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AnnuAl RepoRt/Ráitis AiRgeAdAis2010
Foilsithe ag/Published byBord Scannán na hÉireann/the Irish Film BoardQueensgate, 23 Dock Road, Galway, IrelandTel +353 91 561 398, Fax +353 91 561 [email protected] www.irishfilmboard.ie
Comhaltaí/Board MembersJames Morris (Chair) Johnny GoganBarry Grace Lesley McKimmKevin MoriartyTristan Orpen LynchKirsten Sheridan
An Príomhfheidhmeannach/Chief ExecutiveJames Hickey
Business Affairs/Chúrsaí GhnóCeannasaí Chúrsaí Gnó/Head of Business Affairs Teresa McGrane Rialtóir Airgeadais/Financial Controller Celine Forde Ceannasaí Chursaí Dlí/Head of Legal Affairs Mark ByrneFeidhmeannach Cúrsaí Tionscail/Industry Affairs Executive Patrick O’NeillComhordaitheoir Chúrsaí Gnó agus Dlí/Business and Legal Affairs Co-OrdinatorAileen McCauley Comhordaitheoir Cúntas/Accounts Co-ordinator Suzanne Keane (Part-time)
Léiriúcháin 7 Forbartha/Production & DevelopmentFeidhmeannach Léiriúcháin/Production ExecutivesAlan Maher, Emma ScottFeidhmeannach Forbartha/Development ExecutiveAndrew MeehanComhordaitheoir Léiriúcháin agus Forbartha/Production & Development Co-ordinator Sarah DillonComhordaitheoir Iarratas agus Scéimeanna/Applications & Schemes Co-ordinator Jill McGregor
Margaíochta/MarketingFeidhmeannach Margaíochta agus Cumarsáide/Marketing and Communications ExecutiveLouise Ryan
Coimisiún Scannán na hÉireann/Irish Film CommissionCoimisinéir Scannán/Film Commissioner Naoise Barry Leas-Coimisinéir Scannán/Deputy Film Commissioner Mags O’Sullivan
Riarachán/AdministrationCúntóir Pearsanta ag an bPríomhoifigeach Feidhmiúcháin/PA to CEONiamh O’Reilly
COnTEnTS/ÁBHAIR
PREAMBLE .............................................................................................................. 2
RÉAMHRÁ ................................................................................................................ 3
AnnuAL REPORT OF BORD SCAnnÁn nA hÉIREAnn ........................ 8
BORD SCAnnÁn nA hÉIREAnn’S OBJECTIvES AnD POLICIES ...... 9
FInAnCE ................................................................................................................. 10
STATEMENT OF BOARD RESPONSIBILITIES .............................................................. 11
STATEMENT OF INTERNAL FINANCIAL CONTROL .................................................... 12
REPORT OF THE COMPTROLLER AND AuDITOR GENERAL ...................................... 13
ACCOuNTING POLICIES .............................................................................................. 14
FINANCIAL STATEMENTS OF BORD SCANNáN NA hÉIREANN/
THE IRISH FILM BOARD YEAR ENDED 31 DECEMBER 2010 ...................................... 15
NOTES TO THE FINANCIAL STATEMENTS .................................................................. 19
APPEnDICES1. CAPITAL COMMITMENTS 2010 ................................................................................ 26
2. OuTSTANDING COMMITMENTS 2010 ..................................................................... 29
3. DETAILS OF LOAN CONDITIONS.............................................................................. 32
4. PRINCIPLES & CRITERIA......................................................................................... 33
5. LOCATION SERvICES ............................................................................................... 36
BORD SCAnnÁn nA hÉIREAnn RÁITIS AIRGEADAIS .......................... 37
CuSPóIRí AGuS BEARTAIS BORD SCAnnÁn nA hÉIREAnn ............ 38
AIRGEADAS ............................................................................................................. 39
RáITEAS AR DHuALGAIS CHOMHALTAí AN BHOIRD .................................................. 40
RáITEAS FAOI CHóRAS RIALAITHE INMHEáNAIGH AIRGEADAIS ............................. 41
TuAIRISC AN ARD-REACHTAIRE CuNTAS AGuS CISTE ............................................. 42
BEARTAIS CHuNTASAíOCHTA ..................................................................................... 43
RáITIS AIRGEADAIS BORD SCANNáN NA hÉIREANN
DON BHLIAIN DAR CHRíOCH 31 NOLLAIG 2010 ......................................................... 44
NóTAí AG GABHBáIL LEIS NA RáITIS AIRGEADAIS.................................................... 48
AGuISíní1. TIOMANTAIS CHAIPITIL 2010................................................................................... 55
2. TIOMANTAIS GAN íOC 2010 ..................................................................................... 58
3. SONRAí NA GCOINNíOLLACHA IASACHTA ............................................................. 61
4. PRIONSABAIL & CRITÉIR ........................................................................................ 62
5. SEIRBHíSí SuíMH .................................................................................................... 65
FEATuRE FILMS/FADSCAnnÁIn 1993 - 2010 ......................................... 66
01
02
PREAMBLE
THE GIARD
InTRODuCTIOn / HIGHLIGHTS
In 2010 the Irish film and television sector had a record year in
terms of production output contributing €225 million into the
Irish economy, in terms of creating jobs and spend on local
goods and services. This figure was an increase from €157.2
million in 2009.
Throughout the year the Irish film industry continued to build
on its excellent international reputation garnering significant
recognition and acclaim as new Irish features were selected
for major international festivals and Irish talent picked up
awards and received nominations for some of the industry’s
highest accolades.
Highlights include the Irish film industry receiving five
Academy Award® nominations, three of which for the IFB
supported films The Secret of Kells, Granny O’Grimm’s Sleeping
Beauty and The Door while Irish animator Richard Baneham
and his team picked up the Oscar for Best visual Effects for his
work on Avatar.
Other highlights include All Good Children being selected
for the prestigious Directors Fortnight at Cannes, His &
Hers picking up a prize for Excellence in Cinematography
at Sundance and Irish films being selected for some of the
world’s most renowned festivals including Toronto, Tribeca,
SXSW, Karlovy vary, Edinburgh, Clermont Ferrand, Annecy,
Hot Docs and London. These selections, nominations and
awards reinforce Ireland as a centre of cultural excellence
with a reputation for both creativity and professionalism on
the world stage.
It was also a record year also in terms of cinema releases, as
a number of indigenous Irish films reached Irish audiences in
2010 including four feature length documentaries. His & Hers
was especially successful receiving critical acclaim and having
an extended Irish cinema release due to popular demand and
topping the Irish DvD charts.
FunDInG
Government funding, provided directly to the sector through
Bord Scannán na hÉireann/the Irish Film Board (IFB) is a key
component of the entire audiovisual content industry.
In 2010 the IFB received a total of €19.3 million of government
funding. This funding, together with the improved Irish tax
incentive for film and television production Section 481,
allowed 13 Irish features,1 Irish language Tv series, 6 creative
co-productions, 6 animated projects and 17 documentaries
with theatrical ambitions to go into production in the year.
InTERnATIOnAL PRODuCTIOn
2010 proved to be one of the strongest years for incoming
international film and television productions Ireland has
experienced having attracted numerous big budget feature
films, television series and television movies.
The year got off to a great start when the major feature film
Haywire, directed by Hollywood legend Steven Soderberg and
starring Ewan McGregor and Michael Fassbender filmed
in Ireland. With an Irish budget of €3.1 million, it shot in
numerous locations around Dublin and Wicklow.
REAMHRÁ
THE RuNWAY
03
RÉAMHRÁ / BuAICPHOInTí
Bliain thar na bearta a bhí ag earnáil na scannán agus na teilifíse
in Éirinn i 2010 ó thaobh aschuir táirgíochta de, bliain inar chuir
an earnáil €225 milliún isteach i ngeilleagar na tíre, agus ó thaobh
poist a chruthú agus caiteachas ar earraí agus ar sheirbhísí áitiúla
de. Ba mhéadú an figiúr sin ó fhigiúr de €157 milliún sa bhliain
2009.
Lean tionscal na scannán in Éirinn ar aghaidh i gcaitheamh na
bliana ag tógáil ar an gclú idirnáisiúnta atá aige atá ar fheabhas
i gcónaí agus ghnóthaigh sé aitheantas agus moladh suntasach
de réir mar a roghnaíodh príomhscannáin nua Éireannacha do
mhórfhéiltí idirnáisiúnta agus de réir mar a ghnóthaigh talann
Éireannach duaiseanna agus ainmniúcháin do chuid de na hacailídí
is mó atá ar fáil sa dtionscal.
I measc na mbuaicphointí bhí na cúig ainmniúcháin a fuair tionscal
na scannán in Éirinn do Dhuaiseanna an Acadaimh®, trí chin
acu do scannáin a fuair tacaíocht ó BSÉ / IFB, The Secret of Kells,
Granny O’Grimm’s Sleeping Beauty and The Door agus an Oscar
a bhuaigh Richard Baneham agus a fhoireann i gcomhair na
Maisíochtaí Físiúla is Fearr dá shaothar ar an scannán Avatar.
I measc na mbuaicphointí eile tá roghnú All Good Children don
ócáid ghradamúil sin Coicíos na Stiúrthóirí ag Cannes, an duais
a bhuaigh His & Hers ar son Feabhais sa Cineamatagrafaíocht ag
Sundance agus roghnú scannán Éireannacha do chuid de na féiltí
is clúití ar domhan ina measc Toronto, Tribeca, SXSW, Karlovy vary,
Dún Éideann, Clermont Ferrand, Annecy, Hot Docs agus Londain.
Neartaíonn na roghnúcháin, na hainmniúcháin agus na duaiseanna
sin seasamh na hÉireann mar lárionad feabhais chultúrtha agus
cuireann said lena cáil ó thaobh na cruthaitheachta agus ó thaobh
na proifisiúntachta de ar stáitse an domhain.
Bliain thar na bearta a bhí ann freisin ó thaobh eisiúintí cineama
de, mar gur shroich líon áirithe scannán dúchasacha lucht
féachana in Éirinn le linn 2010 ina measc ceithre scannán faisnéise
ar fhad phríomhscannáin. D’éirigh go han-mhaith go háirithe le
His & Hers a fuair ard-mholadh ó na léirmheastóirí agus a fuair
eisiúint shínte cineama in Éirinn de bharr éileamh an phobail agus
a bhain amach bharr na gcairteanna DvD in Éirinn.
