science, Technology & the Environment Award at the 2010 ATOM Awards (Australian Teachers of Media).
Production levels 2010-11
In 2010-11, ScreenWest production investment funding of $3.75million helped achieve screen productions valued at an estimated $28.42million. This is down from $52.58million in 2009-10.
This difference reflects the difficult financial environment the industry is operating in, with productions taking longer than previously to get all funding parties to commit. The high value of the Australian dollar is also having an impact on international co-productions and sales.
Whilst the production level was below previous years, it is not safe to draw any conclusion about trendsfrom movements in a single year. A more useful picture can be obtained by considering two or three years together. The three-year screen production average from 2008-09 to 2010-11 is estimated at $41.05million. The average for the three years prior (2005-06 to 2007-08) was $34.2million.
There are a number of major producers and investors interested in filming in Western Australia in 2011-12 and ScreenWest is continuing its efforts to secure funding for these projects.
Our sincere thanks
We would like to thank members of the WA screen industry for all their efforts during the year. The development of the strategic plan was a very comprehensive task and many stakeholders were called upon to assist in its formulation, which we hope will form a strong basis for the future development of the screen industry in Western Australia.
Our sincere thanks also go to the many partners we worked with during the year – the industry associations, in particular SPAA, AWG, ADG, ACS, ASE, ASP and the WA Professional Film Crew, along with Lotterywest, Screen Australia, ABC, SBS and the Media Development Authority in Singapore, to name a few.
A very special thank you and happy birthday to the Film & Television Institute (FTI) who in December this year will celebrate their 40th birthday.
6 ScreenWest Annual Report 2010-11 We would also like to thank and acknowledge the significant contribution of outgoing Board member Michelle White and ScreenWest Director Production Investment Harry Bardwell.
During Michelle’s three years on the Board, her media experience and her work with Indigenous organisations was invaluable. During Harry’s almost six years at ScreenWest, he made a significant and lasting impact on both the agency and the local screen industry. During his tenure Harry was instrumental in developing strong relationships with broadcasters and developing and implementing a series of new funding programs that helped grow the local production industry. We wish them both well with their future endeavours.
In closing, ScreenWest and the Board would like to acknowledge the Minister for Culture and the Arts, Hon John Day and thank him for his strong and continued support of the Western Australian screen industry.
Erica Smyth Ian Booth CHAIR CHIEF EXECUTIVE SCREENWEST SCREENWEST
ScreenWest Annual Report 2010-11 7
1.2 Operational Structure
Enabling Legislation ScreenWest is an incorporated association under the Associations Incorporation Act 1987 and is governed by the Constitution of Screen West (Inc.).
Responsible Minister The Hon John Day, MLA, Minister for Culture and the Arts.
Organisational Structure
Our Vision • ScreenWest will foster growth in cultural distinctiveness, innovation and increased sustainability in the Western Australian screen industry.
• ScreenWest will work with talented screen practitioners, facilitating knowledge exchange and advancement of their craft and business skills.
• ScreenWest will develop national and international market opportunities for our industry by fostering relationships and partnerships.
Mission ScreenWest funds the development and production of quality innovative screen productions in Western Australia, primarily, but not exclusively, in the areas of:
• Drama production • Factual production, especially documentaries • Indigenous production • Innovative digital production.
It is assumed that animation is included in each of these areas.
ScreenWest works with other industry partners to advance the business/leadership acumen and craft skills of Western Australian screen industry members, so they can remain valuable and competitive to a global standard of excellence.
8 ScreenWest Annual Report 2010-11 Organisational Chart
Minister for Culture and the Arts
Department of Culture and the Arts
ScreenWest Board Finance & Audit Sub-Committee
Executive
Chief Executive Assistant Level 3 Level 9
Manager Communications Director Production Corporate Manager Investment Services Level 7 Level 8 Level 6
Production Development Funding Indigenous Digital Project Business Financial Industry & Communications Operations Manager Team Leader Project Manager Affairs Administration Corporate Affairs Officer Manager Level 6 Level 5 Officer Level 6 Officer Officer Officer Level 2 Level 6 Level 5 Level 5 Level 3 Level 3
Funding Funding Funding Administration Administration Administration Administration Officer Officer Officer Officer Level 2 Level 2 Level 2 Level 1
ScreenWest delivers its services through the following operational divisions:
1. Funding Program – designs, implements and administers funding initiatives to support and develop Western Australian screen industry practitioners and productions, and build a sustainable screen industry in Western Australia.
2. Executive and Corporate Services – responsible for strategic and operational planning; corporate governance and compliance with Government policies; provision of HR, finance and ICT services; and reporting to major stakeholders, e.g. Minister for Culture and the Arts, ScreenWest Board and Lotterywest.
3. Communications– promotes ScreenWest and the WA screen industry to increase its profile and achievements; fosters the WA community’s engagement with screen content and the local screen industry; and liaises with and keeps key stakeholders informed.
ScreenWest Annual Report 2010-11 9 ScreenWest Board
Board members are appointed by the Minister for Culture and the Arts for a three-year period. Members are appointed according to their expertise and experience in areas relevant to ScreenWest’s activities. Director General of the Department of Culture and the Arts, Ms Allanah Lucas is an ex-officio member of the Board, with approval delegation from the Minister for decisions of the ScreenWest Board to provide financial assistance to the film industry in Western Australia in excess of $50,000.
Erica Smyth, Chair Appointed Chair January 2006; Term expires 31 December 2012
After a successful career as a geologist and senior executive in the mining and petroleum industry, Ms Smyth’s current focus is as a board director. She is a Fellow of the Australian Institute of Company Directors and is currently Chair of ScreenWest, Toro Energy Ltd, Scitech and the Diabetes Research Foundation WA. She is a Board Director for various organisations, including the Australian Nuclear Science and Technology Organisation and the Royal Flying Doctor Service - Western Operations.
Catherine Ferrari Appointed January 2005; Term expires 31 December 2012
Ms Ferrari is General Manager, Communications - Water Corporation. She was formerly Chief Executive of the WA Symphony Orchestra and was formerly State Director of CPA Australia. Ms Ferrari is a Director of the West Australian Opera and WaterAid Australia and also a Trustee of the Legal Contribution Trust.
Robyn Kershaw Appointed December 2005; Term expires 31 December 2011
Ms Kershaw is an independent producer whose credits include the feature films Bran Nue Dae and Looking For Alibrandi and the AWGIE award winning television series Bondi Banquet and Effie Just Quietly. As the former Head of Drama and Narrative Comedy at the ABC she commissioned and executive produced over 100 hours of programming, including the hit comedy series, Kath and Kim (series I, II and III), International Emmy nominated MDA (series I and II), Fireflies (telemovie and series), the telemovies Secret Bridesmaids’ Business, Loot and the miniseries Marking Time and Shark Net.
Andrew Lewis Appointed December 2005; Term expires 31 December 2011
Mr Lewis is a director and writer with extensive experience in film, television and theatre. He has directed episodes of the television series Sleepover Club, Streetsmartz, Parallax, Something in the Air, Home and Away, Ocean Star, Snobs, Going Home, Breakers and Pacific Drive and numerous short films. He has also produced, directed and written documentary and magazine programs for the ABC.
Alan Lindsay Appointed January 2006; Term expires 31 December 2012
Mr Lindsay is managing director of digital content production companies Vue DC Pty and Vue Pty Ltd (which trade as Vue Group, operating in WA and Victoria) and 50% partner of the Australian Centre for Digital Innovation (WA). A producer, writer and director with 40 years experience, Mr Lindsay has a long list of quality television productions to his credit including documentary, drama, comedy and animation. Since establishing in 2010 a new facility in Bunbury
10 ScreenWest Annual Report 2010-11 (a private/public initiative with the WA Government and the City of Bunbury), Mr Lindsay and co-owner Helen Clucas have embraced transmedia Vue Group shaping a creative studio that works in visual effects, animation, live action and design for cinema, television, public exhibition, multiplatform broadcast and events.
Board Members Reappointed/Appointed in 2010-11
Stephen Langsford Appointed January 2008. Reappointed February 2011; Term expires 31 December 2013
Mr Langsford is a Western Australian businessman and entrepreneur having founded successful businesses in a number of high growth sectors, including information technology, new media and entertainment. He has a finance and business management background and enjoys working in start-up and high growth environments. Mr Langsford is Founder and Executive Chairman of Quickflix Limited, Australia’s leading online movie rental subscription company, which listed on the Australian Stock Exchange (ASX:QFX).
Aidan O’Bryan Appointed January 2008. Reappointed February 2011; Term expires 31 December 2013
Chief Creative Officer of WBMC, Mr O’Bryan is an experienced television producer and media innovator. Mr O’Bryan established WBMC as a collaborative, creative production company focussed on the production of high quality filmand television and digital production at the forefront of innovation. His production credits include feature film Wasted on the Young, rockumentary Something in the Water, television series My Generation and ABC digital media project ReFace.
Ningali Lawford-Wolf Appointed February 2011; Term expires 31 December 2013
Ms Lawford-Wolf is a Walmajarri, Wankatjungka and Gooniyandi woman from the Fitzroy Valley area in the Kimberley Region. A renowned theatre and screen actor, she is also involved in developing understanding between Indigenous and non-Indigenous people.
Peter Rowe Appointed February 2011; Term expires 31 December 2013
Director, Gryphon Management Australia, Mr Rowe has 25 years’ experience in corporate communications, issues management and strategic advice with extensive negotiation experience in a broad range of areas.
Board Members Retired
Michelle White Appointed January 2008; Term expired 31 December 2010
A former journalist, Ms White has worked on a variety of ABC programs, including Series Producer of Message Stick, TV News Perth, The 7.30 Report, Australian Story and Blackout. Her radio credits include Awaye! on Radio National and WA representative for The Morning Show on Triple J. Ms White is a passionate supporter of the arts and has held senior management roles at Yirra Yaakin Aboriginal Corporation and Noongar Media Enterprise (100.9fm Noongar Radio). She is currently employed as Aboriginal Arts & Cultural Development Manager, Country Arts Network WA.
ScreenWest Annual Report 2010-11 11 Ex-Officio Member of the Board
Allanah Lucas, Director General, Department of Culture and the Arts
Ms Lucas has worked in the Australian and United Kingdom arts sectors for more than 25 years as a professional CEO and arts administrator, performing arts producer, presenter and practitioner, researcher, consultant and tutor.
Since joining the Culture and Arts Portfolio in 2000 as Director of ArtsWA, she has held the positions of Acting Chief Executive Officer of the WA Museum (2004) and Executive Director of the Culture and Arts Development directorate (2005). She was appointed Director General in 2008.
Finance and Audit Committee
The Finance and Audit Committee assists the ScreenWest Board to discharge its responsibility to exercise due care, diligence and skill in relation to ScreenWest’s reporting of financial information, internal audit process and risk management programs.
The 2010-11 Finance and Audit Committee are Board members: • Catherine Ferrari (Chair) • Stephen Langsford • Alan Lindsay • Peter Rowe (joined February 2011)
Senior Officers
Ian Booth LLB, Chief Executive
Mr Booth commenced as Chief Executive of ScreenWest in May 2007. Prior to this, he had his own solicitor’s practice specialising in film and television law. He established production company Sassafras Films, co-producing the adult drama series Marx and Venus and other projects. Previously he worked at the ABC in Melbourne as Business Affairs Manager for Drama and Comedy, working on projects such as Kath & Kim, MDA, The Glasshouse, Enough Rope, The Shark Net, and Marking Time.
Harry Bardwell, Director Production Investment
Mr Bardwell’s extensive industry background includes many years of independent producing and public broadcasting. He has held senior production and management positions with ABC TV, SBS, Carlton Productions (UK) and Hutchison Telecoms. Heis credited as Producer, Commissioning Editor or Executive Producer on over 400 Australian productions and co-productions.
Mr Bardwell left ScreenWest after six years on 1 July 2011.
12 ScreenWest Annual Report 2010-11
Administered Legislation
Nil
Other Key Legislation Impacting on ScreenWest’s Activities
In the performance of its functions, ScreenWest complies with the following relevant written laws:
Auditor General Act 2006 Criminal Code, Crimes and Misconduct Commissions Act 2001 Disability Services Act 1993 Equal Opportunity Act 1984 Financial Management Act 2006 Freedom of Information Act 1992 Industrial Relations Act 1979 Minimum Conditions of Employment Act 1993 Occupational Safety and Health Act 1984 Public Interest Disclosure Act 2003 Public Sector Management Act 1994 Salaries and Allowances Act 1975 State Records Act 2000 State Supply Commission Act 1991 Superannuation Guarantee (Administration) Act 1992 (Cth) Workers’ Compensation and Injury Management Act 1981
ScreenWest Annual Report 2010-11 13
1.3 Performance Management Framework
1.3.1 Outcome Based Management Framework
Broad government goals and outcomes are supported by ScreenWest by delivering a specific service to achieve a specific outcome. The following table illustrates the relationship between the agency and the government goal it contributes to.
The key efficiency indicator monitors the relationship between the service delivered and the resources usedto produce the service. The key effectiveness indicators measure the extent of impact of the delivery of services on the achievement of desired outcomes.
Service: Screen Production Industry Support
Key Efficiency Indicators Agency Level Outcome Average cost per grant application Delivery of strategic support and funding to processed. advance the development of the screen production industry in Western Australia.
Key Effectiveness Indicators Government Desired Outcome Proportion of funding applicants satisfied A creative, sustainable and accessible culture and with key elements of ScreenWest’s arts sector. funding.
Proportion of Western Australians that perceive culture and arts sector (including the Screen Industry) events to be accessible.
Perceived value of culture and the arts (including the Screen Industry) to the Government Goal – Outcomes Based Western Australian community. Service Delivery Greater focus on achieving results in key service delivery areas for the benefit of all Western Australians.
14 ScreenWest Annual Report 2010-11 1.3.2 Changes to Outcome Based Management Framework
The Model Statutory Authority’s Outcome Based Management Framework did not change during 2010-11.
1.3.3 Shared Responsibilities with Other Agencies
ScreenWest is solely responsible for delivering the service of screen production industry support. However, the Government Desired Outcome and some of the Key Effectiveness Indicators, as specified at 1.3.1, are contributed to by the work of the Department of Culture and the Arts and its portfolio agencies - the Art Gallery of Western Australia, State Library of Western Australia, Perth Theatre Trust and the Western Australian Museum.
ScreenWest Annual Report 2010-11 15
2.0 AGENCY PERFORMANCE 2.1 Report on ScreenWest’s Funding Program
ScreenWest’s funding and support programs are designed to: • Foster the development and production of quality, marketable film, television and digital projects;
Expand the creative and professional development of Western Australia’s film and television key creatives and crew, and digital specialists; and • Promote Western Australian screen culture.
In 2010-11 the Funding Program focused on six core areas: Production; Development; Production company and practitioner support; Indigenous; Digital; and Screen Culture. Funding initiatives were provided in each area, with each fund having specific objectives, guidelines and eligibilitycriteria. Several special initiatives that cross over areas were also implemented.
In addition, the agency also provided funding to the Film & Television Institute (FTI) to manage and deliver a range of initiatives that support the emerging screen sector.
2.1.1 Funding Application Assessment Members
Throughout the year, ScreenWest convened assessment meetings to make recommendations or decisions on funding applications. The assessment meetings included ScreenWest representatives and industry professionals whoare leaders in their field. The assessment meetings enhance the decision making process and ensure good governance of ScreenWest funding.
For a full list of assessment meetings and members see Appendix 1.
2.1.2 Funding Program Allocations 2010-11
In 2010-11, $8.6million was allocated in grants and investment funds through the Funding Program, and a further $108,000 was expended on supporting key industry conferences. Notably, 54 per cent of funding was allocated to production, and project development increased to 10 per cent of the funding allocated.
For a list of all funding grant approvals in 2010-11, please see Appendix 3.
16 ScreenWest Annual Report 2010-11 Funding Program Expenditure 2010-11
Project Development 1% Production 10% 11% 6% Emerging Initiatives & FTI
8% Indigenous Program
10% Digital 54% Production Company & Practitioner Development Screen Culture & Industry Development 2.1 Report on ScreenWest’s Funding Program
2.1.3 Funding Program Key Outcomes and Highlights 2010-11
During 2010-11, a wide range of activities in the core program areas took place. Key highlights and outcomes of the year are summarised below.
Project Development
A key development goal is to ensure the WA screen industry has ample opportunities to connect with the market and that projects are being developed to an international standard. To help achieve this goal, ScreenWest secured international and national guests for project and skills development programs throughout the year. Guests included: Sue Murray, Simon van der Borgh, Jonathon Rawlinson, Elissa Down, Sue Masters, Tim Pye, Amanda Higgs, Ted Robinson, Tim Ferguson, Brett Sleigh and Paul Chitlik.
Feature and Tele-Navigator Development Programs 2010 The Feature and Tele-Navigator development programs were revised and enhanced in 2010-11. Both programs were run successfully and continue to develop ‘key creative’1 skills in WA and connect the industry with market representatives.
Six creative teams took part in the Tele-Navigator Consultation Week and progressed through the three phases of the program. Two projects were awarded $15,000 in development investment funding: Oh, Danny Boy (writer Helen Mulroney) and Vernon James (writer Jules Duncan, producer Tenille Kennedy).
Six teams participated in the Feature Navigator Consultation Week. The two Feature Navigator projects selected for development investment were: Playthings (writer Ceinwen Langley, producer Kate Separovich, director Wade K. Savage); and The Red Bride (writer Richard Hyde, producer Jocelyn Quioc, producer David Revill, director Chris Richards-Scully).
1 For statistical purposes ScreenWest’s definition of ‘key creative’ is defined as a Producer, Director or Writer.
ScreenWest Annual Report 2010-11 17
______1 For statistical purposes ScreenWest’s definition of ‘Key Creative’ is defined as a Producer, Director or Writer.
1 For statistical purposes ScreenWest’s definition of ‘Key Creative’ is defined as a Producer, Director or Writer. Production Funding
To be eligible for production funding, all projects (other than short films and digital projects) must have been made for national television transmission or general theatrical release.
During the year, 24 ScreenWest funded productions entered Principal Photography, including six documentary series, six documentaries, two children’s television series, one feature film, an Indigenous lifestyle panel series, one animation short series and seven short films. In addition, one digital project was completed and ninearchival Indigenous Community Stories were recorded.
For a full list of productions that entered Principal Photography in 2010-11, please see Appendix 2.
WA Crew Incentive Employment Fund In July 2010, the WA Crew Incentive Employment Fund was activated. This fund is intended to encourage local producers to employ WA practitioners. In its inaugural year, the fund provided a financial incentive to seven completed WA productions that engaged qualifying WA resident crew.
The overall impact of the fund was a noticeable increase in the number of WA key creatives employed. This has had a roll on effect with those key creatives gaining more experience and therefore becoming more attractive to potential employers than in previous years.
West Coast Visions ScreenWest has continued to have a great outcome with its West Coast Visions (WCV) initiative. WCV is designed to uncover, inspire and develop up and coming filmmakers. This year two WCV projects funded in previous years -Blame and Wasted on the Young – had a national cinema release, national and international film festival success and achieved international sales.
In 2010-11, the successful West Coast Visions project was apocalyptic thriller These Final Hours from 8th In Line Productions (producer Liz Kearney and writer/director Zak Hilditch).
Matched ABC Primetime Fund In partnership with the ABC, in December 2010 ScreenWest announced a new $1.6million initiative aimed at developing original ideas for a series of factual programs to be produced out of Western Australia, and to air on ABC1 and ABC2 in primetime. The programs will be stories that celebrate the unique WA environment and/or larger than life characters that will resonate with family audiences.
Seven local production companies attended a three-day workshop with ABC Factual to develop factual entertainment concepts. Following on from the workshop and upon submission of revised proposals, four projects were selected, which were in the final stages of development at the close of the financial year.
Special Initiatives West Coast Kids In 2009-10, ScreenWest negotiated with the ABC and Australian Children’s Television Foundation (ACTF) to develop and produce a 13 x 15 minute children’s sitcom series.
The successful project Mal.com from Animazing Productions went into production at the ABC Perth studios in March 2011. The four lead children’s roles are played by young local actors and the crew was predominantly Western Australian. Mal.com will be broadcast on ABC3 during 2011-12.