MAOInIÚ
Tá maoiniú ón Rialtas, a sholáthraítear go díreach don earnáil
trí Bhord Scannán na hÉireann/the Irish Film Board (IFB) ina
phríomhchuid den dtionscal lánas closamhairc ar fad.
Sa bhliain 2010 fuair an BSÉ/IFB iomlán de €19.3 milliún de
mhaoiniú ón Rialtas. De bharr an maoiniúcháin sin, mar aon
leis an an spreagadh cánach in Éirinn le haghaidh léiriúchán
scannán agus teilifíse, Alt 481, cuireadh tús léiriúcháin le
13 phríomhscannán, sraith teilifíse amháin i nGaeilge, 6
chomhléiriúchán chruthaitheach, 6 thionscadal beochana
agus 17 scannán faisnéise i rith na bliana.
LÉIRIÚCHÁIn IDIRnÁISIÚnTA
Bhí 2010 ar cheann de na blianta ba láidre I dtaithí na hÉireann ó
thaobh léiriúcháin scannán agus teilifíse ag teacht isteach de mar
thoradh ar mhealladh isteach líon mór príomhscannán ar bhuiséid
mhóra, sraitheanna teilifíse agus scannáin teilifíse.
Cuireadh tús den scoth leis an mbliain nuair a rinneadh an
scannánaíocht in Éirinn ar an mórphríomhscannán Haywire,
a raibh laoch Hollywood, Steven Soderberg, ina stiúrthóir air
04
A KISS FOR JED WOOD
Big-budget period dramas made in Ireland included the
television series Camelot starring Joseph Fiennes, Eva Green
and Claire Forlani which filmed for 22 weeks in Ardmore with an
Irish spend of €25.5 million and Game Of Thrones for which all
the post production was completed in Ireland.
Other series, television movies and mini-series to film in Ireland
included Neverland (Sky Movies & SyFy) starring Rhys Ifans, Bob
Hoskins and Anna Friel, Sinbad (Sky 1), Treasure Island (Sky 1 &
ABC) starring Eddie Izzard and the hugely popular Primeval (ITv
1, ProSieben, uKTv and BBC Americas) which had an estimated
Irish budget of €12.3 million and filmed for 30 weeks in Dublin
and Wicklow.
Other international projects which filmed in and around the
Dublin region were Paolo Sorrentino’s feature film This Must Be
The Place which stars Sean Penn and Frances McDormand and
Rodrigo Garcia’s Albert Nobbs, which was produced by and stars
Glenn Close and had an Irish spend of €4.4 million.
The upturn in incoming international production is due in large
part to the improvements made to the Section 481 tax incentive
in 2009 which increased Ireland’s competitive position as an
international film and television destination.
Attracting such major international productions provides
an economic boost to Ireland with increased international
investment in the economy and increased employment across a
huge variety of sectors. Other positive spin-off effects of these
productions are promoting Ireland as a tourist location and the
improvement of Ireland as an industrial location for all aspects
of creative endeavors.
PROMOTIOn AnD IFB TRAInInG InITIATIvES
2010 saw the IFB promoting Irish film industry and Irish creative
talent at international festivals such as Clermont Ferrand,
Berlin, and Cannes. An Irish delegation attended the Producers
Guild of America’s ‘Produced By’ conference in LA. The IFB
along with Culture Ireland and the IFI coordinated a special
programme of Irish film for two of the biggest film festivals in
China. Meanwhile the second Give Me Direction screenwriting
conference and the Real Deal at the Galway Film Fleadh were an
opportunity for the IFB to engage with the Irish film industry.
LA Trade Mission and the Producers Guild of America ‘Produced By’ ConferenceThe IFB and a delegation of Irish producers travelled to Los
Angeles to meet uS producers and attend the second annual
‘Produced By’ conference, hosted by the Producers Guild of
America at Fox Studios. The IFB took at booth at the conference,
under the ‘Ireland on Screen’ banner where IFB staff and Irish
producers promoted the section 481 tax incentive and Ireland as
a film location. The aim of the Irish presence at the conference
was to take advantage of the opportunity to meet with
international producers and broadcasters and reinforce Ireland’s
profile as a destination for film and television production
ultimately attracting inward investment to Ireland.
Special Irish Programme at the Shanghai International Film Festival and the Beijing International Movie FestivalA special programme of contemporary and retrospective
Irish features and short films was coordinated to screen
at the Shanghai International Film Festival and the Beijing
International Movie Festival. The programme was presented
in association with the IFB and the IFI’s Reel Ireland and was
supported by Culture Ireland.
THE LOOKING GLASS
05
agus ina raibh Ewan McGregor agus Michael Fassbender mar
phríomhaisteoirí. Bhí buiséad Éireannach de €3.1 milliún ag an
scannán agus rinneadh scannánaíocht i líon mór suíomhanna
thart ar Bhaile átha Cliath agus ar Chill Mhantáin.
I measc na ndrámaí mórbhuiséad stairiúla a rinneadh in Éirinn
bhí na sraitheanna teilifíse Camelot ina raibh Joseph Fiennes, Eva
Green agus Claire Forlani mar phríomhaisteoirí agus a rinneadh
22 seachtain scannánaíochta uirthi i stiúideonna an Aird Mhóir
agus a raibh caiteachas in Éirinn de €25.5 milliún uirthi agus
Game Of Thrones a rinneadh an t-iarléiriú ar fad uirthi in Éirinn.
I measc na sraitheanna, scannáin teilifíse agus mion-sraitheanna
a rinneadh scannánaíocht orthu in Éirinn bhí Neverland (Sky
Movies & SyFy) ina raibh Rhys Ifans, Bob Hoskins agus Anna Friel
marc phríomhaisteoirí, Sinbad (Sky 1), Treasure Island (Sky 1 &
ABC) a raibh Eddie Izzard sa phríomhpháirt ann, agus scannán a
raibh an-éileamh air - Primeval (ITv 1, ProSieben, uKTv agus BBC
Americas) a raibh buiséad measta in Éirinn de €12.3 milliún aige
agus a rinneadh scannánaíocht air ar feadh 30 seachtain i mBaile
átha Cliath agus i gCill Mhantáin.
I measc na dtionscadal idirnáisiúnta eile ar rinneadh
scannánaíocht orthu i gceantar Bhaile átha Cliath agus máguaird
bhí an príomhscannán de chuid Paolo Sorrentini - This Must Be
The Place - ina raibh Sean Penn agus Frances McDormand sna
príomhpháirteanna agus Albert Nobbs le Rodrigo Garcia, a léirigh
Glenn Close agus í féin ina príomhaisteoir ann agus a raibh
caiteachas in Éirinn de €4.4 milliún aige.
Tharla an cor chun feabhais sin i gcúrsaí léiriúchán idirnáisiúnta
a thagann isteach sa tír go mórmhór de bharr na bhfeabhsuithe
a rinneadh I 2009 ar an ndreasacht cánach de réir Ailt 481 a chuir
le seasamh iomaíoch na hÉireann mar shuíomh cheann scríbe
scannánaíochta agus scannáníocht teilifíse.
Nuair a mhealltar mórléiriúcháin idirnáisiúnta den chineál
sin neartaíonn sé an tír seo leis an infheistíocht mhéadaithe i
ngeilleagar na hÉireann agus méadú sa bhfostaíocht ar fud an
iliomad earnálacha. I measc na n-iarmhairtí dearfacha eile a
bhaineann leis na léiriúcháin sin tá cur chun cinn na hÉireann
mar láthair turasóireachta agus feabhsú na hÉireann mar
shuíomh tionsclaíoch do dhíchill chruthaitheacha de gach cineál.
TIOnSCnAIMH CuR CHun CInn AGuS OILIÚnA BSÉ/IFB
Le linn 2010 leanBSÉ/IFB ar aghaidh ag cur tionscal na scannán
in Éirinn agus talann cruthaitheach Éireannach chun cinn ag
féiltí idirnáisiúnta ar nós Clermont Ferrand, Berlin agus Cannes.
D’fhreastal toscaireacht Éireannach ar an gcomhdháil ‘Produced
By’ a bhí eagraithe ag an Producers Guild of America i Los
Angeles. Rinne BSÉ/IFB i dteannta Culture Ireland agus an IFI
comhordú ar chlár speisialta scannán Éireannach le haghaidh
dhá cheann de na féiltí scannán is mó sa tSín. Bhí deis chomh
maith ag an IFB dul I dteagmháil le tionscal na scannán in Éirinn
ag an dara chomhdháil scríbhneoireacht scáileáin ‘Give Me
Direction’ agus ag an ‘Real Deal’ ag Fleadh Scannán na Gaillimhe.
Misean Trádála chuig LA agus an Chomhdháil ‘Produced By’ de chuid an Producers Guild of America Thug BSÉ/IFB agus toscaireacht léiritheoirí Éireannacha cuairt ar
Los Angeles chun bualadh le léiritheoirí ó na Stáit Aontaithe agus
chun freastal ar an dara chomhdháil ‘Produced By’ ag a raibh
an Producers Guild of America mar óstaigh agus a tionóladh ag
Stiúideonna Fox. Thóg BSÉ/IFB both ag an gcomhdháil, faoi bhrat
‘Ireland on Screen’ áit a raibh an dreasacht cánach, Alt 481, agus
Éire mar shuíomh scannánaíochta á gcur chun cinn ag foireann
BSÉ/IFB agus ag léiritheoirí Éireannacha. Bhí sé mar aidhm ag na
hÉireannaigh a bhí i láthair a deis a thapú le bualadh le léiritheoirí
agus le craoltóirí idirnáisiúnta agus próifíl na hÉireann a neartú
mar cheann scríbe chun scannáin agus cláir teilifíse a léiriú.
Clár Speisialta Éireannach ag Féile Idirnáisiúnta Scannán Shanghai agus ag Féile Idirnáisiúnta Scannán BeijingComhordaíodh clár speisialta príomhscannán agus gearrscannán
comhaimseartha agus siarghabhálach le taispeáint ag Féile
06
ALL GOOD CHILDREN
An Irish contingent of directors, producers and talent travelled to
Asia where both Zonad and Ondine were nominated for the Golden
Goblet Awards (the Asian equivalent to the Oscars) at Shanghai.