18 ScreenWest Annual Report 2010-11 Emerging Initiatives and FTI Funding
During the year FTI managed LINK and HYPERLINK - two production initiatives for emerging filmmakers -on ScreenWest’s behalf. FTI provided a wide range of courses and services to support the emerging sector. ScreenWest also partnered with FTI to deliver the Deadly Yarns and Indigenous Community Stories progams.
LINK aims to develop creative teams, filmmaking skills, and the financial and project management skills required of early career independent filmmakers within professional industry standards. Four LINK productions were provided with up to $30,000 each in 2010-11.
HYPERLINK assists WA creative writer/producer/director teams to develop their production, storytelling, financial and project management skills to professional industry standards. One production was awarded $70,000 in production funding.
See Appendix 2 for production details of the LINK and HYPERLINK short films.
Indigenous Program
The ScreenWest Indigenous Screen Strategy 2010-2015 was released in October 2010. The Strategy focuses on storytelling, technical and business skills development, providing opportunities for Indigenous companies to produce programs, and for Indigenous key creatives and crew to work in the mainstream screen sector.
Key outcomes of the Indigenous program during 2010-11 include: • Production of Indigenous programs Waabiny Times Series 2 and Straight Shootin’ for NITV and Homeward Bound for ABC.
• The fifth series of Deadly Yarns, (a ScreenWest, ABC and FTI skills development initiative for first time and emerging Indigenous writers, directors and producers) produced four short films, employing six WA Indigenous key creatives. (See Appendix 2 for production details.) The shorts aired on ABC1 as part of theMessage Stick program and several have already been selected for film festivals.
Since its inception, a total of 24 Deadly Yarns shorts have been made and the sixth series is currently in production.
• With funding support from Lotterywest and in partnership with FTI, the Indigenous Community Stories (ICS) initiative continued. ICS records WA’s Indigenous heritage, cultural and historical stories using the latest digital technology and a professional film crew.
The initiative aims to record 100 stories so they can be viewed by future generations as well as creating invaluable records of Australia’s national cultural identity. In 2010-11, nine ICS recordings took place, bringing the total to 20 stories recorded.
• Thirteen WA Indigenous creative filmmakers were employed on productions other than short films.
• Support was provided to WA Indigenous practitioners to access skills development, networking and market opportunities, including:
− Three Indigenous mentorships provided; director and a post producer supervisor/editor on a series production and a digital mentorship.
− Attendance at key conferences such as Australian International Documentary Conference, X|Media|Lab Perth, WAnimate Pixar Workshop, AFTRS Documentary Course.
− Travel assistance to attend national and international events where the Indigenous practitioner/production was nominated for an award or a key participant, including the AFI Awards, Sundance Film Festival and Message Sticks Indigenous Film Festival.
ScreenWest Annual Report 2010-11 19 − Participation in national workshops including: Screen Australia’s Indigenous DepartmentRedfern Now drama series script development workshop (1) and Flash Black Short Drama script development (1); AFTRS Pitch It!@Message Sticks (3); AFTRS Indigenous Adaptation (3).
Digital Program ScreenWest increased its focus on digital development and production during the year with the appointment in July 2010 of a Digital Project Manager (part-time) and the implementation of several new digital funding initiatives.
The 2010-11 period saw a growth of the local digital media sector and cross fertilisation with complementary industries, such as arts and games development. This was facilitated through a range of skills development and networking opportunities including, production and development funding to support digital projects, from iapps, augmented reality and web series through to interactive documentary. Specifically including: • X|Media|Lab Perth • Digital Think Tank in collaboration with the City of Perth • Master class with Chris Winter, ABC Innovation Manager, New Services • Two full-day digital workshops: From Concept to Pitch • Seminar with Jennifer Wilson, The Project Factory • Let’s Make Games Workshop.
X|Media|Lab Perth ScreenWest was instrumental in bringing X|Media|Lab (XML), the internationally acclaimed digital media think-tank and creative workshop to Perth in April 2011.
Addressing the theme Storytelling in a Digital Age, were 17 international world class authorities in digital media who attended as speakers and mentors including:
• Rosie Allimonos – Multiplatform Commissioner, BBC Drama, Film & Acquisitions (London).
• Nicoletta Iacobacci – Head of Multiplatform, European Broadcasting Union (Geneva).
• Poonacha Machaiah – CEO at Shekhar Kapur Digital Media, the new company of the Academy Award winning Director of Elizabeth and Elizabeth: The Golden Age (Bangalore).
• Emma Kaye – One of the world’s top 50 women in mobile entertainment; and Africa’s leading interactive media entrepreneur (Cape Town).
• Marshall Vandruff – Interactive Storyteller and Artist who works with MAD Magazine, Warner Brothers, Rockstar, Blizzard Entertainment, Hanna-Barbera, Nickelodeon and many more as well as with over 40 advertising agencies (Laguna Beach).
• Peter Shiao – Founder and CEO Orb Media Group, a high-profile entertainment company based in Los Angeles and Beijing.
• Esther Lim – Digital Marketing Leader, Transmedia Producer, Social Media Strategist and Game Analyst - CEO and Founder of boutique firm The Estuary (San Francisco).
20 ScreenWest Annual Report 2010-11 X|Media|Lab Perth consisted of two parts:
• A full-day Conference attended by 350 people, including screen practitioners, games developers, technologists and digital media professionals.
• A two-day Lab at which 16 teams were selected from 90 applications to take part. The teams worked one-on-
Feedback on the Lab teams was very positive and encouraging. Brendan Harkin, Director and Founder X|Media|Lab stated: “Both Nicoletta Iacobacci and Esther Lim, who were evaluators on the MIP Content 360* panel in Cannes and both Mentors, separately and together, made a point of telling me that the quality of the projects they saw in Perth was superior to those they saw in Cannes: higher quality, better prepared, and more promising.”
As a part of XML Perth, ScreenWest and DCA provided three $20,000 X|Media|Lab Development Awards for Lab projects that included a WA producer and a WA artist/arts organisation. The Award recipients, selected by the mentors, were: Bone Diggers by Danielle Giles, Inkubator Pty Ltd, working with the WA Museum; Harvest by Rob McGlynn, Crow Media, working with Arif and Audrey Satar; and Ubby’s Underdogs, by Gareth Lockett working with Magabala Books.
iArts2 A joint initiative of ScreenWest, ABC and the DCA, iArts2 resulted in Sound Chamber: a sound art project involving a downloadable application, website and a physical installation of a large, inflatable dome where audiences use their body movement to interact with sounds provided by online users. Recordings in the dome were then distributed using social media.
The inaugural exhibition ofSound Chamber was held at Scitech and a short documentary on the project was broadcast on ABC’s Art Nation.
MDA - ScreenWest Cross Media Development Initiative The Media Development Authority (MDA)-ScreenWest Cross Media Development Initiative has enabled new co-production relationships to develop between Singapore and WA companies, built upon the global distribution opportunities that digital platforms present.
In 2010-11 two projects were selected under this initiative to receive US$30,000 each in development funding. This funding will be shared between the Singaporean and Western Australian co-development partners.
The successful projects were:
• The Adventures of Bradley – an informative and exciting interactive preschool animation series exploring traditional folk tales from around the world, to be produced by WA company RKPix with Singaporean partners August Media Holdings.
• WA company WBMC teamed up with the Singapore-based Interactive SG to devise Preseason, a completely integrated documentary and interactive experience that goes behind the scenes as professional athletes work to prepare for a new season of their chosen sport. The project offers devotees a unique insight into what it takes to succeed at an elite sporting level, as well as train alongside their heroes.
Digital Stepping Stones The SBS Digital Factual Initiative has resulted in the commissioning of an interactive documentary for SBS online, now in production. An additional documentary project was also identified for development with SBS and development is currently underway as a part of the X|Media|Lab Development Award.
ScreenWest Annual Report 2010-11 21 Practitioner and Production Company Support
A focus of ScreenWest is to work closely with the industry to support the development and growth of WA production companies and provide career pathways for WA practitioners. A range of funding initiatives were offered in this area.
Attachments, Placements and Mentorships In 2010-11 ScreenWest, in partnership with the many companies and industry professionals involved, supported:
• One International Internship – Screen Australia and ScreenWest co-funded a six-month international producer development internship with Los Angeles production company, Krasnoff/Foster Entertainment (The Soloist; When in Rome; Sleepless in Seattle; Ghost Rider; Tin Cup; Short Circuit, The Shield, The King of Queens, Community). The internship was highly competitive, with 24-year-old emerging producer Mike Searle the successful candidate.
• Four Professional Attachments – a skills development program for emerging and mid-career practitioners whereby they are ‘attached’ to a professional crew member on a production, thereby gaining practical on-the- job training. Attachments were undertaken in drama direction, boom operation, scriptwriting and production assistance.
• Four Professional Placements – Placements provide professional development opportunities to emerging and mid-career practitioners for a period of up to six months with a company. Placements were taken up in the roles of Producer, Editor, Distribution and Marketing. A placement enabled emerging WA producer Kate Separovich to attend the Cannes Film Festival with Australian sales agent Odin’s Eye.
• Twelve Mentorships – mid-career practitioners are mentored by a skilled professional in a specific role. These included Executive Producer, Producer, Script Editor, Production Accountant, and Digital Production. In addition, three Mentorships were funded through ScreenWest’s Indigenous program.
In addition to the above programs, 13 Attachments positions were provided by production companies asa contractual requirement of their Production Investment Agreement (PIA) with ScreenWest. The PIA Attachments were in the roles of Director, Production Secretary, Script Writing (2), Production Coordinator (3), Camera Assistant, Post Production Coordinator, Production Assistant (2) and Production Staff Coordinator (2).
Travel Assistance ScreenWest invested significant funds in assisting industry practitioners to attend leading national and international conferences and markets, and to attend short courses and training. In total, nearly $400,000 was spent on 71 travel assistance grants and 42 short courses and training grants.
Business Development Fund The second round of the Business Development Fund was held in 2010-11. This fund provides support of up to $80,000 over two years to production companies and affiliated independent screen industry businesses that have identified within a business plan opportunities to develop and expand their business. Three companies were recipients of the fund this year.
22 ScreenWest Annual Report 2010-11 Screen Culture and Industry Conferences Audience and Industry Engagement Program ScreenWest committed $80,000 through its Audience and Industry Engagement Program (AIEP) program to seven activities, in addition to a $50,000 per annum triennial agreement (2010-2012) with the Revelation Perth International Film Festival.
The funded activities varied in type, content screened, target audience and location with a number of regional and remote towns serviced through touring programs. Each activity is contracted to screen a minimum of one WA film and the involvement of and engagement with the WA screen industry is a priority.
Industry Conferences ScreenWest provided sponsorship support to the following key national conferences:
• AIDC Conference • SPAA Conference • AWG Australian Writers Conference • X|Media|Lab.
WA Screen Awards The 24th Western Australian Screen Awards (WASA) celebrated excellence in film and television production. In total, 17 Awards were presented in emerging categories, four industry awards, and the Bill Warnock Scriptwriting Award.
The Industry award winners were: • Lotterywest Award for Outstanding Contribution to the Industry: Jill Perryman • Lotterywest Award for Outstanding Achievement by a Practitioner: Ric Curtin, Sound Designer • Lotterywest Award for Outstanding Achievement in Factual Production: Kuru: The Science and The Sorcery (Siamese) • Lotterywest Award for Outstanding Achievement in Drama: Little Sparrows(Bolderpictures).
The ScreenWest funded Bill Warnock Award went to Damien Spiccia.
The Bendigo Bank Young Filmmaker of the Year Award (presented to a filmmaker aged 25 years or younger) was won by Mat de Koning.
Other Screening Opportunities During the year ScreenWest supported 21 events that involved the screening or launch of a WA production or was an activity to promote the industry. Premiere events included Cloudstreet, which was attended by the Premier Colin Barnett, Wasted on the Young, Blame, Leaky Boat and Kuru: the Science and the Sorcery. Launch events for Mad Bastards were held in Wyndham, Broome and Perth, and launches for Jandamarra’s War were held in Fitzroy Crossing, Broome and Perth.
ScreenWest also provided recommendations and screener copies to organisers of events, for example:
- City of Gosnells screened Bridge Between Two Worlds for their Harmony Week celebrations - WA Government office in London screenedLockie Leonard for G’Day UK celebrations.
ScreenWest Annual Report 2010-11 23
3.0 SIGNIFICANT ISSUES IMPACTING SCREENWEST
Current and emerging issues and trends
• The Australian dollar is at an all-time high, which makes Australia less attractive to international partners and diminishes the value in Australian dollars of international sales. In addition, the industry is operating in a difficult financial environment with productions now taking longer to get all funding parties to commit.
• In 2010-11, investments by ScreenWest helped achieve screen production in Western Australia valued at an estimated $28.42million (down from $52.58million in 2009-10). The three-year screen production average from 2008-09 to 2010-11 is $41.05million per year. There are a number of major producers and investors interested in filming in Western Australia in 2011-12 and ScreenWest is continuing its efforts to secure funding for these projects.
• The screen industry is continuously and rapidly evolving in terms of digital production, distribution channels and audience needs. This requires ScreenWest’s funding and support programs to be regularly reviewed to address changing needs.
• Lack of infrastructure, be it people or physical assets, could become a major impediment to the WA screen industry’s growth. The development and implementation of a Strategic Asset Plan will establish current and future industry needs.
• ScreenWest is committed to Indigenous filmmaking and the implementation of the ScreenWest Indigenous Screen Strategy 2010-2015 will address the specific needs and requirements of this burgeoning sector.
• Establishing the organisation as a statutory authority has been identified as a key priority. This will clarify and strengthen ScreenWest’s position within Government and the WA community.
• The Federal Government is currently undertaking the Convergence Review, a review of all the legislation underpinning the screen industry. At this stage the outcomes and how they may affect the WA screen industry are unclear. ScreenWest will be closely monitoring the review in 2011-12.
24 ScreenWest Annual Report 2010-11
3.0 SIGNIFICANT ISSUES 4.0 DISCLOSURES AND IMPACTING SCREENWEST LEGAL COMPLIANCE 4.1 Financial Statements SCREENWEST (INC.)
CERTIFICATION OF FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2011
The accompanying financial statements of ScreenWest (Inc.) have been prepared in compliance with the provisions of the Financial Management Act 2006 from proper accounts and records to present fairly the financial transactions for the financial year ending 30 June 2011 and the financial position as at 30 June 2011.
At the date of signing we are not aware of any circumstances, which would render any particulars included in the financial statements as misleading or inaccurate.
Tony Loiacono Chief Finance Officer 24 August 2011
Erica Smyth Chairman of Accountable Authority 24 August 2011
Catherine Ferrari Member of Accountable Authority 24 August 2011
ScreenWest Annual Report 2010-11 25 26 ScreenWest Annual Report 2010-11 ScreenWest Annual Report 2010-11 27 ScreenWest (Inc.) Statement of Comprehensive Income For the year ended 30 June 2011
Note 2011 2010 $000 $000 COST OF SERVICES
Expenses Employee benefits expense 5 1,515 1,364 Supplies and services 6 441 366 Depreciation and amortisation expense 7 2 3 Accommodation expenses 8 123 119 Grants and loans expense 9 8,595 9,558 Other expenses 10 197 233 Total cost of services 10,873 11,643
Income
Revenue Returns on funding activities 11 264 329 Interest revenue 12 581 411 Lapsed commitments 13 811 840 Other revenue 14 239 164 Total Revenue 1,895 1,744
Total income other than income from State Government 1,895 1,744 NET COST OF SERVICES 8,978 9,899
Income from State Government 15 Service grant 2,502 3,702 Lotterywest grant 5,228 5,030 Resources received free of charge 1,105 907 Total income from State Government 8,835 9,639 (DEFICIT) FOR THE PERIOD (143) (260) TOTAL COMPREHENSIVE INCOME FOR THE PERIOD (143) (260)
See also note 34 ‘Schedule of Income and Expenses by Service’. The Statement of Comprehensive Income should be read in conjunction with the accompanying notes.
28 ScreenWest Annual Report 2010-11 ScreenWest (Inc.) Statement of Financial Position As at 30 June 2011
Note 2011 2010 $000 $000 ASSETS Current Assets Cash and cash equivalents 24 9,976 9,380 Receivables 16 202 166 Other current assets 17 2 2 Total Current Assets 10,180 9,548
Non-Current Assets Amounts receivable for services 18 30 28 Furniture and equipment 19 5 7 Total Non-Current Assets 35 35 TOTAL ASSETS 10,215 9,583
LIABILITIES Current Liabilities Payables 21 87 662 Loans and grants payable 22 8,330 5,859 Total Current Liabilities 8,417 6,521
Non-Current Liabilities Loans and grants payable 22 63 1,184 Total Non-Current Liabilities 63 1,184 TOTAL LIABILITIES 8,480 7,705 NET ASSETS 1,735 1,878
EQUITY 23 Contributed equity 150 150 Accumulated surplus 1,585 1,728 TOTAL EQUITY 1,735 1,878
The Statement of Financial Position should be read in conjunction with the accompanying notes.
ScreenWest Annual Report 2010-11 29 ScreenWest (Inc.) Statement of Changes in Equity For the year ended 30 June 2011
Contributed Accumulated Total Note equity surplus equity $000 $000 $000
Balance at 1 July 2009 23 144 1,988 2,132 Total comprehensive income for the year (260) (260) Transactions with owners in their capacity as owners: Capital grant 6 6 Total 6 (260) (254) Balance at 30 June 2010 150 1,728 1,878
Balance at 1 July 2010 150 1,728 1,878 Total comprehensive income for the year (143) (143) Total 0 (143) (143) Balance at 30 June 2011 150 1,585 1,735
The Statement of Changes in Equity should be read in conjunction with the accompanying notes.
30 ScreenWest Annual Report 2010-11 ScreenWest (Inc.) Statement of Cash Flows For the year ended 30 June 2011
Note 2011 2010 $000 $000 CASH FLOWS FROM STATE GOVERNMENT Service grant 2,500 3,721 Lotterywest grant 5,228 5,030 Net cash provided by State Government 7,728 8,751
Utilised as follows: CASH FLOWS FROM OPERATING ACTIVITIES Payments Employee benefits (910) (10) Supplies and services (410) (328) Accommodation (177) (82) Grants and loans (6,434) (6,941) GST payments on purchases (658) (725) GST payments to taxation authority (323) (568) Other payments (236) (170)
Receipts Returns on funding activities 241 312 Interest received 574 346 GST receipts on sales 562 543 GST receipts from taxation authority 404 759 Other receipts 235 629 Net cash (used in) operating activities 24 (7,132) (6,235) Net increase in cash and cash equivalents 596 2,516 Cash and cash equivalents at the beginning of period 9,380 6,864 CASH AND CASH EQUIVALENTS AT THE END OF PERIOD 24 9,976 9,380
The Statement of Cash Flows should be read in conjunction with the accompanying notes.
ScreenWest Annual Report 2010-11 31 ScreenWest (Inc.) Notes to the Financial Statements For the year ended 30 June 2011
Note 1. Australian Accounting Standards
General ScreenWest (Inc.)’s financial statements for the year ended 30 June 2011 have been prepared in accordance with Australian Accounting Standards. The term ‘Australian Accounting Standards’ refers to Standards and Interpretations issued by the Australian Accounting Standard Board (AASB).
ScreenWest (Inc.) has adopted any applicable, new and revised Australian Accounting Standards from their operative dates.
Early adoption of standards ScreenWest (Inc.) cannot early adopt an Australian Accounting Standard unless specifically permitted by Treasurer’s Instruction (TI) 1101Application of Australian Accounting Standards and Other Pronouncements. No Australian Accounting Standards that have been issued or amended [but not operative] have been early adopted by ScreenWest (Inc.) for the annual reporting period ended 30 June 2011.
Note 2. Summary of significant accounting policies
(a) General statement The financial statements constitute general purpose financial statements that have been prepared in accordance with Australian Accounting Standards, the Framework, Statements of Accounting Concepts and other authoritative pronouncements of the Australian Accounting Standards Board as applied by the Treasurer’s Instructions. Several of these are modified by the Treasurer’s Instructions to vary application, disclosure, format and wording.
The Financial Management Act and the Treasurer’s Instructions are legislative provisions governing the preparation of financial statements and take precedence over the Australian Accounting Standards, the Framework, Statements of Accounting Concepts and other authoritative pronouncements of the Australian Accounting Standards Board.
Where modification is required and has a material or significant financial effect upon the reported results, details of that modification and the resulting financial effect are disclosed in the notes to the financial statements.