The inclusion of a programme of Irish film at these two major
Chinese film festivals was a huge opportunity to spotlight Irish
talent and raise Irelands profile in China encouraging enterprise,
trade and investment.
Give Me Direction The 2nd Give Me Direction script writing conference took place in
Dublin which focused, through a mix of public interviews, informal
discussions, sessions and screenings, on the expansive topic of
comedy in filmmaking.
Curated by Lenny Abrahamson, Sharon Horgan and Pat McCabe,
international guests included Bobby Farrelly (Kingpin, There’s
Something About Mary), Nicole Holofcener (Please Give, Friends
With Money) and Sam Bain and Jesse Armstrong (Peep Show, Four
Lions). It was a great opportunity to engage with Irish writers and
champion original writing for the screen.
Real Deal The Real Deal took place once again during the Galway Film
Fleadh and focused on content with producers taking part in a
round table discussion in the morning about what works for them
in terms of the films they make and how it compares to what works
in the market. The afternoon focused on content of animated films
with a masterclass with Pixar’s Lee ulrich and Darla Anderson
who have worked on features such as Toy Story 3, A Bugs Life and
Monsters Inc. It was a chance to talk about the more creative side
of the business and the thought process behind choosing projects.
CORPORATE GOvERnAnCE
The Irish Film Board fully complies with the Code of Practice for
the Governance of State bodies. In line with section 10.2 of the
code, I affirm to the best of my knowledge that:
(i) There were no commercially significant developments
affecting the body in 2010 other than those mentioned in
the operational review of the year given above.
(ii) All appropriate procedures for financial reporting,
internal audit, procurement and assets’ disposals are
being carried out.
(iii) A Statement on the System of Internal Financial Control
is given in page 12 of the Annual Report.
(iv) The Codes of Business Conduct for Directors and
Employees are in place.
(v) The Government policy on the pay of Chief Executives and
all State body employees is being complied with.
(vi) The Government guidelines on the payment of Directors’
fees are being complied with.
(vii) No significant post balance sheet events occurred.
(viii) The Guidelines for the Appraisal and Management of Capital
Expenditure Proposals are being complied with.
(ix) The Code of Practice for the Governance of State bodies
has been adopted and is being complied with.
James Morris
Chairman
THE FADING LIGHT
07
Idirnáisiúnta Scannán Shanghai agus ag Féile Idirnáisiúnta
Scannán Beijing. Cuireadh an clár i lathair i gcomhpháirt le BSÉ/
IFB agus Reel Ireland de chuid an IFI agus fuair sé tacaíocht ó
Culture Ireland.
Thug meitheal stiúrthóirí, léiritheoirí agus talann as Éirinn
cuairt ar an áis áit ar ainmníodh Zonad agus Ondine le haghaidh
Gradam Golden Goblet (coibhéis na háise ar na gradaim Oscar)
i Shanghai. Deis ríthábhachtach chun aird a dhíriú ar thalann
Éireannach agus le próifíl na hÉireann a neartú sa tSín agus
chun fiontar, trádáil agus infheistíocht a spreagadh ab ea clár
scannán as Éirinn a chur isteach sa dá mhórfhéile scannán sin
sa tSín.
Give Me Direction Tionóladh an dara chomhdháil scríbhneoireacht scripte ‘Give
Me Direction’ i mBaile átha Cliath agus dhírigh sé sin, trí
mheascán d’agallaimh poiblí, comhphlé neamhfhoirmeálta,
seisiúin agus taispeántais, ar an ábhar fairsing sin, an greann sa
scannánaíocht.
Lenny Abrahamson, Sharon Horgan agus Pat McCabe a bhí i
mbun coimeádaíochta agus i measc na n-aíonna idirnáisiúnta
bhí Bobby Farrelly (Kingpin, There’s Something About Mary),
Nicole Holofcener (Please Give, Friends With Money) agus Sam
Bain agus Jesse Armstrong (Peep Show, Four Lions). Deis
iontach a bhí ann chun teagmháil a dhéanamh le scríbhneoirí
Éireannacha agus le scríbhneoireacht urnua don scáileán a chur
chun cinn.
Real Deal Tionóladh an chomhdháil ‘Real Deal’ arís le linn Fleadh Scannán
na Gaillimhe agus dhírigh sé ar chúrsaí lánais. Ghlac léiritheoirí
páirt i gcomhphlé comhchéime i rith na maidine mar gheall
ar na nithe a n-éiríonn leo dóibh siúd ó thaobh na scannán a
dhéanann siad agus an chaoi gur féidir comparáid a dhéanamh
idir an méid sin agus na nithe a n-éiríonn leo sa mhargadh.
Dhírigh seisiúin an tráthnóna ar lánas scannán beochana agus
tionóladh máistir-rang le Lee ulrich agus Darla Anderson ó
Pixar a bhfuil obair déanta acu ar phríomhscannáin ar nós Toy
Story 3, A Bugs Life agus Monsters Inc. Deis a bhí ann labhairt
faoin dtaobh cruthaitheach den ghnó agus faoin bpróiséas
smaointeoireachta atá taobh thiar de thionscadail a roghnú.
RIALACHAS CORPORÁIDEACH
Comhlíonann Bord Scannán na hÉireann/The Irish Film Board
an Cód Cleachtais um Rialachas Comhlachtaí Stáit ina iomlán.
De réir Ailt 10.2 den Chód sin, deimhním, de réir mar is fearr is
eol dom:
(i) Nach raibh aon fhorbairtí suntasachta tráchtála a bhain
leis an gcomhlacht le linn 2009 seachas na cinn sin atá
luaite thuas i dtuarascáil oibríochtúil na bliana.
(ii) Go bhfuil na nósanna imeachta ar fad maidir le tuairisciú
airgeadais, iniúchadh inmheánach, soláthar agus diúscairt
sócmhainní á ndéanamh.
(iii) Go dtugtar Ráiteas maidir leis an gCóras Rialaithe
Inmheánach Airgeadais ar Leathanach 12 den
dTuarascáil Bhliantúil.
(iv) Go bhfuil na Cóid maidir le hIompar Gnó do Stiúrthóirí
agus Fostaithe i bhfeidhm.
(v) Go bhfuil Polasaí an Rialtais maidir le pá na
bPríomhfheidhmeannach agus na bhfostaithe ar fad i
gcomhlachtaí stáit á chomhlíonadh.
(vi) Go bhfuil treoirlínte an Rialtais maidir le táillí Stiúrthóirí
a íoc á gcomhlíonadh.
(vii) Nár tharla aon teagmhas suntasach iarchláir
chomhordaithe.
(viii) Go bhfuil na Treoirlínte maidir le Tograí Caiteachas Caipitil
a Mheasúnú agus a Bhainistiú á gcomhlíonadh.
(ix) Gur glacadh an Cód Cleachtais um Rialachas Comhlachtaí
Stáit agus go bhfuil sé sin á chomhlíonadhh.
James Morris
Cathaoirleach
08
AnnuAL REPORT OF BORD SCAnnÁn nA hÉIREAnn
AS IF I WAS NOT THERE
Bord Scannán na hÉireann/the Irish Film Board works within the
framework of The Film Board Act 1980 and the Irish Film Board
(Amendment) Acts 1993, 1997, 2000, 2006.
BOARD MEMBERS
The members of Bord Scannán na hÉireann/the Irish Film Board
in 2010 were: Johnny Gogan, Barry Grace, Tristan Orpen Lynch,
James Morris (Chair), Lesley McKimm, Kevin Moriarty and
Kirsten Sheridan.
STAFF
The staff of Bord Scannán na hÉireann/the Irish Film Board
at 31st December 2010 were: Simon Perry, CEO; Teresa
McGrane, Head of Business Affairs (Deputy CEO); Naoise
Barry, Film Commissioner; Celine Forde, Financial Controller;
Andrew Meehan, Development Executive; Alan Maher,
Production Executive; Emma Scott, Production Executive;
Mark Byrne, Business and Legal Executive; Louise Ryan,
Marketing and Communications Executive; Jill McGregor,
Applications and Schemes Co-ordinator; Sarah Dillon,
Production and Development Co-ordinator; Mags O’Sullivan,
Deputy Film Commissioner; Jonathan Loughran, vP, Irish
Film Commissioner, uS; Patrick O’Neill, Industry Affairs
Executive; Niamh O’Reilly, Executive Assistant to CEO; Suzanne
Keane, Accounts Co-ordinator (Part-time) and Aileen McCauley,
Administrative Assistant.
MEETInGS
The Board held 9 meetings in 2010.
OFFICES
Bord Scannán na hÉireann/the Irish Film Board’s head office is
based in Galway city:
Queensgate, 23 Dock Road, Galway, Ireland.
Tel +353 91 561398, Fax +353 91 561405
Email [email protected], www.irishfilmboard.ie
The Board’s office in Dublin is located at:
14-16 Lord Edward Street, Dublin 2.
BORD SCAnnÁn nA hÉIREAnn’S OBJECTIvES AnD POLICIES
SOME OTHER STORIES
09
BORD SCAnnÁn nA hÉIREAnn IS ESTABLISHED:
• To promote the creative and commercial elements of Irish
film-making and film culture to a home and international
audience. The Board supports film projects through the
provision of development funding and also provides
production finance by way of debt/equity investment.
• To encourage the development and training of technical,
artistic and production personnel as a means of improving
the overall skills proficiency within the industry.
• To assist the production and marketing of Irish films within
Ireland and abroad as a means of stimulating an interest in
Ireland, Irish culture and Irish films.
THE BOARD OFFERS FunDInG TO THE DEvELOPMEnT AnD PRODuCTIOn OF PROJECTS AS FOLLOwS:
i) Development loans (repayable on the first day of principal
photography) to a limit of €100,000 per project, as research,
development and feasibility loans. Any funding above
€50,000 to any one project must be matched by funding from
other sources
ii) Production loans for projects with budgets
• In excess of €100,000 and not more than €1.5M,
BSÉ/IFB can provide up to 65% of the production budget
• In excess of €1.5M and not more than €5M, BSÉ/IFB
can provide up to €1M or 40% of the budget, whichever
is greater
• In excess of €5M, BSÉ/IFB can provide up to €2 million
or 25% of the budget, whichever is greater
BOTH DEvELOPMEnT AnD PRODuCTIOn LOAnS ARE ASSESSED By A nuMBER OF CRITERIA:
i Additionality
ii Cultural Priorities, Industrial Priorities
iii Making Cinema
iv Originality
(See appendix 4, page 33.)