(b) Basis of preparation The financial statements have been prepared on the accrual basis of accounting using the historical cost convention.
The accounting policies adopted in the preparation of the financial statements have been consistently applied throughout all periods presented unless otherwise stated.
32 ScreenWest Annual Report 2010-11 The financial statements are presented in Australian dollars and all values are rounded to the nearest thousand dollars ($’000).
Note 3 ‘Judgements made by management in applying accounting policies’ discloses judgements that have been made in the process of applying ScreenWest (Inc.)’s accounting policies resulting in the most significant effects on amounts recognised in the financial statements.
(c) Reporting entity The reporting entity comprises ScreenWest (Inc.), it has no related bodies.
(d) Contributed equity AASB Interpretation 1038Contributions by Owners Made to Wholly-Owned Public Sector Entities requires transfers in the nature of equity contributions, other than as a result of a restructure of administrative arrangements, to be designated by the Government (the owner) as contributions by owners (at the time of, or prior to transfer) before such transfers can be recognised as equity contributions. Capital grants have been designated as contributions by owners by TI 955 Contributions by Owners made to Wholly Owned Public Sector Entities and have been credited directly to Contributed Equity.
The transfer of net assets to/from other agencies, other than as a result of restructure of administrative arrangements, are designated as contributions by owners where the transfers are non-discretionary and non-reciprocal.
(e) Income Revenue recognition Revenue is recognised and measured at the fair value of consideration received or receivable. The following specific recognition criteria must also be met before revenue is recognised for themajor business activities as follows:
Sale of goods Revenue is recognised from the sale of goods and disposal of other assets when the significant risks and rewards of ownership transfer to the purchaser and can be measured reliably.
Provision of services Revenue is recognised on delivery of the service to the client or by reference to the stage of completion of the transaction.
Interest Revenue is recognised as the interest accrues.
Service grants Service Grants are recognised as revenues at fair value in the period in which ScreenWest (Inc.) gains control of the granted funds. ScreenWest (Inc.) gains control of the grant funds at the time those funds are deposited into the bank account or credited to the ‘Amounts receivable for services’ (holding account) held at Treasury.
ScreenWest Annual Report 2010-11 33 Grants, donations, gifts and other non-reciprocal contributions Revenue is recognised at fair value when ScreenWest (Inc.) obtains control over the assets comprising the contributions, usually when cash is received.
Other non-reciprocal contributions that are not contributions by owners are recognised at their fair value. Contributions of services are only recognised when a fair value can be reliably determined and the services would be purchased if not donated.
Gains Realised or unrealised gains are usually recognised on a net basis. These include gains arising on the disposal of non-current assets and some revaluations of non-current assets.
(f) Furniture and equipment Capitalisation/expensing of assets Items of furniture and equipment costing $5,000 or more are recognised as assets and the cost of utilising assets is expensed (depreciated) over their useful lives. Items of furniture and equipment costing less than $5,000 are immediately expensed direct to the Statement of Comprehensive Income (other than where they form part of a group of similar expensed items which are significant in total).
Initial recognition and measurement All items of furniture and equipment are initially recognised at cost.
For items of furniture and equipment acquired at no cost or for nominal cost, the cost is the fair value at the date of acquisition.
Subsequent measurement Furniture and equipment are stated at historical cost less accumulated depreciation and accumulated impairment losses.
Depreciation All non-current assets having a limited useful life are systematically depreciated over their estimated useful lives in a manner that reflects the consumption of their future economic benefits.
Depreciation is calculated using the straight line method, using rates which are reviewed annually. Estimated useful lives for each class of depreciable asset are:
Furniture and equipment 4 to 10 years
(g) Intangible assets Capitalisation/Expensing of assets Acquisitions of intangible assets costing $5,000 or more and internally generated intangible assets costing $50,000 or more are capitalised. The cost of utilising the assets is expensed (amortised) over their useful life. Costs incurred below these thresholds are immediately expensed directly to the Statement of Comprehensive Income.
All acquired and internally developed intangible assets are initially recognised at cost. For assets acquired at no cost or for nominal cost, the cost is their fair value at the date of acquisition.
34 ScreenWest Annual Report 2010-11 The cost model is applied for subsequent measurement requiring the asset to be carried at cost less any accumulated amortisation and accumulated impairment losses.
Amortisation for intangible assets with finite useful lives is calculated for the period of the expected benefit (estimated useful life) on the straight line basing using rates which are reviewed annually. All intangible assets controlled by ScreenWest (Inc.) have a finite useful life and zero residual value.
The expected useful lives for each class of intangible asset are:
Software (a) 3 to 5 years Website costs 3 to 5 years
(a) Software that is not integral to the operation of any related hardware.
Computer software Software that is an integral part of the related hardware is treated as furniture and equipment. Software that is not an integral part of the related hardware is treated as an intangible asset. Software costing less than $5,000 is expensed in the year of acquisition.
Website costs Website costs are charged as expenses when they are incurred unless they relate to the acquisition or development of an asset when they may be capitalised and amortised. Generally, costs in relation to feasibility studies during the planning phase of a website, and ongoing costs of maintenance during the operating phase are expensed. Costs incurred in building or enhancing a website, to the extent that they represent probable future economic benefits that can be reliably measured, are capitalised.
(h) Impairment of assets Furniture, equipment and intangible assets are tested for any indication of impairment at the end of each reporting date. Where there is an indication of impairment, the recoverable amount is estimated. Where the recoverable amount is less than the carrying amount, the asset is considered impaired and written down to the recoverable amount and an impairment loss is recognised. As ScreenWest (Inc.) is a not-for-profit entity, unless an asset has been identified as a surplus asset, the recoverable amount is the higher of an asset’s fair value less costs to sell and depreciated replacement cost.
The risk of impairment is generally limited to circumstances where an asset’s depreciation is materially understated, where the replacement cost is falling or where there is a significant change in useful life. Each relevant class of assets is reviewed annually to verify that the accumulated depreciation/ amortisation reflects the level of consumption or expiration of asset’s future economic benefits and to evaluate any impairment risk from falling replacement costs.
Intangible assets with an indefinite useful life and intangible assets not yet available for use are tested for impairment at each reporting period irrespective of whether there is any indication of impairment.
ScreenWest Annual Report 2010-11 35 The recoverable amount of assets identified as surplus assets is the higher of fair value less costs to sell and the present value of future cash flows expected to be derived from the asset. Surplus assets carried at fair value have no risk of material impairment where fair value is determined by reference to market-based evidence. Where fair value is determined by reference to depreciated replacement cost, surplus assets are at risk of impairment and the recoverable amount is measured. Surplus assets at cost are tested for indications of impairment at each reporting period.
(i) Leases ScreenWest (Inc.) holds operating leases for a motor vehicle. Lease payments are expensed on a straight line basis over the lease term as this represents the pattern of benefits derived from the leased properties.
(j) Financial instruments In addition to cash, ScreenWest (Inc.) has two categories of financial instrument: * Receivables; and * Financial liabilities measured at amortised cost.
Financial Instruments have been disaggregated into the following classes: Financial Assets: * Cash and cash equivalents * Receivables * Amounts receivable for services Financial Liabilities: * Payables * Loans and grants payable
Initial recognition and measurement of financial instruments is at fair value which normally equates to the transaction cost or the face value. Subsequent measurement is at amortised cost using the effective interest method.
The fair value of short-term receivables and payables is the transaction cost or the face value because there is no interest rate applicable and subsequent measurement is not required as the effect of discounting is not material.
(k) Cash and cash equivalents For the purpose of the Statement of Cash Flows, cash and cash equivalent (and restricted cash and cash equivalent) assets comprise cash on hand and short-term deposits with original maturities of three months or less that are readily convertible to a known amount of cash and which are subject to insignificant risk of changes in value, and bank overdrafts.
(l) Accrued salaries Accrued salaries represent the amount due to staff but unpaid at the end of the financial year, as the pay date for the last pay period for that financial year does not coincide with the end of the financial year. Accrued salaries are recognised by the Department of Culture and the Arts. The expense is recognised in the Statement of Comprehensive Income of ScreenWest (Inc.) with a corresponding resource received free of charge.
36 ScreenWest Annual Report 2010-11 (m) Amounts receivable for services (holding account) ScreenWest (Inc.) receives funding on an accrual basis that recognises the full annual cash and non- cash cost of services. The grants are paid partly in cash and partly as an asset held in the Department of Culture and the Art’s holding account that is accessible on the emergence of the cash funding requirement to cover leave entitlements and asset replacement.
(n) Receivables Receivables are recognised and carried at original invoice amount less an allowance for any uncollectible amounts (i.e. impairment). The collectability of receivables is reviewed on an ongoing basis and any receivables identified as uncollectible are written-off against the allowance account. The allowance for uncollectible amounts (doubtful debts) is raised when there is objective evidence that ScreenWest (Inc.) will not be able to collect the debts. The carrying amount is equivalent to fair value as it is due for settlement within 30 days.
(o) Payables Payables are recognised when ScreenWest (Inc.) becomes obliged to make future payments as a result of a purchase of assets or services at fair value, as they are generally settled within 30 days.
(p) Resources received free of charge or for nominal cost Resources received free of charge or for nominal cost that can be reliably measured are recognised as income at fair value. Where the resource received represents a service that ScreenWest (Inc.) would otherwise pay for, a corresponding expense is recognised. Receipts of assets are recognised in the Statement of Financial Position.
Assets or services received from other State Government agencies are separately disclosed under Income from State Government in the Statement of Comprehensive Income.
(q) Comparative figures Comparative figures are, where appropriate, reclassified to be comparable with the figures presented in the current financial year.
(r) Department of Culture and the Arts The Department provides staff and other support to agencies in the Culture and the Arts portfolio. The Department receives an appropriation for salary costs, superannuation, fringe benefits tax and minor equipment as part of the PC replacement program. These resources, provided to the ScreenWest (Inc.) Board, but paid for by the Department, have been treated as ‘Resources received free of charge’ in the Statement of Comprehensive Income under the item ‘Income from State Government’.
In addition the Department also provides shared corporate services to ScreenWest (Inc.) which are not recognised in the Statement of Comprehensive Income.
Note 3. Judgements made by management in applying accounting policies The preparation of financial statements requires management to make judgements about the application of accounting policies that have a significant effect on the amounts recognised inthe financial statements. ScreenWest (Inc.) evaluates these judgements regularly.
ScreenWest Annual Report 2010-11 37 Operating lease commitments ScreenWest (Inc.) has entered into a commercial lease for a motor vehicle and has determined that the lessor retains substantially all the significant risks and rewards of ownership of the property. Accordingly, this lease has been classified as an operating lease.
Note 4. Disclosure of changes in accounting policy and estimates
Voluntary changes in accounting policy ScreenWest (Inc.) made no voluntary changes to its Accounting Policy during 2011.
Future impact of Australian Accounting Standards not yet operative ScreenWest (Inc.) cannot early adopt an Australian Accounting Standard unless specifically permitted by TI 1101 Application of Australian Accounting Standards and Other Pronouncements. Consequently, ScreenWest (Inc.) has not applied early any following Australian Accounting Standards that have been issued that may impact ScreenWest (Inc.). Where applicable, ScreenWest (Inc.) plans to apply these Australian Accounting Standards from their application date.
Operative for reporting periods beginning on/after
AASB 2009-11 Amendments to Australian Accounting Standards 1 Jan 2013 arising from AASB 9 [AASB 1, 3, 4, 5, 7, 101, 102, 108, 112, 118, 121, 127, 128, 131, 132, 136, 139, 1023 & 1038 and Interpretations 10 & 12].
The amendment to AASB 7 requires modification to the disclosure of categories of financial assets. ScreenWest (Inc.) does not expect any financial impact when the Standard is first applied. The disclosure of categories of financial assets in the notes will change.
AASB 2009-12 Amendments to Australian Accounting Standards 1 Jan 2011 [AASBs 5, 8, 108, 110, 112, 119, 133, 137, 139, 1023 & 1031 and Interpretations 2, 3, 16, 1039 & 1052].
This Standard introduces a number of terminology changes. There is no financial impact resulting from the application of this revised standard.
AASB 1053 Application of Tiers of Australian Accounting Standards 1 July 2013
This Standard establishes a differential financial reporting framework consisting of two tiers of reporting requirements for preparing general purpose financial statements.
38 ScreenWest Annual Report 2010-11 This Standard does not have any financial impact on ScreenWest (Inc.). However it may affect the disclosures in the financial statements of ScreenWest (Inc.) if the reduced disclosure requirements apply. DTF has not yet determined the application or the potential impact of the new Standard for agencies.
AASB 2010-2 Amendments to Australian Accounting Standards 1 July 2013 arising from Reduced Disclosure Requirements.
This Standard makes amendments to many Australian Accounting Standards, including Interpretations, to introduce reduced disclosure requirements into these pronouncements for application by certain types of entities.
This Standard does not have any financial impact on ScreenWest (Inc.). However it may affect the disclosures in the financial statements of ScreenWest (Inc.) if the reduced disclosure requirements apply. DTF has not yet determined the application or the potential impact of these Standards for agencies.
AASB 2011-2 Amendments to Australian Accounting Standards 1 July 2011 arising from the Trans-Tasman Convergence Project - Reduced Disclosure Requirements [AASB 101 & 1054].
The Amending Standard removes disclosure requirements from other Standards and incorporates them in a single Standard to achieve convergence between Australian and New Zealand Accounting Standards for reduced disclosure reporting. DTF has not yet determined the application or the potential impact of the amendments to these Standards for agencies.
AASB 2010-5 Amendments to Australian Accounting Standards 1 Jan 2011 [AASB 1, 3, 4, 5, 101, 107, 112, 118, 119, 121, 132, 133, 134, 137, 139, 140, 1023 & 1038 and Interpretations 112, 115, 127, 132 & 1042] (October 2010)
This Standard introduces a number of terminology changes as well as minor presentation changes to the Notes to the Financial Statements. There is no financial impact resulting from the application of this revised Standard.
ScreenWest Annual Report 2010-11 39 AASB 2010-6 Amendments to Australian Accounting Standards - 1 July 2011 Disclosures on Transfers of Financial Assets [AASB 1 & AASB 7]
This Standard makes amendments to Australian Accounting Standards, introducing additional presentation and disclosure requirements for Financial Assets.
The Standard is not expected to have any financial impact on ScreenWest (Inc.). DTF has not yet determined the application or the potential impact of the amendments to these Standards for agencies.
AASB 9 Financial Instruments 1 Jan 2013
This Standard supersedes AASB 139 Financial Instruments: Recognition and Measurements, introducing a number of changes to accounting treatments.
The Standards was reissued on 6 Dec 2010 and the Department is currently determining the impact of the Standard. DTF has not yet determined the application or the potential impact of the Standards for agencies.
AASB 2010-7 Amendments to Australian Accounting Standards 1 Jan 2013 arising from AASB 9 (December 2010) [AASB 1, 3, 4, 5, 7, 101, 102, 108, 112, 118, 120, 121, 127, 128, 131, 132, 136, 137, 139, 1023 & 1038 and Interpretations 2, 5, 10, 12, 19 & 127]
This Amending Standard makes consequential adjustments to other Standards as a result of issuing AASB 9 Financial Instruments in December 2010. DTF has not yet determined the application or the potential impact of the Standards for agencies.
AASB 1054 Australian Additional Disclosures 1 July 2011
This Standard, in conjunction with AASB 2011-1 Amendments to Australian Accounting Standards arising from the Trans-Tasman Convergence Project, removes disclosure requirements from other Standards and incorporates them in a single Standard to achieve convergence between Australian and New Zealand Accounting Standards.
40 ScreenWest Annual Report 2010-11 AASB 2011-1 Amendments to Australian Accounting Standards 1 July 2011 arising from the Trans-Tasman Convergence Project [AASB 1, 5, 101, 107, 108, 121, 128, 132,& 134 and Interpretations 2, 112 & 113]
This Amending Standard, in conjunction with AASB 1054 Australian Additional Disclosures, removes disclosure requirements from other Standards and incorporates them in a single Standard to achieve convergence between Australian and New Zealand Accounting Standards.
Note 5. Employee benefits expense 2011 2010 $000 $000 Wages and salaries (a) 1,350 1,217 Superannuation - defined contribution plans (b) 139 112 Other related expenses 26 35 1,515 1,364 (a) Includes the value of the fringe benefit to the employee plus the fringe benefits tax component. (b) Defined contribution plans includes West State, Gold State and GESB Super Scheme (contributions paid)
Employment on-costs such as workers compensation insurance are included at note 10 ‘Other Expenses’.
Note 6. Supplies and services 2011 2010 $000 $000 Communications 11 13 Consultants 58 2 Board fees 25 42 Travel 63 59 Printing and advertising 13 31 Lease - equipment and vehicles 38 13 Entertainment 45 26 Legal fees 81 100 Consumables 13 36 Insurance 9 12 Membership subscriptions 11 11 Other 74 21 441 366
ScreenWest Annual Report 2010-11 41 Note 7. Depreciation and amortisation expense 2011 2010 $000 $000 Depreciation Furniture and equipment 2 3 Total depreciation and amortisation 2 3
Note 8. Accommodation expenses 2011 2010 $000 $000 Rent 107 103 Other 16 16 123 119
Note 9. Grants and loans expense 2011 2010 $000 $000 Project Assistance 7,138 7,740 Production Company Support 424 428 Practitioner Development 540 439 Industry & Screen Culture 493 951 8,595 9,558
Note 10. Other expenses 2011 2010 $000 $000 Panels and assessment costs 54 55 Sponsorship 113 93 Employment on-costs 2 23 Refund of previous years revenue 5 42 Audit fees 21 20 Other 2 0 197 233
Note 11. Returns on funding activities 2011 2010 $000 $000 Funding program 264 329 264 329
42 ScreenWest Annual Report 2010-11 Note 12. Interest revenue 2011 2010 $000 $000 Commonwealth operating account 34 48 Bankwest term deposits 547 363 581 411
Note 13. Lapsed commitments 2011 2010 $000 $000 Project Assistance 793 817 Production Company Support 2 17 Practitioner Development 14 3 Industry & Screen Culture 2 3 811 840
Note 14. Other revenue 2011 2010 $000 $000 Management fees 43 79 Other 196 85 239 164
Note 15. Income from State Government 2011 2010 $000 $000 Grants received during the year: Service grant (a) 2,502 3,702 Lotterywest grant 5,228 5,030 7,730 8,732
Resources received free of charge (b) Determined on the basis of the following actuals provided by Department of Culture and the Arts: (i) Payroll expenditure 1,103 907 (ii) Minor equipment 2 0 1,105 907
8,835 9,639
(a) Service grants fund the net cost of services delivered. Grant revenue comprises a cash component and a receivable (asset). The receivable (holding account held by the Department) comprises the depreciation expense for the year and any agreed increase in leave liability during the year. The grant is provided by the Department of Culture and the Arts.
(b) Assets or services received free of charge or for nominal cost are recognised as revenue at fair value of the assets and/or services that can be reliably measured and which would have been purchased if they were not donated. Contribution of assets or services in the nature of contributions by owners are recognised direct to equity.
ScreenWest Annual Report 2010-11 43 Note 16. Receivables 2011 2010 $000 $000 Current Receivables 40 17 Interest 156 149 GST receivable 6 0 202 166
Note 17. Other current assets 2011 2010 $000 $000 Current Prepayments 2 2 Total current 2 2
Note 18. Amounts receivable for services 2011 2010 $000 $000 Non-current 30 28 30 28
Represents the non-cash component of service grants. It is restricted in that it can only be used for asset replacement or payment of leave liability.
Note 19. Furniture and equipment 2011 2010 $000 $000 Furniture and equipment At cost 11 11 Accumulated depreciation (6) (4) 5 7
Reconciliations of the carrying amounts of furniture and equipment at the beginning and end of the reporting period are set out below.
2011 2010 $000 $000
Furniture and Furniture Equipment and Equipment Reconciliations: Carrying amount at start of year 7 10 Additions 0 0 Depreciation (2) (3) Carrying amount at end of year 5 7
44 ScreenWest Annual Report 2010-11 Note 20. Impairment of assets
There were no indications of impairment of furniture and equipment at 30 June 2011.