10
FInAnCE
BETWEEN THE CANALS
RECOuPMEnT
The Board shares in and recoups profits from revenues
generated from sales for cinema, television, video etc. The
Board advanced a total of €15,091,300 in feature development
and production loans during 2010. In the same period, the Board
recouped €738,198. This figure brings to 10% the recoupment
rate on production feature loans advanced since the re-
incorporation of BSÉ in 1993.
ECOnOMIC DATABASE
The Audiovisual Federation of IBEC, in conjunction with the
Board and representatives of the Department of Arts, Sport
and Tourism, Screen Producers Ireland, TG4 and RTÉ publishes
annually the Economic Database. This report covers film and
television projects made in Ireland each year.
SCREEn TRAInInG IRELAnD
During 2010, the Board made available €387,348 to FáS Screen
Training Ireland for the direct provision of Industry Training.
COnTRIBuTIOn TO EuROPEAn AGEnCIES
BSÉ/IFB contributes financial support to the following
European organisations:
EurimagesEurimages, founded by the Council of Europe, provides
production finance for European co-productions. Ireland has
participated in the scheme since 1992. Brendan McCarthy
represented Ireland on the Eurimages committee in 2010. The
Board paid Ireland’s subscription in 2010, which was €307,420.
European Film PromotionEuropean Film Promotion (EFP) is the only existing international
network of organisations promoting and marketing European
cinema worldwide. The network comprises professional
organisations from 32 European countries who are experts in
promoting and marketing their own national cinema. under the
EFP umbrella, all of these organisations work together on the
promotion of European cinema and talent around the world. The
Board contributed €9,030 to EFP in 2010.
European Audiovisual ObservatoryThe Observatory is an information network, which collects and
distributes legal, economic and practical information on the
audiovisual industry in Europe for the benefit of professionals
and companies within the fields of television, film and video. The
Board paid Ireland’s subscription fee of €20,575 in 2010.
MEDIA Desk IrelandMEDIA Desk Ireland provides information and advice on the
MEDIA Programme, Eurimages, Eureka Audiovisual and also on
Eu audiovisual policy. In 2010, the Board contributed €57,000 to
the running of the Desk. The office is located in the Irish Film
Centre, 6 Eustace Street, Dublin 2, and is open to enquiries and
consultancy meetings from Monday to Friday.
MEDIA AntennaThe MEDIA Antenna is located in Galway Film Centre, Cluain
Mhuire, Monivea Road, Galway and serves as a regional MEDIA
office. It also has a particular remit to provide information and
services to the growing Irish language audiovisual community.
In 2010 the Board contributed €12,200 to the running costs of
the Antenna.
SNAP
11
STATEMEnT OF BOARD MEMBERS’ RESPOnSIBILITIES
Section 20 (1) of the Irish Film Board Act 1980, requires the members of the Board to prepare Financial Statements
in such form as may be approved by the Minister for Tourism, Culture and Sport with the consent of the Minister for
Finance. In preparing those Financial Statements, the Board is required to:
• Select suitable policies and then apply them consistently.
• Make judgements and estimates that are reasonable and prudent.
• Prepare the financial statements on the going concern basis unless it is inappropriate to presume
that Bord Scannán na hÉireann/the Irish Film Board will continue in business.
• State whether applicable accounting standards have been followed subject to any material departures
disclosed and explained in the financial statements.
Bord Scannán na hÉireann/the Irish Film Board is responsible for keeping proper books of account which disclose with
reasonable accuracy at any time the financial position of Bord Scannán na hÉireann/the Irish Film Board. It is responsible
for taking such steps as are necessary to safeguard the assets of Bord Scannán na hÉireann/the Irish Film Board and to
prevent and detect fraud and other irregularities.
James Morris Lesley McKimm
Chair Board Member
28 November 2011
12
CIRCuS FANTASTICuS
STATEMEnT On InTERnAL FInAnCIAL COnTROLS
On behalf of Bord Scannán na hÉireann/the Irish Film Board,
I acknowledge our responsibility for ensuring that an effective
system of internal financial control is maintained and operated.
The system can only provide reasonable and not absolute
assurance that assets are safeguarded, transactions authorised
and properly recorded, and that material errors or irregularities
are either prevented or would be detected in a timely period.
Key Control Procedures: The Board has put in place the following key internal
financial control procedures to ensure an appropriate control
environment exists:
• An organisation plan exists which defines and
allocates responsibilities to staff and identifies lines of
reporting for all aspects of the Board’s operations.
• Procedures and security measures exist to ensure the
safe custody of the Board’s assets and assurance
against unauthorised use or disposition.
• A strong culture of openness and accountability is
encouraged throughout the organisation.
The Board has also established processes to identify and
evaluate business risks:
• Identifying the nature, extent and financial
implication of risk facing the body including
the extent which it regards as acceptable in
different functions.
• Assessing the likelihood of identified risks occurring
and assessing the Board’s ability to manage and
mitigate the risks that do occur.
• Carrying out regular reviews of the Board’s strategic
plans to ensure that these plans address the current
business environment.
• Setting short and long term targets for each unit
within the Board and reviewing progress against same.
• Establishing and enforcing standard procedures
under which financial assistance may be made
available to projects and reviewing these procedures
where necessary.
The Board reviewed its business risks in 2010 and is currently
addressing any identified weaknesses.
The system of financial controls is based on a framework of
regular management information, administrative procedures
including segregation of duties, authorisation, and a system of
delegation and accountability. In particular it includes:
• A comprehensive budgeting system with an annual
budget which is reviewed and agreed by the Board.
• Regular reviews of periodic and annual financial
reports which indicate expenditure against forecasts.
• Setting targets to measure financial and
other performances.
The Board has also established an Audit Committee which
consists of representatives of the Board and the Executive with a
view to furtherance of internal controls.
Review of Internal Financial Control: The Board monitors the effectiveness of the system of internal
financial controls by regular management review and periodic
inspection and review studies by external consultants.
The Board carried out a review of its internal financial controls
for 2010.
On behalf of the Board
________________________
James Morris
Chair
GARTH AND BEv
13
REPORT OF THE COMPTROLLER AnD AuDITOR GEnERAL FOR PRESEnTATIOn TO THE HOuSES OF THE OIREACHTAS
Bord Scannán na hÉireann/the Irish Film Board I have audited the financial statements of the Irish Film Board
for the year ended 31 December 2010 under the Irish Film
Board Act 1980. The financial statements, which have been
prepared under the accounting policies set out therein, comprise
the Accounting Policies, the Capital Income and Expenditure
Account, the Administration Income and Expenditure Account,
the Statement of Total Recognised Gains and Losses, the Balance
Sheet, the Cash Flow Statement and the related notes. The
financial reporting framework that has been applied in their
preparation is applicable law and Generally Accepted Accounting
Practice in Ireland.
Responsibilities of the Members of the BoardThe Irish Film Board is responsible for the preparation of the
financial statements, for ensuring that they give a true and fair
view of the state of the Board’s affairs and of its income and
expenditure, and for ensuring the regularity of transactions.
Responsibilities of the Comptroller and Auditor GeneralMy responsibility is to audit the financial statements and report
on them in accordance with applicable law.
My audit is conducted by reference to the special considerations
which attach to State Bodies in relation to their management and
operation.
My audit is carried out in accordance with the International
Standards on Auditing (uK and Ireland) and in compliance with
the Auditing Practices Board’s Ethical Standards for Auditors.
Scope of Audit of the Financial StatementsAn audit involves obtaining evidence about the amounts and
disclosures in the financial statements, sufficient to give
reasonable assurance that the financial statements are free from
material misstatement, whether caused by fraud or error. This
includes an assessment of:
• Whether the accounting policies are appropriate to the
Board’s circumstances, and have been consistently applied
and adequately disclosed
• The reasonableness of significant accounting estimates
made in preparation for the financial statements
• The overall presentation of the financial statements
I also seek to obtain evidence about the regularity of financial
transactions in the course of the audit.
In addition, I read all the financial and non-financial information
in the Annual Report to identifiy material inconsistencies with the
audited financial statements. If I become aware of any apparent
material misstatements or inconsistencies I consider the
implications for my report.
Opinion on the Financial Statements
In my opinion, the financial statements, which have been properly
prepared in accordance wiith the Generally Accepted Accounting
Practice in Ireland, give a true and fair view of the state of the
Board’s affairs at 31 December 2010 and of its income and
expenditure for the year then ended.
In my opinion, proper books of account have been kept by the
Board. The financial statements are in agreement with the books
of account.
Matters on which I report by exceptionI report by exception if:
• I have not received all the information and explanations
I required for my audit, or
• My audit noted any material instance where moneys have
not been applied for the purposes intended or where the
transations did not conform to the authorities governing
them, or
• the information given in the Board’s Annual Report for the
year for which the financial statements are prepared is not
consistent with the financial statements, or
• the statement of Internal FInancial Control does not reflect
the Board’s compliance with the Code of Practice for the
Governance of State Bodies, or
• I find there are other material matters relating to the manner
in which public business has been conducted
I have nothing to report in regard to those matters upon which
reporting is by exception.
________________________
Andrew Harkness
For and on behalf of the Comptroller and Auditor General
30 November 2011
14
BuRMA BETRAYAL
ACCOunTInG POLICIES
A. Basis of AccountingThe financial statements consist of two Income and Expenditure
Accounts and a Balance Sheet.
• The Capital Income and Expenditure Account records the
disbursement of the Board’s development and production
loans and its contribution to Screen Training Ireland, the
national training agency for the film industry in Ireland.
• The Administration Income and Expenditure Account records
the administrative transactions in respect of the Board.
The financial statements are prepared under the historical
cost convention and in accordance with Generally Accepted
Accounting Practice (GAAP) on an accruals basis except as
stated below. Financial Reporting Standards recommended
by the recognised accounting bodies are adopted as they
become applicable.
B. IncomeIncome shown in the financial statements under Oireachtas
Grants represents the actual cash received. Other income is also
taken to account on a cash receipts basis.
C. LoansProduction loans are made by the Board to assist in the
production of films. Repayments and returns are dependent
upon the commercial success of the related films.
Development loans are made to filmmakers for the purpose
of developing film projects. Repayments become payable in
accordance with the terms of the loan agreements.
These loans are not normally subject to interest charges, but
include measures for recoupment and profit participation.
Loans are reviewed by the Board on a periodic basis and
appropriate provision is made against loans outstanding, based
upon the historical performance of the Board’s loanbook. The
provision is accounted for through the Capital Reserve.
D. Capital ReserveThe Capital Reserve represents the funding invested in
films and Fixed Assets after provisions and amortisation.
E. Tangible Fixed AssetsTangible Fixed Assets are shown at original historical cost.
Assets over €250 are capitalised.
Depreciation is provided at rates calculated to write off the original
cost less the estimated residual value of each asset on a straight-
line basis over its expected useful life. The rates of depreciation
are as follows:
• Office Furniture and Equipment 20% per annum
• Computer Equipment 33% per annum
F. Pension CostsThe Board operates a defined benefit pension scheme which is
funded annually on a pay as you go basis from monies available
to it, including monies provided by the Department of Tourism,
Culture and Sport. The Scheme is operated on an administrative
basis pending approval of the Minister of Finance.
Pension Scheme liabilities are measured on an actuarial basis
using the projected unit method.
Pension costs reflect pension benefits earned by employees in
the period and are shown net of staff pension contributions which
are treated as refundable to the Department in accordance with
agency financing arrangements. An amount corresponding to the
pension charge is recognised as income to the extent that it is
recoverable and offset by grants received in the year to discharge
pension payments.
Actuarial gains or losses arising from changes in Actuarial
assumptions and from experience surpluses and deficits are
recognised in the Statement of Total Recognised Gains and Losses
for the year in which they occur and a corresponding adjustment
is recognised in the amount recoverable from the Department of
Tourism, Culture and Sport.
Pension Liabilities represent the present value of future pension
payments earned by staff to date. Deferred pension funding
represents the corresponding asset to be recovered in future
periods from the Department of Tourism, Culture and Sport.
G. Foreign Exchange PolicyTransactions denominated in foreign currencies are translated to
the respective functional currencies at exchange rates at the dates
of the transactions. Monetary assets and liabilities denominated
in foreign currencies at the reporting date are translated to the
functional currency at the exchange rate at that date. Any gain or
loss arising from a change in exchange rates subsequent to the
date of the transaction is included as an exchange gain or loss in
the Income Statement.
CRACKS
15
FInAnCIAL STATEMEnTS OF BORD SCAnnÁn nA hÉIREAnn/THE IRISH FILM BOARDyEAR EnDED 31 DECEMBER 2010
Capital Income and Expenditure AccountYear ended 31 December 2010
notes 2010 2009Income I I
Oireachtas Grants 1 16,500,000 18,817,000 Contributions from other parties 161,175 152,350 Other Income 72,689 72,428 Repayment of Loans transferred from Capital Reserve 3 738,198 1,380,377
Total 17,472,062 20,422,155
ExpenditureScreen Training Ireland (387,348 ) (532,000 ) Production Loans 14 (13,385,800 ) (15,101,659 ) Development Loans 14 (1,705,500 ) (2,201,585 ) Other Capital Payments 4 (1,046,681 ) (1,271,028 )
Total (16,525,329 ) (19,106,272 )
Surplus/ (Deficit) 946,733 1,315,883Balance at beginning of year 4,364,599 3,048,716
Balance at end of year 5,311,332 4,364,599
The Accounting Policies and Notes 1-17 form part of these Financial Statements
James Morris Lesley McKimmChair Board Member
28 November 2011
16
FAIRYCATCHER
Administration Income and Expenditure AccountYear ended 31 December 2010
notes 2010 2009Income I I
Oireachtas Grant 1 2,729,953 2,975,926 Other Income 17,144 45 Net Deferred Funding for Pension Costs 10c 351,461 346,494 Transfer (to)/from Capital Reserve 13 58,031 74,650
Total 3,156,589 3,397,115
ExpenditureAdministration 5 1,973,034 2,074,400 Organisations, Subscriptions and Research 7 218,316 194,905 Marketing Costs 8 636,058 619,715 Education 6,932 196,253 Pension Costs 10a 309,414 299,420
Total 3,143,754 3,384,693
SuRPLuS/DEFICIT 12,835 12,422
Balance at Beginning of Year (6,202) (18,624 )
Balance at end of year 6,633 (6,202 )
The Accounting Policies and Notes 1-17 form part of these Financial Statements
James Morris Lesley McKimmChair Board Member
28 November 2011
Statement of Total Recognised Gains and LossesYear ended 31 December 2010
notes 2010 2009Surplus for the year I I
Administration Account 12,835 12,422Capital Account 946,733 1,315,883
Total 959,568 1,328,305
Experience Gains on Pension Scheme Liabilities 10d 320,044 90,900Changes in Assumptions underlying the Present value of the Pension Scheme Liabilities (154,384 ) 162,302
Actuarial gain/(loss) on pension liabilities 10b 165,660 253,202 Adjustment to Deferred Pension Funding (165,660 ) (253,202 )
Total recognised gain for the year 959,568 1,328,305
The Accounting Policies and Notes 1-17 form part of these Financial Statements
James Morris Lesley McKimmChair Board Member
28 November 2011
Balance Sheet Year ended 31 December 2010
notes 2010 2009Fixed Assets I I
Tangible Assets 11 85,328 143,359
Investment in FilmsProduction Loans 3 1,046,797 1,207,134Development Loans 3 128,891 150,380
1,175,688 1,357,514
Current AssetsCash at Bank 6,232,600 4,556,381Prepayments/Debtors/Accrued Income 352,718 129,888
6,585,318 4,686,269
Creditors
Amounts Falling Due within One year 12 (1,267,352 ) (327,871 )
nET CuRREnT ASSETS 5,317,966 4,358,398
Total Assets Less Current Liabilities Before Pensions 6,578,982 5,859,271
Deferred Pension Funding Asset 2,188,000 2,002,199Pension Liabilities (2,188,000 ) (2,002,199 )
net Assets 6,578,982 5,859,271
Capital and ReservesCapital Account 5,311,332 4,364,599Administration Account 6,633 (6,202 )Capital Reserve 13 1,261,017 1,500,874
Total 6,578,982 5,859,271
The Accounting Policies and Notes 1-17 form part of these Financial Statements
James Morris Lesley McKimmChair Board Member
28 November 2011
MISS REMARKABLE & HER CAREER
17
18
LITTLE MATADOR
Cash Flow StatementYear ended 31 December 2010
2010 2009 I I
Surplus/(Deficit) on Capital Account 946,733 1,315,883Surplus/(Deficit) on Administration Account 12,835 12,422
959,568 1,328,305
Adjustment for non-operating itemsBank interest (72,689 ) (72,428 )Transfer to/(from) Administration Income and Expenditure Account (58,031 ) (74,650 )
(130,720 ) (147,078 )
Adjustment for non-cash items Depreciation 86,848 96,180(Increase)/Decrease in Debtors (222,830 ) 253,340Increase/(Decrease) in Creditors 939,481 (268,919 )
net cash inflow from Operating activities 1,632,347 1,261,828
Cash Flow StatementNet cash inflow from Operating activities 1,632,347 1,261,828Bank interest 72,689 72,428Payments to acquire assets (28,817 ) (21,529 )
Inflow 1,676,219 1,312,727
Reconciliation of net Cash Flow to Movement in net FundsIncrease in Cash in Period 1,676,219 1,312,727Cash at 1 January 2010 4,556,381 3,243,654
net Funds at 31 December 2010 6,232,600 4,556,381
The Accounting Policies and Notes 1-17 form part of these Financial Statements
James Morris Lesley McKimmChair Board Member
28 November 2011
nOTES TO THE FInAnCIAL STATEMEnTS
1. Oireachtas Grants
The Oireachtas grant in respect of the Board’s capital expenditure is funded under the Productive Sector Operational Programme and the Employment and Human Resources Development Operational Programme of the National Development Plan 2007-2013. 2010 2009Current Purposes I I
Irish Film Board 2,772,000 3,023,000Less Pension Contributions (42,047 ) (47,074 )
Total 2,729,953 2,975,926
Capital purposes
Investment in Film 16,500,000 18,817,000
2. Limitation of Monies Provided by the Board
under Section 10 of the Irish Film Board Act, 1980 as amended, the maximum amount of any investments, loans, grants and guarantees (less recoveries) shall not exceed €200,000,000. At the 31st December 2010, an amount of €188,727,393 had been provided (At 31/12/2009, €174,780,208 had been provided).
3. Investment in Films
Production Development notes Loans Loans TOTAL I I I
Advanced during the year 13,385,800 1,705,500 15,091,300Recoupment during the year (604,682 ) (133,516 ) (738,198 )Provision for year (12,941,455 ) (1,593,473 ) (14,534,928 )
Movement in the Year 13 (160,337 ) (21,489 ) (181,826 )Balance at 1 January 2010 1,207,134 150,380 1,357,514
Balance as at 31/12/10 1,046,797 128,891 1,175,688
FIvE MINuTES OF HEAvEN
19
4. Other Capital Payments
In addition to the payments made to Production and Development Loans, the Board made the following other capital payments in the year.