Note 21. Payables 2011 2010 $000 $000 Current Trade payables 87 653 GST payable 0 9 87 662
Note 22. Loans and grants payable 2011 2010 $000 $000 Current Project Assistance 7,881 5,446 Production Company Support 343 188 Practitioner Development 67 88 Industry & Screen Culture 39 137 Total current 8,330 5,859
Non-current Project Assistance 0 950 Production Company Support 23 184 Industry & Screen Culture 40 50 Total non-current 63 1,184
Note 23. Equity
The Government holds the equity interest in ScreenWest (Inc.) on behalf of the community. Equity represents the residual interest in the net assets of ScreenWest (Inc.).
Contributed equity 2011 2010 $000 $000
Balance at start of period 150 144
Contributions by owners Capital grant 0 6 Total contributions by owners 0 6
Balance at end of period 150 150
ScreenWest Annual Report 2010-11 45 Accumulated surplus 2011 2010 $000 $000 Balance at start of period 1,728 1,988 Result for the period (143) (260) Balance at end of period 1,585 1,728
Total Equity at end of period 1,735 1,878
Note 24. Notes to the Statement of Cash Flows
Reconciliation of cash Cash at the end of the financial year as shown in the Statement of Cash Flows is reconciled to the related items in the Statement of Financial Position as follows: 2011 2010 $000 $000 Commonwealth Bank operating account 133 169 Bankwest term deposits 9,843 9,211 9,976 9,380
Reconciliation of net cost of services to net cash flows used in operating activities
2011 2010 $000 $000 Net cost of services (8,978) (9,899)
Non-cash items: Depreciation and amortisation expense (note 7) 2 3 Resources received free of charge (note 15) 1,105 907
(Increase)/decrease in assets: Current receivables (a) (30) 396 Other current assets 0 8
Increase/(decrease) in liabilities: Current payables (a) (566) 564 Loans and grants payable 1,350 1,777
Net GST receipts / (payments) (b) (15) 9 Change in GST in receivables / payables (c) 0 0 Net cash (used in) operating activities (7,132) (6,235)
(a) Note that the Australian Taxation Office (ATO) receivable/payable in respect of GST and the receivable/payable in respect ofthe sale/purchase of non-current assets are not included in these items as they do not form part of the reconciling items. (b) This is the net GST paid/received, ie. cash transactions. (c) This reverses out the GST in receivables and payables.
At the end of the reporting period, ScreenWest (Inc.) had fully drawn down on all financial facilities, details of which are disclosed in the financial statements.
46 ScreenWest Annual Report 2010-11 Note 25. Commitments
The commitments below are inclusive of GST where relevant.
Lease commitments 2011 2010 $000 $000 Commitments in relation to leases contracted for at the end of the reporting period but not recognised in the financial statements are payable as follows: Within 1 year 4 5 Later than 1 year and not later than 5 years 0 4 4 9 Representing: Non-cancellable operating leases 4 9 4 9
Non-cancellable operating leases 2011 2010 $000 $000 Commitments for minimum leases payments are payable are as follows: Within 1 year 4 9 4 9
The motor vehicle lease is non-cancellable with payments made monthly in advance.
Grant commitments 2011 2010 $000 $000 Grant commitments contracted for at the end of the reporting period but not recognised as liabilities, are payable as follows: Within 1 year 533 485 Later than 1 year and not later than 5 years 117 671 650 1,156
Note 26. Events occurring after the end of the reporting period
ScreenWest (Inc.) has no subsequent events (other than those whose financial effects have already been brought to account) to report.
Note 27. Explanatory statement
This statement provides details of any significant variations between estimates and actual results for 2011 and between actual results for 2010 and 2011. Significant variations are considered to be those greater than 10% or $100,000.
ScreenWest Annual Report 2010-11 47 Significant variances between estimated and actual result for 2011 2011 2011 Estimate Actual Variation $000 $000 $000 Grants and loans expense 7,884 8,595 711 Interest revenue 300 581 281 Lapsed commitments 0 811 811 Other revenue 154 239 85 Service grant 2,002 2,502 500 Lotterywest grant 4,806 5,228 422
Grants and loans expense During the year ScreenWest was successful in securing additional funding. This funding was directed back into the funding program and committed. Monies from lapsed commitments were also directed back into the funding program and committed.
Interest revenue The variance reflects the difficult financial environment the industry is operating in, with productions taking longer than previously to get all funding parties to commit. Coupled with the increases in interest rates throughout the year this resulted in increased interest revenue.
Lapsed commitments The variance is a result of an increase in lapsed commitments during the year - primarily associated with a $500,000 General Production Fund and a $120,000 Stepping Stone TV Co-Production Initiative lapse. As ScreenWest is a minority investor production investment decisions made by ScreenWest rely on funding commitments from third parties which are difficult to coordinate and from time to time projects lapse before full finance is achieved. These funds are then committed back into grants and loans expense.
Other revenue The variation can be attributed to a $40,000 contribution to the 2011 XMedia Lab conference from the Department of Culture & the Arts and a $20,000 contribution to ScreenWest’s LA Producer Internship initiative from Screen Australia.
Service grant The variation reflects the Department of Culture & the Arts’ $500,000 contribution to the Matched Primetime Fund.
Lotterywest grant The variance reflects the additional funding received from Lotterywest.
48 ScreenWest Annual Report 2010-11 Significant variances between actual results for 2010 and 2011
2011 2010 Variance $000 $000 $000 Income Returns on funding activities 264 329 (65) Interest revenue 581 411 170 Other revenue 239 164 75
Expenses Employee benefits expense 1,515 1,364 151 Supplies and services 441 366 75 Grants and loans expense 8,595 9,558 (963) Other expenses 197 233 (36)
Returns on funding activities Returns from ScreenWest Production Investments were lower in 2011, as ScreenWest prioritised returns to producers to strengthen production companies. Over time this has caused a dip in revenue.
Interest revenue The variance reflects the difficult financial environment the industry is operating in, with productions taking longer than previously to get all funding parties to commit. Coupled with the increases in interest rates throughout the year this resulted in increased interest revenue.
Other revenue This variance is due to an increase in third party contributions towards ScreenWest managed initiatives.
Employee benefits expense The variance can be attributed to the WA Public Sector wage increase, recruiting two new staff members and an increase in long service leave expenditure.
Supplies and services The variance reflects the expenditure associated with development work carried out on ScreenWest’s database, the drafting of ScreenWest’s new 2011-16 Strategic Plan and the use of temporary staff to assist with workloads.
Grants and loans expense The variance reflects the difficult financial environment the industry is operating in, with productions taking longer than previously to get all funding parties to commit.
Other expenses The variance is primarily associated with a workers’ compensation insurance recoup and other savings.
Note 28. Financial instruments
(a) Financial risk management objectives and policies Financial Instruments held by ScreenWest (Inc.) are cash and cash equivalents, receivables, payables and loans and grants payable. ScreenWest (Inc.) has limited exposure to financial risks. ScreenWest (Inc.)’s overall risk management program focuses on managing the risks identified below.
ScreenWest Annual Report 2010-11 49 Credit risk Credit risk arises when there is the possibility of ScreenWest (Inc.)’s receivables defaulting on their contractual obligations resulting in financial loss to ScreenWest (Inc.).
The maximum exposure to credit risk at end of the reporting period in relation to each class of recognised financial assets is the gross carrying amount of those assets inclusive of any provisions for impairment as shown in the table at Note 28(c) ‘Financial Instruments Disclosures’ and Note 16 ‘Receivables’.
Credit risk associated with ScreenWest (Inc.)’s financial assets is minimal. For receivables other than government ScreenWest (Inc.) trades only with recognised, creditworthy third parties. ScreenWest (Inc.) has policies in place to ensure that sales of products and services are made to customers with an appropriate credit history. In addition, receivable balances are monitored on an ongoing basis with the result that ScreenWest (Inc.)’s exposure to bad debts is minimal. At the end of the reporting period there were no significant concentrations of credit risk.
Liquidity risk Liquidity risk arises when ScreenWest (Inc.) is unable to meet its financial obligations as they fall due.
ScreenWest (Inc.) is exposed to liquidity risk through its trading in the normal course of business.
ScreenWest (Inc.) has appropriate procedures to manage cash flows including drawdowns of grants by monitoring forecast cash flows to ensure that sufficient funds are available to meet its commitments.
Market risk Market risk is the risk that changes in market prices such as foreign exchange rates and interest rates will affect ScreenWest (Inc.)’s income or value of its holdings of financial instruments. ScreenWest (Inc.) does not trade in foreign currency and is not materially exposed to other price risks. ScreenWest (Inc.)’s does not have any exposure to market risk for changes in interest rates.
(b) Categories of financial instruments In addition to cash and bank overdraft, the carrying amounts of each of the following categories of financial assets and financial liabilities at the end of the reporting period are: 2011 2010 $000 $000 Financial Assets Cash and cash equivalents 9,976 9,380 Loans and receivables (a) 226 194
Financial Liabilities Financial liabilities measured at amortised cost 8,480 7,696
(a) The amount of loans and receivables excludes GST recoverable from the ATO (statutory receivable).
50 ScreenWest Annual Report 2010-11 0 0 $000 assets financial Impaired
0 0 than $000 More More 5 years 0 0 2-5 $000 years 0 0 1-2 $000 years 3 1 1 3 3-12 $000 (a) Past due but not impaired Past months 0 0 $000 p to 3 U p to months
30 28 196 166 194 226 $000 Non - bearing interest 169 133 169 133 rate $000 interest Variable Interest rate exposure rate Interest - - rate $000 Fixed 9,211 9,843 9,211 9,843 interest Interest rate exposures and ageing analysis of financial assets analysis and ageing exposures rate Interest
30 28 196 166 $000 9,380 9,976 9,574 10,202 Amount Carrying - - - - % Rate 5.17% 5.93% Interest Average Effective Weighted (a) (a) Amounts receivable for for receivable Amounts services for receivable Amounts services 2010 equivalents Cash and cash Loans and receivables (c) Financial Instrument Disclosures (c) Financial Instrument exposures rate Risk and interest Credit (Inc.)’s ScreenWest of financial assets. analysis and the ageing exposures rate risk, interest credit to exposure maximum (Inc.)’s discloses ScreenWest table The following ageing of financial table discloses the The below. as shown of the financial assets carrying amount period is the the end of reporting risk at credit to exposure maximum (Inc.). of ScreenWest to senior management provided table is based on information The financial assets. due but not impaired past are that assets it holds. to the financial assets relating enhancements as security or other credit collateral (Inc.) does not hold any ScreenWest due or impaired. in them being past resulted otherwise have would that renegotiated term their to have had that financial assets (Inc.) does not hold any ScreenWest Financial Assets receivable). (statutory the ATO from recoverable GST excludes of receivables (a) The amount 2011 equivalents Cash and cash Loans and receivables
ScreenWest Annual Report 2010-11 51 0 0 than $000 More 5 years 0 0 2-5 $000 years 63 63 1-2 $000 years 1,184 1,184 3-12 $000 6,229 6,229 4,386 4,386 months Past due but not impaired Past (a) 87 653 $000 2,101 2,188 1,473 2,126 p to 3 U p to months
87 653 $000 Non - 8,393 8,480 7,043 7,696 bearing interest 0 0 rate $000 interest Variable Interest rate exposure rate Interest - - 0 0 rate $000 Fixed interest
87 653 $000 8,393 8,480 7,043 7,696 Amount Carrying Interest rate exposures and maturity analysis of financial liabilities analysis and maturity exposures rate Interest - - - - % Rate Interest Average Effective Weighted (a) The amounts disclosed are the contractual undiscounted cash flows of each class of financial liabilities at the end of the reporting period. at the end of of each class financial liabilities flows cash undiscounted the contractual disclosed are (a) The amounts Liquidity Risk The following table details the contractual maturity analysis of financial liabilities. The table includesinterest and principal cashflows. An adjustment has been material. made where Financial Liabilities 2011 Payables Grants and loans payable Grants 2010 Payables Grants and loans payable Grants
52 ScreenWest Annual Report 2010-11 Interest rate sensitivity analysis 0 0 The following table represents a summary of the interest rate sensitivity of ScreenWest (Inc.)’s financial than $000 More assets and liabilities at the end of the reporting period on the surplus for the period and equity for a 1% 5 years change in interest rates. It is assumed that the interest rates are held constant throughout the reporting period. 0 0 2-5 $000 years -100 basis points +100 basis points Carrying 63 63 1-2 amount Surplus Equity Surplus Equity $000 years 1,184 1,184 2011 $ 000 $ 000 $ 000 $ 000 $ 000
Financial Assets 3-12 $000 6,229 6,229 4,386 4,386 Cash and cash equivalents 133 (1) (1) 1 1 months Past due but not impaired Past (1) (1) 1 1 (a) 87 653
$000 -100 basis points +100 basis points 2,101 2,188 1,473 2,126 p to 3 U p to months Carrying amount Surplus Equity Surplus Equity
87 2010 $ 000 $ 000 $ 000 $ 000 $ 000 653 $000 Non - 8,393 8,480 7,043 7,696 bearing interest Financial Assets Cash and cash equivalents 169 (2) (2) 2 2 0 0 (2) (2) 2 2 rate $000 interest Variable
Interest rate exposure rate Interest Fair Values - - All financial assets and liabilities recognised in the Statement of Financial Position, whether theyare 0 0 carried at cost or fair value, are recognised at amounts that represent a reasonable approximation of fair rate $000 Fixed value unless otherwise stated in the applicable notes. interest
Note 29. Remuneration of members of ScreenWest (Inc.) and senior officers 87 653 $000 8,393 8,480 7,043 7,696 Amount Carrying Remuneration of Members of ScreenWest (Inc.) The number of board members of ScreenWest (Inc.) whose total of fees, salaries, superannuation, non- monetary benefits and other benefits for the financial year, fall within the following bands are: Interest rate exposures and maturity analysis of financial liabilities analysis and maturity exposures rate Interest 2011 2010 $ - - - - %
Rate 0 - 10,000 9 9 Interest Average Effective Weighted
(a) The amounts disclosed are the contractual undiscounted cash flows of each class of financial liabilities at the end of the reporting period. at the end of of each class financial liabilities flows cash undiscounted the contractual disclosed are (a) The amounts $000 $000 The total remuneration of all members of ScreenWest (Inc.) 25 46
The total remuneration includes the superannuation expense incurred by ScreenWest (Inc.) in respect of board members of ScreenWest (Inc.). Financial Liabilities Liquidity Risk The following table details the contractual maturity analysis of financial liabilities. The table includesinterest and principal cashflows. An adjustment has been material. made where 2011 Payables Grants and loans payable Grants 2010 Payables Grants and loans payable Grants
ScreenWest Annual Report 2010-11 53 Remuneration of senior officers The number of senior officers, other than senior officers reported as members of ScreenWest (Inc.), whose total of fees, salaries, superannuation, non-monetary benefits and other benefits for the financial year, fall within the following bands are:
2011 2010 $ 120,001 - 130,000 0 1 130,001 - 140,000 1 0 150,001 - 160,000 0 1 160,001 - 170,000 1 0
$000 $000 The total remuneration of senior officers 297 281
The total remuneration includes the superannuation expense incurred by ScreenWest (Inc.) in respect of senior officers other than senior officers reported as members of ScreenWest (Inc.)
Note 30. Remuneration of auditor
Remuneration paid or payable to the Auditor General in respect to the audit for the current financial year is as follows:
2011 2010 $000 $000 Auditing the accounts, financial statements and key performance indicators 23 23
The expense is included at note 10 ‘Other expenses’.
Note 31. Related bodies
At the reporting date, ScreenWest (Inc.) had no related bodies as defined by TI951 Related and Affiliated Bodies.
Note 32. Affiliated bodies
Australian Writers Guild (WA) is a government affiliated body that received administrative support and a grant of $158,343 (2010: $92,249) from ScreenWest (Inc.). Australian Writer’s Guild (WA) is not subject to operational control by ScreenWest (Inc.)
Note 33. Supplementary financial information
(a) Write-offs There was no public property written off during the financial year.
54 ScreenWest Annual Report 2010-11 (b) Losses Through Theft, Defaults and Other Causes There were no losses of public moneys and public and other property through theft or default during the financial year.
(c) Gift of public property There were no gifts of public property provided by ScreenWest (Inc.)
Note 34. Schedule of income and expenses by service
ScreenWest (Inc.) operates under one service called Screen Production Industry Support and the service information is provided in the Statement of Comprehensive Income.
ScreenWest Annual Report 2010-11 55
4.2 Additional Key Performance Indicators Information
4.2.1 Certified Performance Indicators 2010-11
The Independent Auditor’s Opinion is located under Section 4.1.
SCREENWEST (INC.)
CERTIFICATION OF PERFORMANCE INDICATORS FOR THE YEAR ENDED 30 JUNE 2011
We hereby certify that the performance indicators are based on proper records, are relevant and appropriate for assisting users to assess ScreenWest Inc’s performance, and fairly represent the performance of ScreenWest Inc. for the financial years ending 30 June 2011.
Erica Smyth Chairman of Accountable Authority 24 August 2011
Catherine Ferrari Member of Accountable Authority 24 August 2011
56 ScreenWest Annual Report 2010-11
Key Efficiency and Effectiveness Indicators
4.2 Additional Key Performance Indicators Information As outlined in section 1.3 Performance Management Framework, ScreenWest’s activities contribute towards an overall government goal and desired outcome.
The primary service of ScreenWest is the delivery of strategic support and funding to advance the development of the screen production industry in Western Australia. The key efficiency and effectiveness indicators are measures of this service delivery.
Key Efficiency Indicator
Average cost per grant application processed Indicator 2009-10 2010-11 2010-11 2011-12 Actual Target Actual Target ($) ($) ($) (S) Average cost per grant 2,428 2,855 2,492 2,831 application1 processed
The cost per grant calculation excludes the Department of Culture and the Arts overheads. 1. The number of grant applications figure reflects the number of grant applications received for grants administered through ScreenWest’s Funding Program, scripts read by staff for the provision of script advice, applications for participation in industry workshops that are received and assessed by ScreenWest staff and applications that are evaluated by ScreenWest staff for programs managed by industry partners.
Key Effectiveness Indicators
This indicator is measured by the Arts Monitor community survey instrument applied by Patterson Market Research. This is an annual community survey conducted using telephone interviewing techniques.
2008-09 2009-10 2010-11 2010-11 2011-12 Notes Actual Actual Target Actual Target OUTCOME: A creative, sustainable and accessible culture and arts sector. Creativity(a) Proportion of funding applicants The 2010- satisfied with the key elements 11 Actual is based on three of the ScreenWest funding complaints programs. received during 2010-11. ScreenWest 99.3% 99.5% 99% 99.6% 99% Sustainability (b) Perceived value of the Screen Industry to the Western Australian community.
ScreenWest 78% 78% 79% 78% 79% Accessibility (c) Proportion of Western Australians that perceived the Screen Industry to be accessible.
ScreenWest 56% 58% 57% 58% 59%
ScreenWest Annual Report 2010-11 57 (a) Creativity Approximately $8.83million per annum was allocated to ScreenWest to fund its programs to produce ‘creative’ outcomes. Peer panels assess funding applications to ensure the proposed projects demonstrate significant and achievable ‘creative’ outcomes for the people of Western Australia. Comprehensive processes are in place to monitor and acquit the State’s investment in (creative) outcomes delivered via the funding programs. This Indicator measures the satisfaction of funding applicants with the funding process and provides an assessment of the film industry sector’s satisfaction with the creative outcomes being achieved through ScreenWest’s ‘creative’ funding programs.
(b) Sustainability The Sustainability KPI provides an assessment of the extent to which the community values the screen industry sector, a key element in the sustainability of the wider culture and arts sector. This Indicator was measured by the Arts Monitor 2011 community survey instrument applied by Patterson Market Research.
In relation to the Western Australian film and television industry, theArts Monitor 2011 survey indicated that 66% of respondents believe the industry is of ‘some value’, the same result as the previous year. Couples were more likely to perceive the Western Australian film and television industry as valuable compared to any other family structure, and females were more likely to value the industry than males (75% compared to 57%).
(c) Accessibility The ‘Accessibility’ KPI provides an assessment of the extent to which the Western Australian community perceives film screening events and/or productions to be accessible. This Indicator was measured by the Arts Monitor 2011 community survey instrument applied by Patterson Market Research.