2010 2009European Organisations I I
Eurimages 307,420 291,669European Film Promotion 9,030 9,905European Observatory 20,575 19,737Media Antenna 12,200 12,200Media Desk 57,000 57,011 Industry GuildsIrish Playwrights and Screenwriters Guild 81,000 80,000Screen Directors Guild 83,000 80,000 Film Market/Industry Event SupportDublin International Film Festival 30,000 30,000Galway Film Fair 40,000 40,000Guth Gafa Film Festival 10,000 10,000Stranger Than Fiction 10,000 5,500Cinemagic 5,950 -Darklight Film Festival 12,000 -Dingle Film Festival 5,000 5,000European Film Market Support 39,835 7,000Other 1,398 6,576 Others Cinemobile 60,000 60,000IFTA 120,000 140,000Other Training 52,716 48,711Scouting/Travel Grants 35,385 50,277Scriptreaders 54,172 62,442Solas Picture Palace - 255,000
Total 1,046,681 1,271,028
20
ALIBI THE TREMBLING vEIL OF BONES
21
5. Administration
2010 2009 I I
Administration Salaries 983,021 1,038,238Board Member Fees 44,888 47,250Staff Training 10,341 13,332Rent and Service Charges 278,146 285,897Insurance 8,190 7,579Light / Heat 17,336 18,432Telephone / Fax 59,589 67,436Postage / Couriers 24,500 25,705Office Stationery/Printing 21,551 10,266Repairs/Maintenance 37,727 63,583Staff Travel / Subsistence 158,110 155,180Bank Interest and Charges 1,506 2,082Board Meetings and Expenses 10,463 6,839Legal Fees 4,447 -Audit Fees 14,852 14,852Sundry 11,615 14,816Depreciation 86,848 96,180Consultancy 143,906 201,818Recruitment Costs 55,998 -Database Development - 2,316Foreign Exchange Loss - 2,599
Total 1,973,034 2,074,400
6. Board Remuneration and Employees
The average number of employees including the Chief Executive, during the year was as follows:
2010 2009 Number NumberChief Executive 1 1Employees 15 15
The CEO’s remuneration package for 2010 was made up as follows: Annual basic salary: €110,844 (2009: €120,382). The CEO’s pension entitlements do not extend beyond the standard entitlements in the public sector defined benefit superannuation scheme. Expenses of €48,153 were incurred in respect of the CEO and include the following categories: accommodation, airfares, mobile phone charges, subsistence, taxis and train fares. The CEO spent 77 days abroad on official business in 2010 in order to raise international finance for the IFB slate of feature films, to market Ireland as a film location and to promote awareness of Irish film internationally. The CEO is also required to attend extensive meetings in Dublin as part of his role.
Pension levy deductions from staff salaries of €58,856 were paid to the Department of Culture, Tourism and Sport in 2010. The Chairman’s fee was €8,978 and each of the six board members received €5,978. Expenses paid to board members in the year amounted to €9,330. €4,358 related to foreign travel while €4,972.46 related to Irish expenses including hotels, travel costs and subsistence.
7. Organisations, Subscriptions and Research
2010 2009 I I
IBEC 12,434 13,925Subscriptions to Publications 5,415 7,211Screen Producers Ireland 50,000 -Irish Film Archive 104,000 104,000LA Events 46,467 49,769Cinema Northwest - 20,000
Total 218,316 194,905
8. Marketing
2010 2009 I I
Festival Promotion 145,568 154,644Advertising 59,663 53,777Events/PR 83,302 67,625Publications 29,932 30,060Marketing Materials 24,532 64,544Web Site /Online Promotion 15,209 38,252Locations Services 18,242 11,908Overseas Marketing 76,422 31,258LA Office* 183,188 167,647
Total 636,058 619,715
* This represents staff costs of €134,115 and overhead costs of €49,072. (In 2009, staff costs were €139,349 with overhead costs of €28,296).
11. Tangible Fixed Assets
Furniture Computers TotalCost I I I
At 1 January 2010 429,610 356,943 786,553Additions 2,409 26,408 28,817Disposals (45,361 ) (159,212 ) (204,573 )
At 31 December 2010 386,658 224,139 610,797 Depreciation As at 1 January 2010 302,271 340,923 643,194Charge for year 69,038 17,810 86,848Disposals (45,361 ) (159,212 ) (204,573 )
At 31 December 2010 325,948 199,521 525,469
net Book value
As at 31 December 2010 60,710 24,618 85,328
As at 31 December 2009 127,339 16,020 143,359
Movement (66,629 ) 8,598 (58,031 )
9. Lease of Premises
The Board has commitments until 2016 in respect of its office in Galway at Queensgate, 23 Dock Road. The annual cost of this lease is €76,350 plus vAT. The Board also has commitments until 2017 in respect of its offices at 14-16 Lord Edward St, Dublin 2 at an annual cost of €116,000 plus vAT.
22
PYJAMA GIRLS
10. Superannuation
2010 2009 2008 2007a. Analysis of total pension costs charged to Expenditure I I I I
Current service cost 266,270 271,079 188,129 208,460Interest on Pension Scheme Liabilities 85,191 75,415 62,121 57,859Employee Contributions (42,047 ) (47,074 ) (44,591 ) (43,826)
Total 309,414 299,420 205,659 222,493
2010 2009 2008 2007b. Movement in net Pension Liability during the financial year I I I I
Net Pension Liability at 1 January 2,002,199 1,908,907 1,330,100 1,181,523Current Service Cost 266,270 271,079 188,129 208,460Interest Cost 85,191 75,415 62,121 57,859Actuarial Loss/(gains) (165,660 ) (253,202 ) 328,557 (117,742 )
net Pension Liability at 31 December 2,188,000 2,002,199 1,908,907 1,330,100
c. Deferred Funding for PensionsThe Board recognises these amounts as an asset corresponding to the unfunded deferred liability for pensions on the basis of the set of assumptions described above and a number of past events. These events include the statutory backing for the establishment of the pension scheme, and the policy and practice in relation to funding public service pensions including contributions by employees and the annual estimates process. The Board has no evidence that this funding policy will not continue to meet such sums in accordance with current practice.
The Net Deferred Funding for Pensions recognised in Income and Expenditure Account was as follows:
2010 2009 I I
Funding Recoverable in Respect of Current Year Pension Costs 351,461 346,494State Grant Applied to Pay Pensioners - -
Total 351,461 346,494
The deferred funding asset for pensions as at 31 December 2010 amounted to €2,188,000 (€2,002,199 in 2009)
2010 2009 2008 2007d. History of defined benefit obligations I I I I
Defined Benefit Obligations 2,188,000 2,002,199 1,908,907 1,330,100 Experience (gains)/losses on Scheme Liabilities Amount (320,044 ) (90,900 ) 53,735 (18,546 )Percentage of Scheme Liabilities -15% -5% 3% -1%
e. General Description of the SchemeThe pension scheme is a defined benefit final salary pension arrangement with benefits and contributions defined by reference to current “model” public sector scheme regulations. The scheme provides a pension (eightieths per year of service), a gratuity or lump sum (three eightieths per year of service) and spouse’s and children’s pensions. Normal retirement age is a member’s 65th birthday, and pre 2004 members have an entitlement to retire without actuarial reduction from age 60. Pensions in payment (and deferment) normally increases in line with general public sector salary inflation. The valuation used for FRS 17 (Revised) Disclosures has been based on a full actuarial valuation at each date performed by an independent qualified actuary to take account of the requirements of FRS 17 in order to assess the scheme liabilities at 31 December 2010.
The Principal Actuarial Assumptions were as follows: 31/12/2010 31/12/2009 31/12/2008 31/12/2007Rate of increase in salaries 3.50% 3.50% 3.50% 4.00%Rate of increase in pension payment 3.50% 3.50% 3.50% 4.00%Discount Rate 4.00% 4.30% 4.00% 4.75%Inflation 2.00% 2.00% 2.00% 2.50%
The mortality basis adopted allows for improvements in life expectancy over time, so that life expectancy at retirement will depend on the year in which a member attains retirement age (age 65).
The mortality rates adopted are as follows:
Life Expectancy for Male aged 65 21.8 yearsLife Expectancy for Female aged 65 23.4 yearsLife Expectancy for Male aged 45 Now (from 65) 24.1 yearsLife Expectancy for Female aged 45 Now (from 65) 25.5 years
12. Creditors
2010 2009 I I
PAYE/PRSI 36,369 52,351Other Accruals 462,602 136,839Withholding Tax 17,651 23,052Pension Contribution 7,958 -Trade Creditors 742,772 115,629
Total 1,267,352 327,871
HAPPY EvER AFTERS
23
16. Board Members - Disclosure of Transactions
In the normal course of business the Irish Film Board may approve assistance to film projects and enter into other contractual arrangements with undertakings in which Board Members are employed or otherwise interested. The Irish Film Board has adopted procedures in relation to the disclosures of interests by Board members and these procedures were adhered to during the year. In 2010 the following loans were approved in which a Board Member was employed or had an interest:
name Company I
Lesley McKimm newgrange Pictures Stella Days (Production) 845,000 Stella Days (Regional Support) 120,000 Stella Days (Development) 25,000 Call Girl (Production) 150,000 Happy Ever Afters (P&A) 37,500 An Exact Replica of a Figment of My Imagination (Development) 15,000 Julia Here (Development) 27,000
James Morris Treasure Entertainment 30 Eggs (Development) 15,000 Simple Simon (Development) 22,500 A Month in the Country (Development) 28,000
Tristan Orpen Lynch Subotica Entertainment Flowers of Desire (Production) 300,000 A Stranger in a Strange Land (Documentary Promo) 10,000 Gold (Development) 10,500 unless (Development) 15,000 War Dog (Development) 50,000 La Mula (Development) 10,000 Subotica also received provisional offers of assistance in respect of Gold and A Stranger in a Strange Land
Kirsten Sheridan warehouse Pictures Doll House (Development) 15,000 Doll House (Production) 365,000 CDS The Rafters (Production) 600,000 The Rafters (Regional Support) 120,000 The Factory (Industry Development) 100,000
Johnny Gogan Bandit Films The Straits (Production) 495,000 Black Ice (Development) 20,000 The Wet Senor (Development) 5,000 Cinema northwest Swansong (Distribution) 17,642
Total 3,418,142
13. Capital Reserve
notes 2010 2009 I I
Balance at 01/01/10 1,500,874 1,859,291Investment in Films 3 (181,826 ) (283,767 )Movement in Fixed Asset Funding (58,031 ) (74,650 )
Balance at 31/12/10 1,261,017 1,500,874 The movement in Fixed Asset funding is comprised as follows: Income allocated for Capital purposes 28,817 21,529Amortisation 86,848 (96,179 )
Total (58,031 ) (74,650 )
24
CHAIRS
14. Commitments
Feature Documentary Animation Distribution Production* Production Production Loans Schemes TotalProduction Loans I I I I I ICommitments @ 01/01/10 1,351,546 725,471 251,800 74,270 274,265 2,677,352Commitments in 2010 9,091,588 1,344,000 1,065,000 861,649 719,000 13,081,237Commitments expired 2010 - (15,000 ) - - (34,078 ) (49,078 )
Total Commitments 10,443,134 2,054,471 1,316,800 935,919 959,187 15,709,511
Payments in 2010 (9,149,477 ) (1,518,496 ) (1,194,400 ) (784,535 ) (738,892 ) (13,385,800 )
Commitments at 31/12/10 1,293,657 535,975 122,400 151,384 220,295 2,323,711
* Included in both the commitment and payment figure for Feature Production is an amount of €162,011 in respect of project related expenses and production legal costs.