4.2.2 Additional Indicators
58 ScreenWest Annual Report 2010-11 Data Source
Indicator 2007-08 2008-09 2009-10 2010-11
Value of Production ($M) 42.07 42.15 52.58 28.42 Value of ScreenWest Investment 5.23 5.33 5.17 3.75 ($M) Ratio of ScreenWest Investment to 8.04:1 7.90:1 10.18:1 7.57:1 the Total Value of Production ($)
Indicator 2007-08 2008-09 2009-10 2010-11 Hours of Production 55 72.5 67.5 39.41 Average Value of Production per $747,455 $581,355 $779,092 $721,058 Hour of Production
Data is correct as at 30 June 2011.
‘Value of Production’ refers to the total budgeted cost of feature films, television drama, documentaries and short films produced in Western Australia that have received ScreenWest funding.
‘Value of ScreenWest Investment’ refers to the amount of funding provided by State Treasury and Lotterywest that is invested by ScreenWest during a year.
‘Ratio of ScreenWest Investment to the Total Value of Production’ compares the Value of Production to the Value of ScreenWest Investment. Calculations are based on actual figures and not the rounded data reported in the table.
‘Hours of Production’ means the total number of hours produced in Western Australia on feature films, television drama, documentaries and short films that have received ScreenWest production funding. It does not include Indigenous Community Stories recordings as these are up to 8-hours each of unedited archival footage. Year to year variances in the production statistics are affected by assigning a production to a given year on the basis of its production start date, rather than the year in which it was financed or the year in which a majority of production activity took place.
As there is often a substantial time lapse between a ScreenWest commitment and the start of a production, a more useful picture can be obtained by considering two or three years together. It is not safe to draw any conclusion about trends from movements in the data in a single year.
‘Average Value of Production per Hour of Production’ divides the total Value of Production by the total number of hours of production per annum. Calculations are based on actual figures and not the rounded data reported in the table.
4.3 Ministerial Directives
ScreenWest received no Ministerial directives in 2010-11 with the exception of the Minister’s decisions in relation to the approval of funding recommendations.
ScreenWest Annual Report 2010-11 59 4.4 Other Financial Disclosures
4.4.1 Pricing Policies of Services Provided
Not applicable to ScreenWest.
4.4.2 Capital Works
No capital projects were completed during 2010-11.
4.4.3 Employment and Industrial Relations
ScreenWest staff are employed through the employing authority of the Department of Culture and theArts. Employment conditions are governed by the Public Sector Management Act 1994 (WA), the Public Service Award 1992 (WA), and the Public Service and Government Officers General Agreement 2011(WA).
The 2011 General Agreement replaced the Public Service General Agreement 2008 (WA) and took effect on 27 June 2011, backdated to 1 April 2011.
The following table summarises ScreenWest’s employee demographics as at 30 June 2011.
Employment Type Women Men Total Permanent Full-time 8 0 8 Permanent Part-time 1 0 1 Fixed Term Full-time 6 3 9 Fixed Term Part-time 0 0 0 Casual paid in previous 12 months 0 0 0 Other* paid in previous 12 months 0 1 1 Total 15 4 19
* Employees seconded in or out of the organisation or not being paid for reasons such as Leave Without Pay/ Parental leave etc.
Managing Our People
The Department’s Human Resources directorate provides services to ScreenWest to support workplace issues and needs, including the development and implementation of human resources policy, planning and development initiatives, industrial relations support and offering staff training.
Activities carried out by the HR directorate throughout the year included:
• The upgrade of the Talent 2 human resources information system occurred in conjunction with the Office Shared Services. The upgrade has resulted in an increased ability for staff and managers across the Portfolio to perform routine administrative functions and access information from the database. During the period April to June 2011, Human Resources staff conducted training sessions in the new and existing functions of the system. The same training included an introduction to iSupport, an automated system to make routine administrative inquiries through the intranet.
60 ScreenWest Annual Report 2010-11 • Management reports were developed with a view to keeping the Department and Portfolio Agencies regularly appraised of staff data and trends. The reports provide a valuable tool in identifying workforce issues, providing information for decisions and ensuring compliance. Reports are distributed on a quarterly basis.
• The development of a CEO induction program and review of the content of the Portfolio staff induction program.
• A response to the recently released guidance of the Public Sector Commission on strategic workforce directions on behalf of the Department and Portfolio Agencies. ScreenWest participated in a Portfolio reference group that identified the workforce priorities of each agency and the Department. Significant progress has been made towards the goal of having a strategic workforce plan available by June 2012. The plan will seek to address issues faced in areas such as staff development, knowledge management, recruitment and developing leadership skills.
In addition to the above, in 2010-11 ScreenWest staff attended various training and professional development opportunities as appropriate to their role. Sessions attended included X|Media|Lab Perth Pro-Day Conference, FileMaker Pro Database Training, Procurement training, Meeting Preparation and Minute Taking course, seminars by Australian Copyright Council on copyright for Government, website and social media and the National Screenwriters’ Conference.
New staff members attend the Department’s comprehensive Portfolio Induction Program.
4.5 Governance Disclosures
4.5.1 Interests of Senior Officers
At the date of reporting, other than normal contracts of employment of service, no senior officers, or firms of which senior officers are members, or entities in which senior officers have substantial interests, had any interests in existing or proposed contracts with ScreenWest and senior officers.
ScreenWest Annual Report 2010-11 61 4.6 Other Legal Requirements
4.6.1 Expenditure on Advertising, Market Research, Polling and Direct Mail
In accordance with Section 175ZE of the Electoral Act 1907, ScreenWest incurred the following expenditure in advertising, market research, polling, direct mail and media advertising:
1. Total expenditure for 2010-11 was $1,432. 2. Expenditure was incurred in the following areas:
Expenditure Area Total Amount Supplier Sub Total ($) ($) Advertising agencies Nil - 0
Market research organisations Nil - 0
Polling organisations Nil - 0 Direct mail organisations Nil - 0 Media advertising organisations 1,432.01 Job vacancies Adcorp Australia Ltd $432.01
Advertising and graphic design An Australian Film $1,000 I n i ti a ti v e P t y L td Classifieds/Listings 0
4.6.2 Disability Access and Inclusion Plan Outcomes
ScreenWest is committed to ensuring that people with disabilities, their families, friends and carers have the same opportunities, rights and responsibilities enjoyed as others, to access its services, information and facilities.
As a portfolio agency, ScreenWest is part of the Department of Culture and the Arts Disability Access and Inclusion Plan (DAIP) 2007–2011 and has been an active participant of the Disability Services Planning Committee (DSPC). The DSPC is currently drafting the 2012-2016 DAIP.
Portfolio progress towards meeting the desired outcomes of the 2007-2011 DAIP:
Outcome 1: People with disabilities have the same opportunities as other people to access the services of, and any events organised by, the Department.
The recommendations of the evaluation of the Grants for Artists with Disabilities Pilot Project are being considered as part of the Department’s funding process review.
Outcome 2: People with disabilities have the same opportunities as other people to access the buildings and other facilities of the Department.
Auditing of external access to all Department buildings has continued. A list has been developed of required building and facility amendments and the associated costs. Items have been prioritised and some funding approved.
62 ScreenWest Annual Report 2010-11 Outcome 3: People with disabilities receive information from the Department in a format that will enable them to access the information as readily as other people are able to access it.
All new publications follow the State Government Access Guidelines for Information, Services and Facilities. A variety of alternative and accessible formats are available upon request.
Outcome 4: People with disabilities receive the same level and quality of service from the staff of the Department as other people receive from the staff of the Department.
A presentation on disability access and inclusion, including customer service for people with disabilities, is included in the Culture and Arts Portfolio Induction Program that is attended by all new employees.
Outcome 5: People with disabilities have the same opportunities as other people to make complaints tothe Department.
ScreenWest’s complaints process is easily accessible online. Feedback and complaints mechanisms are in place and will be reviewed to ensure they are being appropriately implemented.
Outcome 6: People with disabilities have the same opportunities as other people to participate in anypublic consultation by the Department.
Whenever external consultations or public gatherings have taken place: consultation information has been available in alternative formats upon request where appropriate and information was written in clear, concise language; the invitation process has been accessible; and people with disabilities, their families and carers have been supported to attend through use of access requirements and accessible venues.
Outcome 7: People with disabilities have the same opportunities as other people to seek employment withthe Department.
Information and policy aimed at encouraging and facilitating the recruitment of people with disabilities has been incorporated within the Department’s Recruitment, Selection and Appointment Manual. All staff have access to the manual through the Departmental intranet.
ScreenWest Annual Report 2010-11 63 4.6.3 Compliance with Public Sector Standards and Ethical Codes
Compliance with the Public Sector Standards and Ethical Codes are assessed regularly by the Department’s Human Resources area and the Public Sector Commission (in the case of a breach claim).
In accordance with section 31 of thePublic Sector Management Act 1994 (WA), the following is a report of the extent to which ScreenWest has complied with Public Sector Standards, Western Australian Public Sector Code of Ethics and the Department’s Code of Conduct.
COMPLIANCE ISSUE SIGNIFICANT ACTION TAKEN TO MONITOR AND ENSURE COMPLIANCE Public Sector Standards • Information about Public Sector Standards is included • Nil breaches on the Department’s intranet and incorporated into the Department’s Induction Program. • The Department has delivered an Education Program to its Managers and is currently considering implementing it within the Portfolio Agencies. • Having achieved a significant improvement in participation in the Staff Development System, further improvement is being considered by the Department in the areas of quality and administrative efficiency. • The Department is reviewing its HR policies and guidelines to ensure continued compliance with the new discipline and employment standards. Western Australian Public • Training on the Code of Ethics and Code of Conduct continues Sector Code of Ethics to be covered in staff induction sessions. • Nil breaches • Staff are required to acknowledge receipt of their own copies of the codes at the time they sign their initial employment contract. • The Department currently applies the Commissioner’s Instruction: Discipline – General and regularly reviews policies and processes to ensure compliance. Code of Conduct • As above. The Code of Ethics has been incorporated as a • Nil breaches separate item within the Department Code of Conduct.
4.6.4 Recordkeeping Plans
During the year ScreenWest reviewed its Recordkeeping Plan and submitted a revised Plan to the State Records Office (SRO) in accordance with the State Records Act 2000 and State Records Commission Standards. This Plan has been registered.
ScreenWest follows the Department’s Record’s Management policy and utilises its records management system. During the year ScreenWest staff received training on TRIM, the Department’s electronic information management system. The training was provided by the Department and is supplemented by additional training as required. The Department’s Portfolio Induction Program provides new employees with information on their record management responsibilities.
64 ScreenWest Annual Report 2010-11 4.7 Government Policy Requirements
4.7.1 Substantive Equality
ScreenWest is not currently implementing the Substantive Equality Policy Framework.
Equity and Diversity
ScreenWest and the Department of Culture and the Arts are committed to equity and diversity by encouraging the employment of Indigenous Australians, young people, people with disabilities, people from culturally diverse backgrounds and women.
ScreenWest participates as a member of the Culture and the Arts Portfolio Equity and Diversity Reference Group which is responsible for the portfolio wideEqual Employment Opportunity and Diversity Management Plan 2010-12.
The ‘How Does Your Agency Compare?’ report provided yearly by the Office of Equal Employment Opportunity shows a statistical analysis of workforce diversity in the Culture and Arts Portfolio compared to the whole public sector. The information from this report is based on a 2010 Equal Employment Opportunity (EEO) survey with a responses rate of 88% across the Portfolio. This is the highest response rate achieved in the last five years. Results showed that the Portfolio exceeded the public sector representation for women in management and people from culturally diverse backgrounds. The ongoing constrained recruiting environment is making it difficult for the Portfolio to meet its goals for staff representation of Indigenous Australians, people with disabilities and youth (under 25 years). Effort in these areas is mainly focussed on retention of existing staff.
4.7.2 Occupational Safety, Health and Injury Management
Commitment
ScreenWest accepts that employee safety and health is primarily a management responsibility and is committed to ensuring a safe and healthy workplace is provided for all employees. The goal is to diminish work-related injuries and diseases. This will be achieved by developing and implementing safe systems of work and by identifying hazards and controlling risks as far as practicable.
The Culture and Arts Occupational Safety and Health (OSH) Framework sets out specified policies, work practices and procedures that have been prepared to address the hazards and hazardous work processes in the work place. These are available on the Department’s intranet.
During the year ScreenWest staff were offered the opportunity to have influenza injections and also participated in fire evacuation drills.
All Culture and Arts Portfolio staff, and their immediate family members, can access the Department’s Employee Assistance Program. This provides 24-hour, seven day a week access to a confidential and professional counselling service.
ScreenWest Annual Report 2010-11 65 Mechanisms for Consultation with Staff
The formal mechanisms for consultation with employees on OSH and injury management matters are primarily via line management. Staff are made aware of this process at their staff induction and by having access to the same information on the intranet.
Compliance with Injury Management Requirements
ScreenWest demonstrates its commitment to assist employees to return to work after a work-related injury or disease through the Department’s Injury Management Policy. Information on workers’ compensation and injury management is provided to staff at induction and via the intranet. The Department engages in formal, documented programs for employees requiring modified duties or equipment upon returning to work after an injury. Such programs are compliant with the Workers’ Compensation and Injury Management Act 1981 (WA).
Workers Compensation
ScreenWest is committed to adhering to the requirements of theWorkers’ Compensation and Injury Management Act 1981 (WA) and the Workers’ Compensation Code of Practice (Injury Management) 2005 (WA) in the event of a work- related injury. Specified policies, work practices and procedures are available for staff on the Department’s intranet.
No workers’ compensation claims arose during 2010-11.
Indicator Target 2009-10 2010-11 Number of fatalities Zero (0) 0 0 Lost time injury/disease (LTI/D) Zero (0) or 10% reduction on 0 0 incidence rate previous year Zero (0) or 10% Number of severe claims improvement on previous 0 0 year Zero (0) or 10% Lost time injury severity rate improvement on previous 0 0 year Percentage of injured workers Actual percentage result to N/A N/A returned to work within 28 weeks be reported Percentage of managers trained in occupational safety, Greater than or equal to Not Not health and injury management 50% recorded recorded responsibilities
ScreenWest has committed to deliver training to all its line managers in OSH and injury management responsibilties in 2011-12.
66 ScreenWest Annual Report 2010-11
APPENDICES
Appendix 1: Assessment Meetings and Members 2010-11...... 68 Indicator Target 2009-10 2010-11 Number of fatalities Zero (0) 0 0 Appendix 2: Lost time injury/disease (LTI/D) Zero (0) or 10% reduction on Productions with ScreenWest Funding 2010-11 ...... 73 0 0 incidence rate previous year Zero (0) or 10% Number of severe claims improvement on previous 0 0 Appendix 3: year Funding Approvals 2010-11 ...... 82
Zero (0) or 10% Lost time injury severity rate improvement on previous 0 0 year Percentage of injured workers Actual percentage result to N/A N/A returned to work within 28 weeks be reported Percentage of managers trained in occupational safety, Greater than or equal to Not Not health and injury management 50% recorded recorded responsibilities
ScreenWest Annual Report 2010-11 67 APPENDIX 1: ASSESSMENT MEETINGS AND MEMBERS 2010-11
Members’ Key * ScreenWest Staff Member ** ScreenWest Board Member
FUNDING INITIATIVE MEETING DATE ASSESSORS
Project Development Investment Fund - 16 August 2010 Rikki Lea Bestall* Documentary and TV Francesca Hope Natalie Bell
Tele-Navigator Development Grant 2010 20 August 2010 Rikki Lea Bestall* Amanda Higgs
Audience and Industry Engagement 13 September 2010 Neta Gill* Program Joanna Hos* Damien Blythe
Feature Navigator 15 September 2010 Rikki Lea Bestall* Adam Isitt Ross Hutchens
Courses Committee 21 September 2010 Vikki Barr* Barbara Connell Kim Lord Evangeline Than Michael McCall David Revill Kelrick Martin Tanya Wheatley Carol Brearley
Tele-Navigator Consultation Week 24 September 2010 Rikki Lea Bestall* Barbara Connell Mike Bullen
General Productionand 28 September 2010 Jacqueline Willinge Production Attraction Fund Ross Hutchens Andrew Lewis** Rikki Lea Bestall* Shannon Jenkins* Vikki Barr* Ian Booth* Harry Bardwell*
68 ScreenWest Annual Report 2010-11 FUNDING INITIATIVE MEETING DATE ASSESSORS
Project Development Investment Fund - 29 September 2010 Rikki Lea Bestall* Features Richard Hyde Tracey Defty-Rashid
Project Development Documentary and TV 10 November 2010 Rikki Lea Bestall* Celia Tait Dan Brown
Short Film Marketing 10 November 2010 Rikki Lea Bestall* Joanna Hos*
Digital Breakout and Digital Scoping 19 October 2010 Aidan O’Bryan** Development Funding Caroline Middleton* Aaron Kennedy*
General Production Fund Panel 6 December 2010 Ian Booth* Harry Bardwell* Vikki Barr* Mark Donaldson* Cath Trimboli Chris Hetherington Andrew Lewis**
Courses Committee 15 December 2010 Vikki Barr* Barbara Connell Kim Lord Evangeline Than Carol Brearley
Tele-Navigator Development Grant 11 January 2011 Rikki Lea Bestall* Mike Bullen
MDA / ScreenWest Cross-Media 12 January 2011 Tim Parsons Development Felicity McVay Mike Rich Nick Love Michelle Glaser* Harry Bardwell* Marcus Lim
SBS / ScreenWest Digital Factual 18 January 2011 Michelle Glaser* Harry Bardwell* Nick Doherty Shelley Hepworth
ScreenWest Annual Report 2010-11 69 FUNDING INITIATIVE MEETING DATE ASSESSORS
Feature Film Development 27 January 2011 Rikki Lea Bestall* Sue Taylor Chris Watson
Feature Navigator Development Grant 9 February 2011 Rikki Lea Bestall* Adam Isitt
Documentary and TV Development 14 February 2011 Rikki Lea Bestall* Ray Pedretti Jodie De Barros
Audience and Industry Engagement 23 February 2011 Neta Gill* Program Jo Hos* Lauren Elliot
Bill Warnock Award Shortlist 25 February 2011 Rikki Lea Bestall* Adam Isitt Chris Pip
Bill Warnock Award Final Panel 11 March 2011 Rikki Lea Bestall* Adam Isitt Barbara Connell
General Production Fund 16 March 2011 Ian Booth* Harry Bardwell* Vikki Barr* Rikki Lea Bestall* Brian Beaton Ross Hutchens Alan Lindsay**
Business Development Fund - Stage One 21 March 2011 Catherine Ferrari** Ian Booth* Caroline Middleton* David Court
West Coast Visions - Shortlisting 24 March 2011 Rikki Lea Bestall* Nathaniel Moore Sue Murray
Feature Navigator - Phase One 11 April 2011 Rikki Lea Bestall* Development Grant Barbara Connell
70 ScreenWest Annual Report 2010-11 FUNDING INITIATIVE MEETING DATE ASSESSORS
West Coast Visions - Finalist 11 - 12 April 2011 Rikki Lea Bestall* Scott Meek Jan Chapman
Courses Committee 13 April 2011 Vikki Barr* Barbara Connell Kim Lord Kelrick Martin Lawrie Hill
Production Attraction Fund 19 April 2011 Ian Booth* Harry Bardwell* Vikki Barr* Mark Donaldson* Andrew Lewis** Melissa Kelly Ross Hutchens
Short Film Marketing 21 April 2011 Rikki Lea Bestall* Neta Gill*
Documentary and TV - Seed Development 16 May 2011 Rikki Lea Bestall* Carmelo Musca Francesca Hope
Feature Film Development 26 May 2011 Rikki Lea Bestall* Victor Gentile Meg Shields
Business Development Fund - Stage Two 30 May 2011 Catherine Ferrari** Peter Rowe** Ian Booth* Caroline Middleton* David Court
Digital Production Breakoutand First in 7 June 2011 Michelle Glaser* Round Troy Zafer Louise O’Donnell
ScreenWest Annual Report 2010-11 71 FUNDING INITIATIVE MEETING DATE ASSESSORS
General Production Fund 9 June 2011 Harry Bardwell* Vikki Barr* Mark Donaldson* Jacqueline Willinge Jodie De Barros Alan Lindsay**
Tele-Navigator Phase One Grant 9 June 2011 Rikki Lea Bestall* Adam Isitt
72 ScreenWest Annual Report 2010-11 APPENDIX 2: PRODUCTIONS WITH SCREENWEST FUNDING 2010-11
The following projects all entered Principal Photography in 2010-11.