Animation Feature Development Development Industry TotalDevelopment Loans I I I ICommitments @ 01/01/10 60,001 510,998 - 570,999Commitments in 2010 215,000 1,374,700 100,000 1,689,700Commitments expired 2010 - - - -
Total Commitments 275,001 1,885,698 100,000 2,260,699
Payments in 2010 (211,000 ) (1,394,500 ) (100,000 ) (1,705,500 )
Commitments at 31/12/10 64,001 491,198 - 555,199
THE PIPE
25
15. Provisional Offers of Assistance to Film Projects
In addition to the contracted commitments outstanding at year-end of €2,878,910 disclosed in Note 14 an additional €5,157,300 in respect of provisional offers of assistance was outstanding. The major portion of such commitments, €4,045,000 is in respect of feature productions where offers are subject to certain terms and conditions which include the procurement of finance. They remain valid for a period of up to six months at which stage they are subject to review. These offers are also conditional on the availability of Board’s funds. The Board also had unquantified offers of assistance to a further eleven feature productions at the year end.
17. Board Approval
The financial statements were approved by the Board on the 28th November 2011.
26
APPEnDIx 1 Appendices 1 to 5 are for information and do not form part of the accounts from pages 15 to 25.
CAPITAL COMMITMEnTS 2010
Feature Production Loans
HELEN
CommittedI Albert nobbs Parallel Film Productions 750,000Citadel Blinder Films 657,000Come On Eileen Blinder Films 80,000Corp & Anam Magamedia 300,000Death of a Superhero Grand Pictures 600,000Doll House Warehouse Pictures 365,000Earthbound Paper Dreams 650,000Grabbers Samson Films 500,000Losing It Samson Films 235,000Lotus Eaters Fastnet Films 100,000My Brothers Rubicon Films 15,577Silence South Wind Blows 300,000Stella Days Newgrange Pictures 845,000The Looking Glass Emu Productions 4,000The Other Side of Sleep Fastnet Films 625,000The Pier Black Equus Films 100,000The Rafters CDS Ltd 600,000The Runway Fastnet Films 65,000
CommittedICreative Co-Production Fund Istanbul Ripple World Pictures 178,000Snake Dance West Park Pictures West 80,000The Last Furlong (The Hideaways) Octagon Films 350,000The Moth Diaries Samson Films 400,000This Must Be The Place Element Pictures 500,000
Regional Support FundCorp & Anam Magamedia 60,000Grabbers Samson Films 100,000Stella Days Newgrange Pictures 120,000The Last Furlong Octagon Films 70,000The Other Side of Sleep Fastnet Films 120,000The Rafters CDS 120,000
CompletionThe Liberties Areamann Productions 15,000Jimmy Murakami: non Alien Loopline Films 15,000Stand up My Best Friend Long Grass Productions 10,000
Total 8,929,577
CommittedI A Glacier Beneath Image Now Films 240,000Art will Save the world Happy Endings Productions 90,000Barbaric Genius Screenworks 15,000Children of the Revolution Transmission Films 40,000Darkness into Light Atlantic Film Alliance 15,000Doodle venom 15,000Dreams of a Life Soho Moon Pictures 150,000For One night Only Parallel Film Productions 100,000Good Days Bad Days Maccana Teo 10,000Good Robot Fastnet Films 15,000In the name of Dignity Lugh Films 15,000Jerry McGill: very Extremely Dangerous Screenworks 15,000King of Travellers (Knuckle) Rise Films 100,000Land Ripple World Pictures 15,000Last Lion Zeitgeist Films 15,000Making a Show of Myself Blinder Films 10,000Martin Hayes in Five ways Moving Still Productions 90,000Muerte and Me Fastnet Films 15,000
CommittedI On Bourbon St Cadenza Films 10,000One Minute to Midnight Crossing the Line Films 15,000Otunnu Crossing the Line Films 10,000Pikin Players Chapter 01 Productions 10,000Possession of the Sea Still Films 20,000Roadside Installation Puddle Films 15,000Sharp Knives Soft Targets Have More Fun 15,000Showrunners Black Sheep Productions 10,000Stranger in a Strange Land Subotica Ltd 10,000The Boy George Story Parallel Film Productions 10,000The Cause of Progress Zanzibar/Little Ease Films 15,000The Master the Slave and the Bank Still Films 5,000The Men of Arlington House Hotshot Films 60,000The nightdancers Still Films 15,000The Pipe underground Films 37,000The Truth Teller Solas Productions 15,000Thilafushi: Lost in Paradise El Zorrero Films 7,000what we Leave in Our wake Harvest Films 100,000
Total 1,344,000
Documentary Production Loans
CIRCuS MAN
27
CommittedI
P&A/Marketing SupportAll Good Children Element Distribution 9,300Happy Ever Afters Buena vista 37,500His and Hers Element Distribution 74,560Little Foxes Eclipse Pictures 3,578Perrier’s Bounty Element Distribution 75,000Savage Eclipse Distribution 30,000Swansong Cinema North West 13,500The Guard Element Distribution 75,000Trafficked Stoney Road 12,000vOLTA Element Distribution 225,000Zonad Element Distribution 75,000
Direct DistributionColony Fastnet Films 567Colony Irish Film Institute 2,200Eamon Zanita Films 7,211Eamon Irish Film Institute 4,400Pyjama Girls Still Films 10,000Pyjama Girls Irish Film Institute 2,200The Fading Light Irish Film Institute 2,200The Fading Light Park Films 2,258The Pipe underground Films 10,000
CommittedI
Print SupportAnton Fox Glove Films 2,000Colony Fastnet Films 45,965Corduroy EMu Productions 2,631Eamon Zanita Films 1,992Fairycatcher 2000AD Productions 3,267Fall Zanzibar Films 5,500Granny O’Grimm Brown Bag Films 9,824His & Hers venom 2,062If I Should Fall Behind Tilted Pictures 484Moore St Masala Fish Films 10,172One Hundred Mornings Blinder Films 30,000Please Say Something David O’Reilly 4,034Savage SP Films 55,000Swansong: The Story of Occi Cinema North West 4,142The Herd venom 2,265The Man Inside Broken Pictures 2,307The Pool Warrior Films 8,530
Total 861,649
Distribution
CommittedI Punky Monster Animation & Design 200,000Thor: The Edda Chronicles Magma Productions 85,000Jo and Jack Dancing Girl Productions 150,000Tilly & Friends Jam Media 250,000Moon Man Cartoon Saloon 300,000I’m a Monster Monster Distribution 80,000
Total 1,065,000
Animation Production Loans
CommittedI
Short Shorts Loft underground Films 15,000Honeycomb Samson Films 15,000Dummy Parallel Films 15,000Riders to the Sea Dig Productions 15,000Origin Souljacker 15,000Standby Black Sheep Productions 15,000
Signatures Shoe Zanita Films 66,000Crossing Salween Red Rage Films 83,000Pentecost Emu Productions 65,000This is a Test Image Now Films 71,000The Christening underground Films 80,000
Reality Bites Horizontal Collaboration Fastnet Films 15,000Blue Rinse Zucca Films 15,000How Can I Play Wildfire Films 15,000needle Exchange venom 15,000
CommittedI
virtual CinemaOur Poor Son Rubicon Films 2,000Ol’ One Eye Joanne Cunningham 2,000Signs vincent Gallagher 2,000The Monk and the Fly Souljacker 2,000Tv Dinner Two Hungry Fish Productions 2,000Irish Dog whisperer Two Hungry Fish Productions 2,000The Invention Lightbulb Lovely Productions 2,000Daylight Saving Time Jason Butler 2,000Spanx and Eve Tonyia Dowling 2,000
FrameworksAfter you Cel Division 47,000we the Masses Still Films 45,500Here to Fall Blacknorth Studio 44,500umbra And Maps and Plans 49,000
Total 719,000
Schemes
28
THE SECRET OF KELLS
CommittedI 30 Eggs Treaure Entertainment 27,0006 Hours Samson Films 25,000An Exact Replica of a Figment of my Imagination Newgrange Pictures 15,000Before Midnight Alan Brennan 12,000Billy Goes to war Lee Cronin 12,000Black Ice Bandit Films 20,000Blackrock Element Pictures 22,500Blinky and the war Machine Floodland Pictures 45,000Cell Six Fantastic Films 10,000Closed Circuit Ian Power 12,000Clovis Teazle Andrew Legge 12,000Cycle Samson Films 30,000Doll House CDS Limited 15,000Down to the Sunless Sea Wide Eye Films 15,000Earthbound Paper Dreams 10,000Easy Does It Janey Pictures 5,000Future Fathers Happy Endings 10,000Glass Houses Fantastic Films 5,000Gold (aka Six Days) Subotica 10,500Grooskill Mark O’Connor 12,000Guitar Heroes Brian Lynch 12,000Harm’s way Nightingale Films 15,000Hate SP Films 38,000Honoured Jasmina Kallay 12,000I Am not a Serial Killer Floodland Pictures 13,000I’m a wheel Paul Freaney/Alan Gilsenan 16,000Immaculate Ray Lawlor 12,000Jericho Fastnet Films 15,000Julia Here Newgrange Picures 27,000Julius winsome Nightingale Films 15,000Killing Tom Soho Moon Pictures 10,000Mister John Samson Films 10,000Moscow never Sleeps Johnny O’Reilly 12,000 Ms Mansfield and Me Paul Walker 12,000My Father’s Daughter Carmel Winters 12,000napoleon and Josephine Octagon Films 50,000Objects of Interest Mammoth Films 20,000Peacekeepers Jane Doolan 12,000Pilgrimage Savage Productions 18,000