DRAMA
DRIFT 1 x 120 min Feature Film Production Company: World Wide Mind Films Producers: Tim Duffy, Michele Bennett, Myles Pollard, Joan Peters Director: Morgan O’Neill, Ben Nott Writer: Morgan O’Neill Original Story: Morgan O’Neill, Tim Duffy DOP: Geoffrey Hall Distributor: TF1 ScreenWest Initiative: Production Attraction Fund
Synopsis: In the 70’s two brothers battle killer waves, straight society and ruthless bikers to kick-start the modern surf industry.
MAL.COM 13 x 15 min Children’s Sitcom Production Company: Animazing Productions Producer: Susie Campbell Directors: David Swann, Steve Peddie Writers: Kym Goldsworthy, Mark Shirrefs, Dan Osborn, Vincenzo Perrella, Tim Pye, Gina Roncoli, Drew Proffitt, Chris Hawkshaw DOP: Michael McDermott Editors: Meredith Watson Jeffrey, Ralph Strasser Broadcaster: ABC3 ScreenWest Initiative: West Coast Kids
Synopsis: Two teenage orphans, Jake and Daisy, and the mysterious Kid, stumble on television’s biggest secret. Malcom Mann, TV3’s most popular host, is a robot! Holly, Malcom’s ruthless and greedy producer, is desperate to keep it a secret so the kids offer her a deal. They’ll keep quiet if she gives them a home. And so an offbeat family is born.
ScreenWest Annual Report 2010-11 73 DOCUMENTARY
AN AWKWARD TRUTH 1 x 52 min Documentary Production Company: Artemis International Producer: Brian Beaton Line Producer: Karen Williams Director: Steve Peddie Writer: Steve Peddie DOP: Torstein Dyrting Editor: David Fosdick Broadcaster: History Channel ScreenWest Initiative: General Production Fund
Synopsis: Drawing on long-hidden documents, including the Lowe Royal Commission and first person accounts, An Awkward Truth reveals the truth surrounding the bombing of Darwin in 1942 and takes us into the lives of people who were there.
GALLERY OF EVERYDAY THINGS 8 x 30 min Documentary Series Production Company: Great Western Entertainment and Infinite Frameworks Pty Ltd Producer: Paul Barron, Freddie Yeo Director: Edward McQueen-Mason and others TBC Writer: Paul Payne, Bridget Curran Editor: Edward McQueen-Mason Broadcaster: ABC1 ScreenWest Initiative: Matched Primetime TV Production Fund
Synopsis: The extraordinary stories behind the ordinary things we use in everyday modern life.
JACK THE RIPPER: THE CASE REOPENED 1 x 52 min Documentary Production Company: Prospero Productions Producers: Ed Punchard, Julia Redwood Director: Franco Di Chiera Writer: Franco Di Chiera DOP: Simon Smith Editor: Roland Smith Broadcaster: Discovery Canada, UKTV, Channel 7 ScreenWest Initiative: General Production Fund
Synopsis: The story of Jack the Ripper is one of the most gruesome and infamous unsolved crimes in history. A horrific killing spree, which exposed the darkest recesses of Victorian London, leaving a city gripped in terror. Today, more than 120 years later, modern science may hold the key to cracking the case. In a laboratory in Australia, lies what is believed to be the skull of Australia’s first serial killer, Frederick Deeming. At the time of his execution in 1892, Deeming was a suspect in the Jack the Ripper case. In a recent experiment DNA was extracted from the skull. Now a modern investigation is underway to find out if Deeming could have done it. Can modern medical science finally catch Jack the Ripper?
74 ScreenWest Annual Report 2010-11 DOCUMENTARY CONT
JANDAMARRA’S WAR 1 x 55 min Documentary Production Company: Wawili Pitjas, Electric Pictures Producers: Eileen Torres, Andrew Ogilvie Director: Mitch Torres Writer: Mitch Torres DOP: Allan Collins Editor: Lawrie Silvestrin Broadcaster: ABC TV ScreenWest Initiative: Matched Primetime Television Production Fund
Synopsis: In the pantheon of Australia outlaw heroes there are no Aborigines. The time has come to add the mythic name of Jandamarra. * Some documentary filming for Jandamarra’s War took place in 2009-10. The drama filming took place in 2010-11. The production has been included in statistical data for 2010-11 only.
MAN WHO JUMPED 1 x 52 min Documentary Production Company: Prospero Productions Producer: Ed Punchard, Julia Redwood Director: Russell Vines Development Writer: John McCourt Editor: Lawrie Silvestrin ScreenWest initiative: General Production Fund
Synopsis: In 2002, footage of an asylum seeker leaping onto razor wire at Woomera Detention Centre made front-page news around the world and became one of the most provocative and enduring images of the decade. But who was the man who jumped, why did he do it and what happened to him?
MY MUM TALKS TO ALIENS 1 x 52 min Documentary Production Company: Joined Up Films Producers: Jacqueline Willinge, Dan Brown Director: Dan Brown Writers: Dan Brown DOP: Jim Frater Editors: Merlin Cornish Broadcaster: SBS ScreenWest Initiative: Secrets & Lives
Synopsis: On the surface, mother and son Mary and Chris Rodwell have a normal, loving relationship but there is one issue that is driving a wedge between them - the existence of Extraterrestrial life. Chris is a vet, a man of science and a self-confessed sceptic whilst Mary is the leading Australian authority on Extraterrestrial phenomena. Something has to give! Packing nothing but an open mind, Chris has agreed to enter Mary’s world and has given his mother one month to convince him that the truth really is ‘out there’.
ScreenWest Annual Report 2010-11 75 DOCUMENTARY CONT
NED’S HEAD 1 x 52 min Documentary Production Company: Prospero Productions Producers: Ed Punchard, Julia Redwood Director: Rebecca Ciallella Writers: John McCourt, Rebecca Ciallella Broadcaster: SBS ScreenWest Initiative: General Production Fund
Synopsis: This riveting documentary exclusively follows the work of scientists from the Victorian Institute of Forensic Medicine as they investigate one of Australia’s greatest mysteries. Is a skull that has been recently handed in that of the famous bushranger, Ned Kelly?
SAS: The Search for Warriors 2 x 52 min Documentary Series Production Company: Prospero Productions Producers: Ed Punchard, Julia Redwood Director: Russell Vines Writer: John McCourt DOP: Gavin Johns, Nathan Hayter Editors: Peter Pritchard, Teresa Ashton Graham Broadcaster: SBS ScreenWest Initiative: General Production Fund
Synopsis: To join the ranks of Australia’s elite SAS regiment you’ve got to make it through one of the toughest training courses in the world.
SINGAPORE 1942 2 x 52 min Documentary Series Production Company: Electric Pictures Producers: Andrew Ogilvie, Trevor Graham, Andrea Quesnelle, Ned Lander Director: Don Featherstone Writer: Don Featherstone DOP: Jim Frater Editor: Lawrie Silvestrin Broadcaster: SBS ScreenWest Initiative: General Production Fund
Synopsis: The fall of Singapore shattered myths, bought an empire to its knees and changed the destiny of millions of people.
76 ScreenWest Annual Report 2010-11 DOCUMENTARY CONT
THE SECRET HISTORY OF THE EUROVISION SONG CONTEST 2 x 52 min and 1 x 90 min Documentary Series Production Company: Electric Pictures and Brook Lapping Productions Producers: Andrew Ogilvie, Andrea Quesnelle, Trevor Graham Director: Steve Oliver Writer: Steve Oliver DOP: Jim Frater Editor: Andrew Arestides Broadcaster: SBS, Channel 4, YLE, DR2, SVT, RTE, NRK, NTR, WDR, VRT, BBC ScreenWest Initiative: General Production Fund
Synopsis: Fun, lively and insightful, this is the inside story of how the Eurovision Song Contest not only helped change the face of Europe, but became the most popular live music show on Earth.
WHO DO YOU THINK YOU ARE – SERIES 4 6 x 52 min Documentary Series Production Company: Artemis International & Serendipity Productions Producers: Brian Beaton, Margie Bryant, Celia Tait, Robin Eastwood Directors: Kay Pavlou, Russell Vines, Max Walker, Jane Manning, Victoria Pitt Writers: Kay Pavlou, Russell Vines, Max Walker, Jane Manning, Victoria Pitt Broadcaster: SBS ScreenWest Initiative: General Production Fund
Synopsis: Well-known Australians play detective as they go in search of their family history, revealing secrets from the past. Taking us to all corners of Australia and the globe are six stories of individuals seeking to find the definitive answer to where they came from. Along the way secrets are uncovered and histories are revealed — with each individual discovering that their ancestors form an integral part of not only their own identity, but that of the nation. Combining emotional and personal journeys with big-picture history, these inspiring and sometimes challenging stories remind us how Australians have come to be the people that we are today.
WHO’S BEEN SLEEPING IN MY HOUSE? 8 x 26 min Documentary Series Production Company: Joined Up Films Producers: Jacqueline Willinge, Dan Brown Directors: Dan Brown, Andrew Saw Post Production Directors: Victoria Midwinter Pitt, Phillipa Hutcheson Post Production Supervisor/Director: Katherine Barrett Camera: Jim Frater, Dave Le May, Robert Koenig-Luck Editors: Roland Smith, Beckett Broda, Jonathan Rowdon Broadcaster: ABC ScreenWest Initiative: Matched Primetime TV Production Fund
Synopsis: Each week we visit what appears to be an ordinary Australian house that might be in any neighbourhood from Balmain or Coolgardie; a house you might drive past every day and never give a second look. And yet within its rooms are the hidden stories of our past; the lives of the people who lived, bore children, died or just moved on. This is our history, told by the people who have slept in our homes.
ScreenWest Annual Report 2010-11 77 INDIGENOUS LOW BUDGET TV PRODUCTION
STRAIGHT SHOOTIN’ 10 x 26 min Lifestyle Show Production Company: Spear Point Productions Pty Ltd Executive Producer: Kelrick Martin Producer: Robyn Marais Cross Media Producer: Danielle Giles Director: Kelrick Martin Writer: Kelrick Martin Camera Operators: Robert Koening-Luck, Armin Azad, Leigh McDonald, Ian Markey Director/Switcher: Deanna Watson Broadcaster: National Indigenous Television (NITV) ScreenWest Initiative: Indigenous Low Budget TV Production Fund
Synopsis: Straight Shootin’ is a candid, lively and unapologetic look at Indigenous life – offering up helpful hints and opinions that will shock the senses and tickle the funny bone! A no holds barred, Indigenous women’s talk show presented by the Queen of the Kimberley Mary G with panellists Rosanna Angus, Dr Sue Gordon AM, Meggan Grose and Marianne Mackay.
WAABINY TIME SERIES 2 10 x 26 min Children’s Entertainment Production Company: l’unica Productions Producer: Cath Trimboli Directors: Irma Woods, Cath Trimboli Writers: Charmaine Bennell, Sharon Gregory Camera: Todd Russell, Casey Grogan, Claire Leeman, Gavin Johns, Atilla Bak, Alicia Gibbs Editors: Todd Russell, Jules Duncan Broadcaster: National Indigenous Television (NITV) ScreenWest Initiative: Indigenous Low Budget TV Production Fund
Synopsis: Children’s variety program exploring Noongar language.
DIGITAL
SOUND CHAMBER Cross-Platform: Installation, Website Application, Short Film 1 x 4 min 16 sec Producers: Yvette Coyne, Amanda Morrison Documentary Director: Sharon Meredith Technical Director: Malcolm Riddoch Artist: Kynan Tan Broadcaster: ABC ScreenWest initiative: iArts (DCA, ABC, ScreenWest)
Synopsis: The first project of its kind in Australia, the Sound Chamber is both an interactive sound-art installation and a participatory online experience in which the users themselves can become the artists.
78 ScreenWest Annual Report 2010-11 ANIMATION
GOD SQUAD 1 x 20 min Adult Animation Production Company: ZAC Toons Producers: Troy Zafer, Jemma Cook Directors: Nick Kempt, Emma Camden Writers: Brendan Luno, Chad Fifer Editor: Nick Kempt Broadcaster: SBS ScreenWest Initiative: General Production Fund
Synopsis: God Squad is an animated send-up of gritty police dramas in which the gods of various past and present religions play the principal roles as cops and criminals.
DEADLY YARNS 5
RUNNING RIOT 1 x 5 min Short Drama Production Company: Wawili Pitjas Producer: Eileen Torres Director: Cornel Ozies Writer: Cornel Ozies Editors: Cornel Ozies, Clinton Ferstl Broadcaster: ABC ScreenWest Initiative: Deadly Yarns
Synopsis: Living with his grandparents on a remote cattle station in the Kimberley, Hank has just won an online tournament and a spot at the world gaming series. His worlds begin to collide and confusion sets in as to what he will do.
TELLING OUR STORY 1 x 5 min Short Drama Production Company: Ramu Productions Producer: Jodie Bell Director: Arnhem Hunter Writer: Arnhem Hunter Editor: Kim West Broadcaster: ABC ScreenWest Initiative: Deadly Yarns
Synopsis: A timeline of Aboriginal oral history communication from pre-contact times to the present day through poetry coming to life on screen.
ScreenWest Annual Report 2010-11 79 LINK/HYPERLINK SHORT FILM
AMBULANCE 1 x 9 min Short Film Producer: Erin Duncan Director: Stephen McCallum Writer: Stephen McCallum, Gerald Lillywhite DOP: Allan Myles Editor: Chris Trappe ScreenWest Initiative: Link/Hyperlink – FTI
Synopsis: A paramedic is involved in a collision of fate that provides him with the opportunity to heal.
CROSSHAIRS 1 x 11 min Short Film Production Company: 17° South Films Producer: Dan Wood Director: Mike Hoath Writer: Peter Templeman Editor: Ivan Davidov ScreenWest Initiative: Link/Hyperlink – FTI
Synopsis: Caught poaching a lamb, two brothers must decide how far they’re willing to go to get away.
GEORGE JONES & THE GIANT SQUID 1 x 14 min Short Film Producer: Ella Wright Directors/Writers: Vincenzo Perrella, Dan Osborn DOP: Mick McDermott Editor: Leanne Cole ScreenWest Initiative: Link/Hyperlink - FTI
Synopsis: George Jones would do anything to escape his island home – but everyone knows one toe in the water spells certain death.
ONE NIGHT ONLY 1 x 10 min Short Film Producer: Michael Facey Director/Writer: Pete Gurbiel DOP: Anthony Hanson Editor: Regg Skwarko ScreenWest Initiative: Link/Hyperlink – FTI
Synopsis: A clown returns home for first time since running away to join the circus as a young boy.
80 ScreenWest Annual Report 2010-11 LINK/HYPERLINK SHORT FILM CONT
PERISHED 1 x 12 min Short Film Production Company: SARFilms Producer: Aaron McCann Directors/Writers: Aaron McCann, Stefan A. Radanovich Editor: Stefan A. Radanovich ScreenWest Initiative: Link/Hyperlink - FTI
Synopsis: An irresponsible man finds himself locked in a shed amidst a zombie outbreak and must learn to confront his fears or face starvation.
ScreenWest Annual Report 2010-11 81 APPENDIX 3: FUNDING APPROVALS 2010-11
Amounts listed are the approved commitments by ScreenWest and may not be the final amounts contracted or paid.
PROJECT DEVELOPMENT
RECIPIENT PROJECT TITLE FORMAT AMOUNT NOTES Shotcut Productions Dead Cool Feature $ 20,000 Artemis International An Awkward Truth Documentary $ 13,020 Lei-lou Creative WestSide Central Children’s Series $ 20,000 Great Western Entertainment Tyger, Tyger Children’s Series $ 9,090 Chris Watson The Concrete Submarine Feature $ 15,000 Ethan Marrell Tinglewood Feature $ 10,000 Circling Shark Productions Vanished Feature $ 10,000 Media World Pictures The Saviour - Script Feature $ 65 reader’s report World Wide Mind Films Drift - Fourth draft script Feature $ 20,000 Victor Gentile Feature Film Development Assessment Panel $ 2,000 - Script Reader Reports Barbara Connell Feature Film Development Assessment Panel $ 2,500 - Script Reader Reports Jocelyn Quioc Akathaso Feature $ 10,000 Jules Duncan Deathbed Confessions Feature $ 12,200 Transcendence Media Father’s Day Feature $ 10,000 Justin Beckett Never Let Me Down Feature $ 5,000 CM Film Productions Black Dog Blue Planet Documentary $ 13,000 Andrew Lewis The Damned Feature $ 20,000 Storyteller Media Group Before It’s Too Late Documentary $ 7,000 Lapsed $7000 Rumbalara Films Dirt Music Feature $ 25,000 Taylor Media Seed Funding-Projects TBC Television Series $ 15,000 Prospero Productions Resurrecting The Mam- Documentary $ 14,000 moth Prospero Productions Metal Detectives Documentary Series $ 19,000 Filmscope Entertainment The Last Road Feature $ 20,000 The Penguin Empire The Rot Feature $ 15,000 McRobbie Productions Blackout Feature $ 10,000 Everythingdances Jump Feature $ 20,000 Vue DC Piccolo Feature $ 100,000 Great Western Entertainment Gallery of Everyday Things Documentary Series $ 25,000 Emergency Development CM Film Productions In Focus Documentary Series $ 20,280 Emergency Development Little Star Productions Comic Book Story Documentary $ 20,000 Emergency Development Mago Films Off the Beaten Track Documentary Series $ 9,548 Emergency Development Sub-Total $ 511,703 Lapsed $ 7,000 Total $ 504,703
82 ScreenWest Annual Report 2010-11 PROJECT DEVELOPMENT CONT
RECIPIENT PROJECT TITLE FORMAT AMOUNT NOTES Prospero Productions The Man Who Jumped Documentary $ 10,000 Matched with SBS Animazing Productions Mal.com - 2nd Stage Development Children’s Series $ 17,600 Matched with ABC and ACTF Taylor Media The Graduates Television Series $ 25,000 Lapsed $7000 Matched with ABC Taylor Media Murderer No More Tele-Movie $ 25,000 Matched with Seven Network Great Western Entertainment Serangoon Road Television Series $ 25,000 Matched with ContentFilm Great Western Entertainment Tyger, Tyger Children’s Series $ 10,000 Matched with ABC Electric Pictures The Australian Wine Revolution Documentary $ 20,000 Matched with ABC Sub-Total $ 132,600 Lapsed $ 7,000
Total $ 125,600
WEST COAST VISIONS DEVELOPMENT
RECIPIENT PROJECT/DESCRIPTION FORMAT AMOUNT NOTES Media World Pictures Dieback – Script reader’s report by Feature $ 1,486 Paul Chitlik Media World Pictures Dieback – Script reader’s report by Feature $ 6,000 Simon van de Borgh Media World Pictures Dieback - Further script Feature $ 15,000 development 8th In Line Productions These Final Hours Feature $ 25,000 West Coast Visions TBC Feature $ 17,514 Development Total $ 65,000
W RITERS DEVELOPMENT INITIATIVES
RECIPIENT PROJECT/DESCRIPTION FORMAT AMOUNT NOTES Australian Writers’ Guild Tele-Navigator 2011 - Phase One Tele-Navigator $ 9,827 (WA) Art Gallery of WA Tele-Navigator 2011 - Phase One Tele-Navigator $ 974 Jules Duncan Vernon James Television Series $ 3,500 Leon Ewing The Artist in Residence Television Series $ 3,500 David Smith Family Tree Television Series $ 2,500 Sue Taylor Family Tree - Script Consultant Television Series $ 1,000 Renee Webster Consummate Professionals Television Series $ 3,500 Australian Writers’ Guild Tele-Navigator Phase 1 and 2 - Tele-Navigator $ 37,787 Lapsed (WA) and Various Screen Australia Contribution $2818.19
ScreenWest Annual Report 2010-11 83 WRITERS DEVELOPMENT INITIATIVES CONT
RECIPIENT PROJECT TITLE FORMAT AMOUNT NOTES Australian Writers’ Guild (WA) Tele-Navigator Phase 3 - Tele-Navigator $ 6,000 Lapsed $275 and Various Screen Australia Contribution TBC Tele-Navigator - Screen Tele-Navigator $ 3,713 Lapsed Australia Contribution $1341.82 Australian Writers’ Guild (WA) Feature Navigator Phase 1 Feature Navigator $ 24,091 Lapsed and Various Q&A $20.95 Australian Writers’ Guild (WA) Feature Navigator - Screen Feature Navigator $ 10,000 and Various Australia Contribution Jocelyn Quioc The Red Bride Feature $ 20,000 Kate Separovich Play Things Feature $ 20,000 Adam Isitt Frozen Secrets Feature $ 3,500 Jules Duncan Deathbed Confessions Feature $ 3,500 Helen Mulroney Penny’s Worth Feature $ 3,500 Sub Total $ 156,892 Lapsed $ 4,456 Total $ 152,436
SPECIAL INITIATIVES
RECIPIENT PROJECT/DESCRIPTION FORMAT AMOUNT NOTES TBC Digital Stepping Stones $ 200,000 Initiative Total $ 200,000
STATE LOCATION AND CREW SUPPORT SERVICES
RECIPIENT DESCRIPTION AMOUNT NOTES Goalpost Pictures Location Scouting Assistance on Harvest $ 1,282 Shelley Guy Productions Location Scouting Assistance on The $ 600 Grandmothers Montague Production Services Location Scouting Assistance on Drift $ 2,000 Tim Burns Productions Location Scouting Assistance on The $ 7,906 Grandmothers Animazing Productions Contribution towards Sunset Hospital $ 5,000 maintenance Tim Burns Productions Peel Regional Website $ 7,500 Animazing Productions Contribution towards Sunset Hospital $ 4,305 maintenance Total $ 28,593
84 ScreenWest Annual Report 2010-11 PRODUCTION FUNDING
RECIPIENT PROJECT TITLE FORMAT AMOUNT NOTES Artemis International Who Do You Think You Documentary Series $ 231,549 Are? Series 4 Zac Toons God Squad Animation $ 42,540 Prospero Productions The Man Who Jumped Documentary Single $ 84,208 Electric Pictures Singapore 1942 Documentary Series $ 185,788 Lapsed $22065 Prospero Productions Jack the Ripper: The Case Documentary Single $ 97,344 Re-opened Prospero Productions Mutha Truckers Documentary Single $ 174,000 SB Films Satellite Boy Feature $ 160,000 Artemis International The Bombing of Darwin - Documentary Single $ 74,440 An Awkward Truth Zinc Finger Films & Cordell Sundowner Feature $ 422,984 Jigsaw Productions Artemis International The Bombing of Darwin - Documentary Single $ 5,500 Increased. Total commitment An Awkward Truth $79,940 Artemis International Who Do You Think You Documentary Series $ 441,271 Are? Series 5 Prospero Productions Gallipoli’s Deep Secrets Documentary Single $ 36,000 WA Crew Employment Incentive Fund Prospero Productions Pirate Patrol Documentary Series $ 48,400 WA Crew Employment Incentive Fund Needle Productions Needle Feature $ 50,000 WA Crew Employment Incentive Fund Prospero Productions Dino Stampede Documentary Single $ 16,063 WA Crew Employment Incentive Fund Electric Pictures Skin Deep Documentary Single $ 35,273 WA Crew Employment Incentive Fund Prospero Productions SAS: The Search for Documentary Series $ 40,406 WA Crew Employment Warriors Incentive Fund Artemis International Who Do You Think You Documentary Series $ 73,858 WA Crew Employment Are? Series 3 Incentive Fund Sub-Total $ 2,219,624 Lapsed $ 20,270 Total $ 2,199,354
ScreenWest Annual Report 2010-11 85 ABC MATCHED PRIMETIME TELEVISION PRODUCTION FUND
RECIPIENT PROJECT TITLE FORMAT AMOUNT NOTES Joined Up Films Who’s Been Sleeping in My Documentary Series $ 5,000 Matched ABC House? funding TBC ScreenWest ABC Factual Various $ 640,000 Entertainment Initiative Sara Ramsden ScreenWest ABC Factual Workshop $ 5,000 Entertainment Workshop Mago Films Life Architecturally (AKA Documentary Single $ 10,000 Funding to com- plete 1hr version Arthouse) of project Various ScreenWest ABC Factual Workshop $ 636 Lapsed $300.54 Entertainment Workshop Prospero Productions Nurses Documentary Series $ 10,000 Prospero Productions Vets Documentary Series $ 5,000 Artemis International Dream House Documentary Series $ 8,050 Electric Pictures Peppermint Grove Documentary Series $ 20,000 Spear Point Productions Yagan Documentary Single $ 130,000 Zinc Finger Films & Do or Die Documentary Series $ 337,500 Essential Media & Entertainment Prospero Productions Vets - Part 2 Documentary Series $ 25,000 Sub-total $ 1,191,186 Lapsed $ 301 Total $ 1,190,885
PRODUCTION ATTRACTION FUND
RECIPIENT PROJECT/DESCRIPTION FORMAT AMOUNT NOTES TBC Production Attraction Fund TBC $ 500,000 Total $ 500,000
WEST COAST VISIONS INITIATIVE
RECIPIENT PROJECT/DESCRIPTION FORMAT AMOUNT NOTES 8th In Line Productions These Final Hours Feature $ 750,000 Total $ 750,000
86 ScreenWest Annual Report 2010-11 PROFESSIONAL ATTACHMENTS, PLACEMENTS AND MENTORSHIPS
RECIPIENT PROJECT/DESCRIPTION INITIATIVE AMOUNT NOTES Artemis International / Production Assistant Attachment to Attachment $ 3,000 Peter Brown Stuart Grieg and Cath Trimboli on Desperately Seeking Doctors: The Kimberley Southern Star Productions Scriptwriting Attachment to Sarah Smith Attachment $ 4,495 No. 10 Pty Ltd / on Rescue Special Ops: Series 3 Magda Wozniak Southern Star Productions Scriptwriting Attachment to Sarah Smith Attachment $ 1,496 No. 10 Pty Ltd / on Rescue Special Ops: Series 3 - 2 week Magda Wozniak extension Porchlight Films / Producers Assistant Attachment to Attachment $ 8,021 Tenille Kennedy Vincent Sheehan on The Hunter Animazing Productions / Sound Attachment to Glenn Dillon on Attachment $ 3,407 Pamela Fuentes Mal.com Animazing Productions / Producer Placement with Susie Campbell Placement $ 10,000 Evangeline Than on Mal.com Krasnoff/Foster Productions Producer Internship with Krasnoff/ Placement $ 25,000 / Michael James Searle Foster Productions CM Film Productions / Editor Placement with Carmelo Musca Placement $ 10,000 Nick Dunlop on (International Version) Deep Sleep No More Odin’s Eye Entertainment / Sales Agent Placement with Michael Placement $ 11,500 Kate Separovich Favelle at Cannes Film Market 2011 Revelation Perth Marketing & Communications Placement Placement $ 3,600 International Film Festival with Suzanne Worner/Kate Wilson for Inc / Emma Poletti Revelation Perth International Film Festival 2011 RKPix / Yvette Coyne Producer Mentorship with Amanda Mentorship $ 5,000 Morrison on The Sound Chamber Great Western Writer Mentorship with Simon Nasht on Mentorship $ 5,000 Entertainment / Paul Barron Gallery of Everyday Things Ethan Marrell Writer Mentorship with Paul Chitlik on Mentorship $ 5,026 Tinglewood l’unica Productions / Project Development and Mentorship $ 9,945 Cath Trimboli Pre-production Mentorship with Nick Hopkin on Waabiny Time: Series 2 Ikandy Films / Carol Seeley Producer Mentorship with Janine Mentorship $ 5,000 Hosking on 35 Letters Zac Toons / Troy Zafer Script Editor Mentorship with Brendan Mentorship $ 7,300 Luno on God Squad Animazing Productions / Production Accountant Mentorship with Mentorship $ 10,000 Andrew Kendall Robert Hay on Mal.Com Regan Bennett Script Consultant Mentorship with Andy Mentorship $ 1,400 Lapsed Cox on Yilgarn Street $126.49 8th In Line Productions / Production Management Mentorship Mentorship $ 5,000 Liz Kearney with Jane Sullivan on These Final Hours CROW Media and Production Management Mentorship Mentorship $ 9,735 Communications / with Liz Sward on Harvest Rob McGlynn
ScreenWest Annual Report 2010-11 87 PROFESSIONAL ATTACHMENTS, PLACEMENTS AND MENTORSHIPS CONT
RECIPIENT PROJECT/DESCRIPTION INITIATIVE AMOUNT NOTES RKPix / Taryne Laffar Digital Production Mentorship with Mentorship $ 3,000 Amanda Morrison on BlackTrax RKPix / Yvette Coyne Digital Production Mentorship with Mentorship $ 5,000 Amanda Morrison on The Adventures of Bradley Krasnoff/Foster Productions Producer Internship with Krasnoff/Foster Placement $ 25,000 Third party contribution / Michael James Searle Productions Screen Australia Sub-total $ 176,925 Lapsed $ 126 Total $ 176,799
BUSINESS DEVELOPMENT FUND
RECIPIENT DESCRIPTION AMOUNT NOTES Artemis International Business Development Fund 2011 $ 60,000 Content Licence Exchange Business Development Fund 2011 $ 60,000 (CLX) WBMC Business Development Fund 2011 $ 80,000 Total $ 200,000
TRAVEL ASSISTANCE
RECIPIENT EVENT/DESCRIPTION INITIATIVE AMOUNT NOTES Great Western Travel Assistance: Established Production Established $ 8,250 Entertainment Company 2010-11 (MIPCOM & Round Production the World) Company Electric Pictures Travel Assistance: Established Production Established $ 6,250 Company 2010-11 (MIPCOM) Production Company Great Western Travel Assistance: Established Production Established $ 18,000 Entertainment Company 2010-11 Production Company Artemis International Travel Assistance: Established Production Established $ 21,800 Company 2010-11 Production Company Electric Pictures Travel Assistance: Established Production Established $ 17,000 Company 2010-11 Production Company Media World Pictures Travel Assistance: Established Production Established $ 15,250 Lapsed Company 2010-11 Production $2343 Company Prospero Productions Travel Assistance: Established Production Established $ 6,250 Company 2010-11 (MIPCOM) Production Company
88 ScreenWest Annual Report 2010-11 TRAVEL ASSISTANCE CONT
RECIPIENT EVENT/DESCRIPTION INITIATIVE AMOUNT NOTES Filmscope Entertainment Travel Assistance: Established Production Established $ 6,250 Company 2010-11 (MIPCOM) Production Company Prospero Productions Travel Assistance: Established Production Established $ 28,750 Company 2010-11 Production Company Filmscope Entertainment Travel Assistance: Established Production Established $ 28,750 Company 2010-11 Production Company WBMC American Distribution Screenings for Markets & $ 3,000 Wasted on the Young Conferences Factor 30 Films 37 South, MIFF 2010, Melbourne Markets & $ 1,500 Conferences Circling Shark Productions MIPCOM 2010, France Markets & $ 6,200 Lapsed Conferences $620 Zac Toons MIPCOM 2010, France Markets & $ 6,250 Conferences Vue DC MIPCOM 2010, France Markets & $ 6,250 Conferences l’unica Productions MIPCOM 2010, France Markets & $ 6,250 Conferences Mago Films AIDC 2011 & Adelaide & Sheffield Markets & $ 6,250 Lapsed Documentary Festival 2010 Conferences $1750 Jules Duncan MIPCOM 2010, France Markets & $ 6,250 Conferences Transcendence Media MIPCOM 2010, France Markets & $ 6,250 Lapsed Conferences $6250 Andrew Burleigh Smith InkTip Pitch Summit 2010, LA Markets & $ 2,000 Conferences Schmick Films Sheffield Documentary Festival 2010, UK Markets & $ 3,000 Conferences Electric Pictures Emmy Awards 2010, New York Markets & $ 2,000 Conferences Electric Pictures Emmy Awards 2010, New York Markets & $ 3,000 Conferences Factor 30 Films Toronto International Film Festival 2010, Markets & $ 4,965 Canada Conferences Electric Pictures Emmy Awards 2010, New York Markets & $ 1,000 Conferences Zac Toons SPAA 2010, Sydney Markets & $ 1,500 Conferences CROW Media and SPAA 2010, Sydney Markets & $ 1,500 Communications Conferences Crewjo SPAA 2010, Sydney Markets & $ 1,500 Conferences Animazing Productions Kidscreen 2011, USA Markets & $ 6,250 Lapsed Conferences $6250
ScreenWest Annual Report 2010-11 89 TRAVEL ASSISTANCE CONT
RECIPIENT EVENT/DESCRIPTION INITIATIVE AMOUNT NOTES Crewjo Pty Ltd Kidscreen 2011, USA Markets & $ 6,250 Conferences Kate Vyvyan Kidscreen 2011, USA Markets & $ 6,250 Lapsed Conferences $570 CM Film Productions World Congress for Science and Factual Markets & $ 3,000 Producers 2010, Germany Conferences Interior Castle World Congress for Science and Factual Markets & $ 3,000 Producers 2010, Germany Conferences Bolder Pictures International Rome Festival 2010, Italy Markets & $ 3,000 Conferences WBMC Pusan International Film Festival 2010, Markets & $ 3,000 Korea Conferences Catchlight Pictures Australian Cinematographers Society Markets & $ 450 Awards 2010, Adelaide Conferences Lumiere Films Australian Cinematographers Society Markets & $ 450 Awards 2010, Adelaide Conferences Sauce Films Australian Cinematographers Society Markets & $ 490 Awards 2010, Adelaide Conferences Sea Dog TV International AIDC Conference 2011, Adelaide Markets & $ 1,500 Conferences Jules Duncan AIDC Conference 2011, Adelaide Markets & $ 720 Conferences Glare Productions AIDC Conference 2011, Adelaide Markets & $ 1,500 Lapsed Conferences $416.14 Corrie Jones American Film Market 2010, Los Angeles Markets & $ 3,000 Lapsed Conferences $250 Schmick Films AIDC Conference 2011, Adelaide Markets & $ 1,500 Conferences Allan Collins Australian Cinematographers Society Markets & $ 450 Awards 2010, Adelaide Conferences Goalpost Pictures AFI Awards 2010, Melbourne Markets & $ 1,000 Conferences Will Manning AFI Awards 2010, Melbourne Markets & $ 900 Lapsed Conferences $900 Reginald Cribb AFI Awards 2010, Melbourne Markets & $ 1,000 Conferences SHOOSH! The Location AFI Awards 2010, Melbourne Markets & $ 1,000 Sound Production Company Conferences CM Film Productions Australia-China Film Industry Forum Markets & $ 750 2010, Beijing Conferences Vue DC Australia-China Film Industry Forum Markets & $ 750 2010, Beijing Conferences Clayton Jauncey AFI Awards 2010, Melbourne Markets & $ 993 Conferences Steadi-Vision Australia AFI Awards 2010, Melbourne Markets & $ 1,000 Conferences WBMC Australia-China Film Industry Forum Markets & $ 750 2010, Beijing Conferences
90 ScreenWest Annual Report 2010-11 TRAVEL ASSISTANCE CONT
RECIPIENT EVENT/DESCRIPTION INITIATIVE AMOUNT NOTES Victoria Pitt AFI Awards 2010, Melbourne Markets & $ 1,000 Conferences Magda Wozniak National Screenwriters Conference 2011, Markets & $ 1,500 Victoria Conferences Kate Reynolds National Screenwriters Conference 2011, Markets & $ 1,500 Victoria Conferences Rochelle Wiltshire National Screenwriters Conference 2011, Markets & $ 1,500 Victoria Conferences Annie Murtagh-Monks Australian Directors Guild (ADG) Markets & $ 1,500 National Conference 2011, Adelaide Conferences Siamese 8th Pacific International Documentary Markets & $ 469 Film Festival Papeete, 2011, Tahiti Conferences Claire Marshall Australian Directors Guild (ADG) Markets & $ 925 National Conference 2011, Adelaide Conferences RKPix FICCI Frames 2011, Mumbai Markets & $ 3,000 Conferences Taylor Media MIPtv 2011, France Markets & $ 6,050 Conferences Circling Shark Productions MIPtv 2011, France Markets & $ 6,000 Conferences Vue DC MIPtv 2011, France Markets & $ 6,250 Conferences Seaflower Holdings MIPtv 2011, France Markets & $ 5,891 Conferences Last Pixel Studios MIPtv 2011, France Markets & $ 6,191 Conferences Graeme Hunt MIPtv 2011, France Markets & $ 6,250 Conferences Storyteller Digital MIPtv 2011, France Markets & $ 6,250 Conferences Streamnet Digital The Giant Screen Cinema Association Markets & $ 3,000 Film Expo 2011, LA, USA Conferences Bolderpictures Cannes Film Festival 2011, France Markets & $ 6,000 Conferences Factor 30 Films Cannes Film Festival 2011, France Markets & $ 5,465 Conferences Impian Films Cannes Film Festival 2011, France Markets & $ 5,750 Conferences Woss Group Film Cannes Film Festival 2011, France Markets & $ 6,250 Productions Conferences WBMC Screen Singapore 2011, Singapore Markets & $ 3,000 Conferences Allan Collins Australian Cinematographers Society Markets & $ 1,180 Awards 2011, Adelaide Conferences Catchlight Pictures Australian Cinematographers Society Markets & $ 728 Awards 2011, Adelaide Conferences
ScreenWest Annual Report 2010-11 91 TRAVEL ASSISTANCE CONT
RECIPIENT EVENT/DESCRIPTION INITIATIVE AMOUNT NOTES WBMC MIFF 37 South 2011, Melbourne Markets & $ 1,500 Conferences Tenille Kennedy MIFF 37 South 2011, Melbourne Markets & $ 1,500 Conferences Angel Pictures St Kilda Film Festival, 2011, Melbourne Markets & $ 1,500 Conferences 8th In Line Productions MIFF 37 South 2011, Melbourne Markets & $ 1,500 Conferences Michael James Searle New Media Conference 2011, LA Markets & $ 864 Conferences Danielle Giles X Media Lab: Pro Day Conference and Short Courses $ 315 Lab 2010, Melbourne & Training Jules Duncan Shop the Doc 2010, Melbourne Short Courses $ 1,000 Lapsed $55 & Training Siamese Shop the Doc 2010, Melbourne Short Courses $ 1,000 Lapsed $55 & Training Interior Castle Shop the Doc 2010, Melbourne Short Courses $ 1,000 & Training Kirrilly Brentnall Shop the Doc 2010, Melbourne Short Courses $ 847 Lapsed & Training $9.30 Ethan Marrell Screenwriting Expo 2010, LA Short Courses $ 2,000 & Training Ben Lucas Travel assistance for career development Short Courses $ 2,975 with LA based production companies & Training Leanne Cole Travel assistance for career development Short Courses $ 3,000 with international industry agencies & Training (various) Dan Wood Feature-Navigator Workshop 2011, Perth Short Courses $ 750 & Training Tanya Visosevic Australian Network for Art and Short Courses $ 350 Lapsed Technology (ANAT) DomeLab 2010, Perth & Training $350 Magic Broome Films Australian Network for Art and Technol- Short Courses $ 350 ogy (ANAT) DomeLab 2010, Perth & Training Sohan Ariel Hayes Australian Network for Art and Technol- Short Courses $ 350 ogy (ANAT) DomeLab 2010, Perth & Training Toe Sox Productions Australian Network for Art and Technol- Short Courses $ 350 ogy (ANAT) DomeLab 2010, Perth & Training Daniel Walsh Australian Network for Art and Short Courses $ 350 Technology (ANAT) DomeLab 2010, Perth & Training Natalie Way International Make Up Artists Trade Short Courses $ 1,000 Show 2011, London & Training Bobby Ruckus Bobby Roth Directing Masterclass, 2010, Short Courses $ 900 Melbourne & Training Symphonic Pictures X Media Lab and Kre8tif Animation and Short Courses $ 2,000 Gaming Event, 2010, Malaysia & Training Kate Separovich Stacey Parks Going Global Program, Short Courses $ 1,489 2011, Adelaide & Training
92 ScreenWest Annual Report 2010-11 TRAVEL ASSISTANCE CONT
RECIPIENT EVENT/DESCRIPTION INITIATIVE AMOUNT NOTES Janine Boreland Phillip Bloom DSLR Australian Short Courses $ 960 Workshop, 2011, Adelaide & Training Melissa Ozich Arri Alexa Digital Camera 2 Day Short Courses $ 935 Intensive Tutorial, 2011, Sydney & Training Julia Ngeow Judith Weston Acting for Directors Short Courses $ 2,000 Workshop, 2011, USA & Training The Penguin Empire Robert McKee Seminar, 2011, Short Courses $ 1,500 Sydney & Training Aquarius Productions X Media Lab 2011, Perth Short Courses $ 841 & Training Ben Lucas Judith Weston Rehearsal Intensive, Short Courses $ 1,041 2011, USA & Training Phimedia X Media Lab 2011, Perth Short Courses $ 444 & Training Fuzzy Pictures Robert McKee Seminar, 2011, Short Courses $ 1,500 Sydney & Melbourne & Training Jag Films X Media Lab 2011, Perth Short Courses $ 1,243 & Training Tenille Kennedy Robert McKee Seminar, 2011, Short Courses $ 1,500 Melbourne & Training Vue DC X Media Lab 2011, Perth Short Courses $ 832 & Training Damien Spiccia Robert McKee Seminar, 2011, Short Courses $ 1,500 Melbourne & Training Digital Jellyfish Robert McKee Seminar, 2011, Short Courses $ 1,456 Melbourne & Training d-gradeBoys.com Robert McKee Seminar, 2011, Short Courses $ 1,500 Sydney & Training Renee Webster Kate Dennis TV Masterclass, 2011, Short Courses $ 1,500 Melbourne & Training Spear Point Productions Robert McKee Seminar, 2011, Short Courses $ 1,500 Sydney & Training Goolarri Media Enterprises Tele-Navigator Launch 2011, Perth Short Courses $ 1,500 & Training Daniel Osborn Robert McKee Seminar, 2011, Short Courses $ 1,500 Melbourne & Training Vincenzo Perrella Robert McKee Seminar, 2011, Short Courses $ 1,500 Melbourne & Training Ben Young Accelerator 2011, Melbourne Short Courses $ 1,500 & Training Dan Wood AWG Genre Tools Workshop with Short Courses $ 600 Simon Van Der Borgh, 2011, Perth & Training Zak Hilditch Accelerator 2011, Melbourne Short Courses $ 1,500 & Training Anthony Hanson Kodak ACS Cinematography Student Short Courses $ 1,500 Masterclass, 2011, Sydney & Training
ScreenWest Annual Report 2010-11 93 TRAVEL ASSISTANCE CONT
RECIPIENT EVENT/DESCRIPTION INITIATIVE AMOUNT NOTES Daniel Walsh Kodak ACS Cinematography Student Short Courses $ 1,500 Masterclass, 2011, Sydney & Training Sub-Total $ 418,059 Lapsed $ 19,818 Total $ 398,241
PRACTITIONER EXECUTIVE DEVELOPMENT
RECIPIENT EVENT/LOCATION AMOUNT NOTES Amanda Morrison AAMELP 2011, Fremantle $ 5,388 Troy Zafer AAMELP 2011, Fremantle $ 4,338 Jodie Bell AAMELP 2011, Fremantle $ 5,388 Andrew Ogilvie AAMELP 2011, Fremantle $ 5,388 Britt Arthur AAMELP 2011, Fremantle $ 5,388 Jule Japhet Chiari Assistance for the Festival De Cannes $ 3,220 and the Cannes Marche Du Film (11- 22 May 2011) Total $ 29,110
BILL WARNOCK WRITER AWARD
RECIPIENT PROJECT TITLE/DESCRIPTION FORMAT AMOUNT NOTES Damien Spiccia Beyond The Pale Feature $ 1,000 Emma Forrest Beyond The Pale - Script Consultant Feature $ 5,000 Total $6,000
RESOURCE ORGANISATIONS
RECIPIENT DESCRIPTION AMOUNT NOTES Australian Writers' Guild Core Resource Organisation $ 43,000 (WA) Film & Television Institute Core Resource Organisation $ 363,175 Film & Television Institute Core Resource Organisation - 2010 $ 14,922 Calendar Year CPI Increase Film & Television Institute Link and Hyperlink 2011 $ 250,000 Subtotal $ 671,097 Lapsed $ 0 Total $ 671,097
94 ScreenWest Annual Report 2010-11 COURSES / TRAINING
RECIPIENT DESCRIPTION AMOUNT NOTES WAnimate Pixar Workshops with Simon Allen, $ 3,000 Pixar Animation Studios Australian Masterclass with David Eggby $ 3,000 Cinematographers Society (WA) Australian Masterclass with Peter James $ 3,000 Cinematographers Society (WA) Various 3D Workshop (Speakers Amanda Woods $ 10,887 Lapsed and John Merritt) $2006.94 John Fairhead ScreenWest Safety Officer Production $ 3,000 OHS Management Mentor Program - Part 2 Peter West ScreenWest Safety Officer Production $ 3,000 OHS Management Mentor Program - Part 2 Rob Greenough ScreenWest Safety Officer Production $ 3,000 OHS Management Mentor Program - Part 2 WAnimate The Hero’s Journey with Karel Segers $ 3,000 Various 3D Course Part 2 Budgeting & Scheduling $ 4,899 Lapsed 1527.55 Mantodea Studios Pty Ltd Speaker Fees for 3D course Part 2 $ 750 Budgeting & Scheduling Australian Writers’ Guild Genre and Genre Hybrids Seminar $ 3,000 (WA) WAnimate WAM BAM 2011 $ 3,000 Screen Producers SPAA Fringe Hits The Road - August 2011 $ 3,000 Association of Australia Marr Street Studios P.L. Marr Street Studios Makeup Short $ 3,000 Course 1, 2 & 3 - July to November 2011 SPAA Executive Screen Production Course – $ 3,000 February - March 2012 Australian Film Television Toon Boom Animate 2 $ 1,000 and Radio School (AFTRS) Australian Film Television Tait Brady Distribution, Exhibition and $ 2,000 and Radio School (AFTRS) International Sales course Australian Film Television Documentary Writing - Structure and $ 1,500 and Radio School (AFTRS) Proposal Planning, November 2010 Australian Film Television Introduction to Documentary Production $ 1,500 and Radio School (AFTRS) Management Australian Film Television Low Budget Features Course: How, why $ 3,000 and Radio School (AFTRS) and what not to do! June 2011 Nick Hopkin and Various Nick Hopkin Television Format Workshop $ 5,697 Export Finance and Catering for EFIC meeting $ 137 Insurance Corporation and Various
ScreenWest Annual Report 2010-11 95 COURSES / TRAINING CONT
RECIPIENT DESCRIPTION AMOUNT NOTES Various Let’s Make Games Workshop $ 1,502 Lapsed $63.82 Sub-Total $ 73,872 Lapsed $ 3,611 Total $ 70,261
INDIGENOUS FUNDING
RECIPIENT PROJECT/DESCRIPTION AMOUNT NOTES Film & Television Institute Indigenous Community Stories Project $ 23,800 Completion Funding for Rounds 1-4 Film & Television Institute Indigenous Community Stories Round 5 $ 200,000 Spear Point Productions Straight Shootin’ $ 25,000 l’unica Productions Waabiny Time Series 2 $ 25,000 Spear Point Productions Recording Waltzing the Wilarra theatre $ 25,000 Lapsed performance $25000 Ramu Productions Characters of Broome – Documentary Series $ 50,000 Lapsed $25000 TBC Low Budget TV Production $ 50,000 Spear Point Productions Treatment development for I’m not Racists $ 7,500 but…, Gundy and Yagan Cornel Ozies and Clinton Travel assistance and registration - WAnimate $ 1,518 Festal Pixar Workshops with Simon Allen Film & Television Institute Indigenous film screening event for One $ 380 Sky Many Paths Indigenous Regional Youth Leadership Program Dennis Simmons Barbara Connell Script Editor for Ace of Spades $ 2,500 Dot West Travel assistance - AFI Awards 2010, $ 2,000 Melbourne Wawili Pitjas Travel assistance - AFTRS doco course with $ 995 Alan Rosenthal, Perth Goolarri Media Travel assistance - ‘Trade, Intellectual Property $ 2,000 and the Knowledge Assets of Indigenous Peoples: The Developmental Frontier’ Conference, 2010, Wellington, New Zealand Dot West Travel assistance - Bollywood/Chooky Dancers $ 375 Lapsed Script Development Workshop $17.45 Bush Turkey Films Travel assistance - Dean Daley-Jones and Greg $ 6,000 Tait, Sundance Film Festival 2011, US Allan Collins Travel assistance - Video Australasia Sydney $ 1,500 for digital camera testing l’unica Productions / Irma Assistant Director Mentorship with Merlin $ 1,881 Woods Cornish on Waabiny Time Series 2 l’unica Productions / Todd Post Production Mentorship with Merlin $ 3,300 Russell Cornish on Waabiny Time Series 2
96 ScreenWest Annual Report 2010-11 INDIGENOUS FUNDING CONT
RECIPIENT PROJECT/DESCRIPTION AMOUNT NOTES TBC (Early Bird Registra- Australian International Documentary $ 3,927 tions below) Conference (AIDC) 2011, Adelaide - Six Early Bird Registrations Michelle (Mitch) Torres Travel assistance - AIDC 2011, Adelaide $ 3,000 Lapsed $3000 Jodie Bell Travel assistance - AIDC 2011, Adelaide $ 2,500 Eileen Torres Travel assistance - AIDC 2011, Adelaide $ 2,500 Lapsed $2500 Kelrick Martin Travel assistance - AIDC 2011, Adelaide $ 2,000 Ash Sillifant Travel assistance - AIDC 2011, Adelaide $ 2,000 Glen Stasiuk Travel assistance - AIDC 2011, Adelaide $ 2,000 Metro Screen Contribution to the Employment of the $ 3,000 Media RING Coordinator Dot West Chooky’s in India - develop treatment $ 3,000 Tyson Mowarin Straight Shootin’ Behind the Scenes, January $ 6,000 2011 Dot West Travel assistance - Feature Navigator 2011 $ 1,500 Treatment Seminar with Paul Chitlik, Perth Spear Point Productions Straight Shootin’ Australian Teachers of $ 2,500 Media (ATOM) guide Spear Point Productions Travel assistance - NITV 2011 Season Launch 9 for $ 3,772 Straight Shootin’ Kelrick Martin, Mark Bin Bakar & Tania Bin Bakar, Sydney Dennis Simmons, XMediaLab Perth Pro Day Conference 2011 - $ 750 Lapsed $68.18 Michael Bonner & registration Katherine Glass Michael Woodley Travel assistance - Message Sticks Indigenous $ 2,000 Lapsed $2000 Film Festival 2011, Sydney Bush Turkey Films Travel assistance - Mad Bastards launches in $ 6,000 Wyndham, Broome and Perth for Dean Daley-Jones, Stephen Pigram and Alan Pigram Spear Point Productions XMediaLab Perth Pro Day Conference 2011 - $ 250 Lapsed $22.73 Registration Weeriaana Street Media Travel assistance - XMediaLab Perth 2011 for the $ 3,000 project Murujuga Rock Art Project Wawili Pitjas Jandamarra’s War Broome & Fitzroy Crossing $ 5,600 Launch contribution ($4,000). Travel assistance - Perth launch for Mitch & Eileen Torres ($1,600) Taryne Laffar Digital Mentorship with Transmedia Producer $ 3,000 Lapsed $3000 Amanda Morrison on BlackTrax Magabala Books Digital Mentorship with Raging Pixel Productions $ 3,000 Lapsed $3000 on Ubby’s Underdog Karrie-Anne Kearing Post Production costs for Carrolup $ 3,000 Taryne Laffar Project & Practitioner Development - Digital $ 3,000 Mentorship with Transmedia Producer Amanda Morrison on BlackTrax
ScreenWest Annual Report 2010-11 97 INDIGENOUS FUNDING CONTINUED
RECIPIENT PROJECT/DESCRIPTION AMOUNT NOTES Kurdarrku Media Travel assistance for research on Soldiers Not $ 3,000 Citizens(6 x 26 min Doco Series) Film & Television Deadly Yarns 6 $ 250,000 Institute Sub Total $ 749,048 Lapsed $ 63,608 Total $ 685,440
INNOVATION FUND
RECIPIENT PROJECT TITLE AMOUNT NOTES Professional Film Crew of WA PFCWA website expansion $ 2,000 Inc (PFCWA) Filmscope Needle marketing for WA cinematic screening $ 12,500 Entertainment Australian Cinematographer's Platinum Award Sponsorship for WA/SA ACS $ 10,000 Lapsed Society (WA) Awards 2011 $10000 Bridget Curran Travel and fee expenses for Barry Humphries $ 3,000 in Link film What a Debacle, Freddy Farkle Sub Total $ 27,500 Lapsed $ 10,000 Total $ 17,500
INTERNATIONAL MARKETING SUPPORT
RECIPIENT PROJECT TITLE AMOUNT NOTES James Grandison Subtitling costs for My Uncle Bluey - Cinema $ 3,500 Lapsed Des Antipodes, Cannes $21.30 Factor 30 Films Subtitling costs for Blame - Cinema Des $ 2,759 Antipodes, Cannes 2011 Sub Total $ 6,259 Lapsed $ 21 Total $ 6,238 Lapsed $ 10,000
SCREENWEST - MEDIA DEVELOPMENT AUTHORITY MATCHED DEVELOPMENT FUND
RECIPIENT PROJECT/DESCRIPTION FORMAT AMOUNT NOTES WBMC/Interactive SG Preseason Transmedia $ 15,000 RKPix/August Media The Adventures of Bradley Transmedia $ 15,000 Holdings Total $ 30,000
98 ScreenWest Annual Report 2010-11 CROSS PLATFORM
RECIPIENT PROJECT TITLE AMOUNT NOTES Orbit Media Group Business and Development $ 4,990 Consultant for iPad business proposal Art Gallery of WA X|Media|Lab Briefing Session – $ 412 Lapsed $412 Venue hire CROW Media and Harvest $ 50,000 SBS Digital Stepping Stone Communications Initiative The Project Factory and Digital Seminar with Jennifer Wilson $ 3,783 various Various X|Media|Lab Perth: Digital $ 2,500 Development Award – speaker fees Red Alpha Afterdeath $ 5,000 Digital Breakout Development Westone Services MDA/SW Cross Media Development $ 448 Virtual Networking Session - Video conferencing costs Various SBS Digital Factual Seminar - catering $ 640 Lapsed $640 and venue costs Inkubator Bone Diggers $ 20,000 X|Media|Lab Perth: Digital Development Award YouShine Who am I Helping Really? $ 3,995 Digital Scoping Development Prospero Productions Enter the Detention Centre $ 50,000 SBS Digital Initiative Aaron McCann Henry & Aaron’s 7 Steps to Supers- $ 4,000 Digital Scoping tardom Development Prospero Productions Enter the Detention Centre $ 4,000 Digital Scoping Development Banksia Media Our Streets $ 5,000 Digital Development Breakout Creative Legal Story of a Song $ 5,000 Digital Development Breakout CROW Media and Harvest (Formally What Does Your $ 4,000 Digital Scoping Communications Garden Grow?) Development Media Compliance Before It’s Too Late: Mobile App $ 4,000 Digital Scoping Services Development Vue DC Car Park Whalers $ 4,000 Digital Scoping Development Richard Todd Wildlife Action Squad $ 4,000 Digital Breakout Development Kate Vyvyan Otto Plus the Ooobly Dooblies $ 4,000 Digital Breakout Development Joined Up Films Through the Eyes of a Stranger $ 4,000 Digital Breakout Development Creative Ideas Vongplay $ 5,000 Digital Breakout Development Justin McArdle Memory Walls $ 5,000 Digital Breakout Development Ellen Jurik Illusionists Fate $ 5,000 Digital Breakout Development Jennifer Gherardi Heavenly $ 5,000 Digital Breakout Development Richard Todd Wildlife Action Squad $ 50,000 Digital Breakout Development
ScreenWest Annual Report 2010-11 99 CROSS PLATFORM CONT
RECIPIENT PROJECT TITLE AMOUNT NOTES Storyteller Media Group Before it is too late: Orangutan $ 50,000 Digital Breakout Development Vue DC Car Park Whalers $ 50,000 Digital Production Red Alpha Afterdeath $ 40,000 Digital Production Raging Pixels Ubby’s Underdog - XMediaLab Perth $ 20,000 DCA Third Party Development Award Contribution Yvette Coyne Sound Chamber installation at $ 2,000 DCA Third Party X|Media|Lab Contribution Various X|Media|Lab Perth 2011 Lead up events $ 8, 418 DCA Third Party Contribution CROW Media and Harvest - X|Media|Lab Perth $ 20,000 DCA Third Party Communications Development Award Contribution Sub-Total $ 444,186 Lapsed $ 1,052 Total $ 443,134
LOTTERYWEST AWARDS FOR EXCELLENCE
RECIPIENT DESCRIPTION AMOUNT NOTES Film & Television Institute WA Screen Awards - Lotterywest Awards $ 20,000 Film & Television Institute WA Screen Awards $ 15,000 Total $ 35,000
SHORT FILM AND SELF FUNDED LOW BUDGET FEATURE MARKETING
RECIPIENT PROJECT TITLE AMOUNT NOTES 17° South Something Fishy $ 2,000 Damian Fasolo The Road Not Taken $ 2,000 Vincenzo Perrella It’s Just Gary $ 1,027 Hydra Poesis Liberty In The Dark $ 2,000 Peter Gleeson Something To Tell You $ 2,000 Davison Bros Backstage $ 2,000 David Smith The Adventures of Chipman and Biscuit $ 2,000 Boy Claire Marshall The Boondi War $ 2,000 Antony Webb The Dinner Meeting $ 2,000 Ella Wright George Jones and The Giant Squid $ 2,000 Joshua Lee Pain is Temporary Pride is Forever $ 2,000 Jules Fortune Light as a Feather $ 2,000 Kate Separovich Play Things: Hunt $ 2,000 Total $ 25,027
100 ScreenWest Annual Report 2010-11 AUDIENCE AND INDUSTRY ENGAGEMENT PROGRAM
RECIPIENT PROJECT/DESCRIPTION AMOUNT NOTES Association of Screen PAC Script Lab 2011 $ 7,000 Professionals Flickerfest Flickerfest 2011 $ 5,750 Amicko Films Future Shorts (November 2010-April $ 6,000 2011) Arts Margaret Documentary Doco Club 2011 $ 2,125 Club National Film and Sound Big Screen 2011 $ 5,000 Archive Amicko Films Future Shorts (May 2011-April 2012) $ 12,000 Vulture Culture Search For Australia’s Funniest $ 2,125 Filmmakers Geographe French Australian CinéfestOZ 2011 $ 30,000 Festivals Geographe French Australian CinéfestOZ Strategic Plan $ 10,000 Festivals Total $ 80,000
Funding Initiatives Sub-Total $ 8,732,681 Lapsed $ 137,264 TOTAL FUNDING INITIATIVES $ 8,595,417
SPONSORSHIP
RECIPIENT EVENT/DESCRIPTION AMOUNT NOTES Filmfest Ltd Melbourne International Film $ 3,000 Festival - 37South Market AIDC Ltd Australian International $ 10,000 Documentary Conference 2011 Screen Producers SPAA Conference 2010 $ 5,000 Association of Australia X|Media|Lab X|Media|Lab Perth 2011 $ 90,000 Third Party Contribution from the DCA Total $ 108,000 Sponsorship
ScreenWest Annual Report 2010-11 101
Image Credits
Front Cover (Vertically left to right): My Mum Talks to Aliens, Joined Dogstar - Series 2 Two Up Films; , Media World Pictures; Worlds, Lorraine Coppin; Red Dog, Woss Group Films; Jandamarra’s War, Electric Pictures and Wawili Pitjas; Mal.com, Animazing Productions; Straight Shootin’, Spear Point Productions; SAS: The Search for Warriors,
Prospero Productions; Mad Bastards, Bush Turkey Films.
Page 5 Dino Stampede, Prospero Productions.
Page 16 Red Dog, Woss Group Films.
Page 24 Running Riot, Wawili Pitjas.
Page 25 Wasted on the Young, WBMC.
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Tim Winton’s Cloudstreet, A Screentime Production for SHOWTIME Australia. Photography by David Dare Parker.
© ScreenWest (Inc.) Published September 2011 www.screenwest.wa.gov.au Email: [email protected] Ph: +61 8 9224 7340 Fax: +61 8 9224 7341 Level 7 Law Chambers, 573 Hay Street, Perth, Western Australia
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