CommittedI Princess Footnote Productions 20,000Prophet x Mike McCormack 12,000Reading in the Dark DeFacto Films 10,000Red Brian Finola Geraghty 12,000Reeling Parallel Film Productions 12,500Return of the Banshee Parallel Film Productions 11,500Sanctuary venom 4,000Scumbot Ciaran Foy 12,000Simple Simon Treasure Entertainment 22,500Standby Black Sheep Productions 10,000Stella Days Newgrange Pictures 25,000Synchronicity Paul Walker 12,000Synchronicity Parallel Film Productions 30,000Ten Dates with Mad Mary Element Pictures 40,000The Book of Lost Things Coastguard Films 50,000The Brave Tin Soldier Colin Downey 12,000The Canal Park Films 15,000The Cherry Tree Fantastic Films 15,000The End of Romance Trish McAdam 12,000The Fourth McHenry Christian O’Reilly 12,000The Gathering Goldfish Films 26,700The Girl in the Green Kimono Jimmy Murakami/Mary D’arcy 16,000The Islanders Pierce Ryan 12,000The Leviathan Floodland Pictures 48,000The Ranger Fastnet Films 26,000The Siege of Jadotville The Cannibal Corporation 50,000The Trial ursula Rani Sarma 12,000The wet Senor Bandit Films 5,000The winter Truce Audrey O’Reilly 12,000Three Days Brock Norman Brock 12,000Traders Peter Murphy/Rachael Moriarty 16,000Twelve Twenty Three Parallel Film Productions 22,500unless Subotica 15,000unsung Hero Joel Conroy 12,000war Dog Subotica 50,000your Girlfriend and Me unstoppable Films 15,000Love Eternal Fastnet Films 5,000La Mula Subotica 10,000
Total 1,374,700
Feature Development Loans
CommittedI Bedheads Kavaleer Productions 48,000Cosmo Monster Animation & Design 16,000Cú - The Hound of ulla Pillarstone Productions 29,000Fronkey, Hugh & Chonkey Avalon Films 10,000I’m a Monster Monster Distribution 48,000nightgliders Brown Bag Films 30,000The Selfish Giant NDN Productions 34,000
Total 215,000
Animation Development Loans
APPEnDIx 2
OuTSTAnDInG COMMITMEnTS 2010
Feature Production Loans
PendingI Citadel Blinder Films 65,700Come On Eileen Blinder Films 1,700Corp & Anam Magamedia 18,000Death of a Superhero Grand Pictures 60,000Doll House Warehouse Pictures 73,000Earthbound Paper Dreams 65,000Losing It Samson Films 23,500Lotus Eaters Fastnet Films 10,000Stella Days Newgrange Pictures 96,500The Other Side of Sleep Fastnet Films 38,500The Pier Black Equus films 5,000The Rafters CDS Ltd 72,000Pre 2010 107,407
Total 636,307
PendingI Istanbul Ripple World Pictures 17,800The Last Furlong Octagon Films 35,000The Moth Diaries Samson Films 40,000This Must be the Place Element Pictures 50,000Pre 2010 340,000
Total 482,800
Creative Co-Production Fund
A CLOWN’S REQuIEM
29
PendingI Punky Monster Animation 60,000Pre 2010 62,400
Total 122,400
Animation Production Loans
PendingI The Last Furlong Octagon Films 70,000The Other Side of Sleep Fastnet Films 36,000Pre 2010 62,500
Total 168,500
Regional Support Fund
CommittedI The Factory CDS 100,000
Total 100,000
Industry Development
PendingI Jimmy Murakami: non Alien Loopline Films 3,000Stand up: My Best Friend Maurice Linnane 50The Liberties Areamann Productions 3,000
Total 6,050
Completion
PendingI14 88 SP Films 3,00030 Eggs Treasure Entertainment 3,0006 Hours Samson Films 10,000An Exact Replica of a Figment of My Imagination Newgrange Pictures 3,000Before Midnight Alan Brennan 2,000Billy Goes to war Lee Cronin 2,000Black Ice Bandit Films 2,000Blackrock Element Pictures 7,500Blinky and the war Machine Floodland Pictures 5,000Cell Six Fantastic Films 2,000Closed Circuit Ian Power 2,000Clovis Teazle Andrew Legge 12,000Cycle Samson Films 5,000Down to the Sunless Sea Wide Eye Films 3,000Glass Houses Fantastic Films 1,000Gold (aka Six Days) Subotica 2,500Grooskill Mark O’Connor 2,000Guitar Heroes Brian Lynch 2,000Harm’s way Nightingale Films 3,000I Am not a Serial Killer Floodland Pictures 3,000I’m a wheel Paul Freaney/Alan Gilsenan 4,000Immaculate Ray Lawlor 2,000Jericho Fastnet Films 3,000Julius winsome Nightingale Films 3,000Killing Tom Soho Moon Pictures 2,000Mister John Samson Films 2,000Ms Mansfield and Me Paul Walker 2,000My Father’s Daughter Carmel Winters 2,000napoleon and Josephine Octagon Films 5,000Peacekeepers Jane Doolan 2,000Pilgrimage Savage Productions 3,000Princess Footnote Productions 5,000
PendingIProphet x Mike McCormack 2,000Reading in the Dark DeFacto Films 2,000Red Brian Finola Geraghty 2,000Reeling Parallel Film Productions 2,500Return of the Banshee Parallel Films 1,500Sanctuary venom 1,000Scumbot Ciaran Foy 2,000Simple Simon Treasure Entertainment 4,500Spin City Johnny O’Reilly 2,000Standby Black Sheep Productions 2,000Synchronicity Parallel Film Productions 18,000Ten Dates with Mad Mary Calipo Pictures 10,000The Book of Lost Things Coastguard Films 5,000The Brave Tin Soldier Colin Downey 2,000The Canal Park Films 3,000The Cherry Tree Fantastic Films 3,000The Gathering Goldfish Films 3,700The Girl in the Green Kimono Jimmy Murakami & Mary D’arcy 4,000The Islanders Pierce Ryan 2,000The Leviathan Floodland Pictures 8,000The Ranger Fastnet Films 8,000The Siege of Jadotville The Cannibal Corporation 5,000The Trial ursula Rani Sarma 2,000The wet Senor Bandit Films 1,000The winter Truce Audrey O’Reilly 2,000Three Days Brock Norman Brock 2,000Traders P Murphy & R Moriarty 4,000Twelve Twenty Three Parallel Films 2,500unless Subotica 5,000war Dog Subotica 10,000your Girlfriend and Me unstoppable Films 3,000Love Eternal Fastnet Films 1,000Pre 2010 261,498
Total 491,198
Feature Development Loans
DONKEY
31
PendingI Bedheads Kavaleer Productions 8,000Cosmo Monster Animation 3,000Cú - The Hound of ulla Pillarstone Productions 9,000Fronkey, Hugh & Chonkey Avalon Films 2,000nightgliders Brown Bag Films 5,000The Selfish Giant NDN Productions 7,000Pre 2010 30,000
Total 64,000
Animation Development Loans
30
WAvERIDERS
PendingI All Good Children Element Distribution 4,650Happy Ever Afters Buena vista 15,000His & Hers Element Distribution 7,456Perrier’s Bounty Element Distribution 7,500The Guard Element Distribution 37,500Trafficked Stoney Road 1,000Zonad Element Distribution 7,500Pre 2010 46,289
Total Definite P&A 126,895
Distribution - P&A /Marketing Support
PendingI Art will Save the world Happy Endings Productions 31,500Barbaric Genius Screenworks 3,000Darkness into Light Atlantic Film Alliance 3,000Doodle venom 3,000Dreams of a Life West Park Pictures West 30,000For One night Only Parallel Film Productions 20,000Good Days Bad Days Maccana Teo 2,000King of Travellers (Knuckle) Rise Films 10,000Land Ripple World Pictures 3,000Last Lion Zeitgeist Films 3,000Making a Show of Myself Blinder Films 2,000Martin Hayes in Five ways Moving Still Productions 27,000
PendingI On Bourbon St Cadenza Films 2,000One Minute to Midnight Crossing the Line Films 3,000Roadside Installation Puddle Films 3,000Sharp Knives Soft Targets Have More Fun 7,000The Cause of Progress Zanzibar/Little Ease Films 3,000The nightdancers Still Films 1,500The Pipe underground Films 8,000The Truth Teller Solas Productions 3,000Thilafushi: Lost in Paradise El Zorro Films 2,000what we Leave in Our wake Harvest Films 10,000Pre 2010 358,975
Total 535,975
Documentary Production Loans
PendingI Fairycatcher 2000AD Productions 37One Hundred Mornings Blinder Films 7,500The Herd venom 566Pre 2010 6,385
Total Print Support 14,488
Print Support
PendingI Short Shorts Dummy Parallel Films 2,000Loft underground Films 2,000Origin 2,000Riders to the Sea Dig Productions 2,000
Signatures This is a Test Image Now Films 7,100
PendingI FrameworksAfter you Cel Division 23,500we the Masses Still Films 22,750Here to Fall Blacknorth Studio 22,250umbra And Maps and Plans 24,500 Pre 2010 112,195
Total 220,295
Short Film Schemes
PendingI Pyjama Girls Still Films 5,000The Pipe underground Films 5,000
Total Direct Distribution 10,000
Direct Distribution
32
JOHN FORD - DREAMING THE QuIET MAN
APPEnDIx 3
DETAILS OF LOAn COnDITIOnS
(a) Development Funds
Development Loans are advanced on a phased payment basis with approximately 50-60% paid on satisfactory execution of
Development Loan contracts between the Board and the Producer, the balance being paid upon compliance with specific
conditions outlined by the Board.
Loans for development are up to a maximum of €100,000, €50,000 at any one time. Teams or individuals (producer/
director/script-writer) may apply. The Producer is obliged to repay the Advance to the Board on the first day of principal
photography.
These should be seen as development/ feasibility loans; the Board makes every effort to track these monies and provides
information and support for independent producers seeking other potential production partners. Some of the projects
receiving development loans from the Board will not proceed into production and may eventually have to be written off.
However, all projects which are successfully brought to fruition, are closely monitored by the Board and collection of
monies due is actively pursued.
(b) Production Loans
The Board’s involvement takes the form of investment in the production and in its sales for cinema, television, video and
ancillary markets (cable, satellite, home box-office etc.) both in Ireland and worldwide. The investment is not subject to
interest; rigorous measures for recoupment and profit participation are applied. All offers of investment are ‘in principle’
and subject to contract.
APPEnDIx 4
PRInCIPLES & CRITERIA
BSÉ/IFB’s funding programmes are guided by some
fundamental principles which form the basis of its decision-
making criteria. The principles are:
• Additionality
• Cultural Priorities, Industrial Priorities
• Making Cinema
• Originality
These are explained in more detail below. Thereafter we set out
some further considerations that may influence a decision in
favour of one project over another.
AdditionalityAn essential rationale for making public money available to
an industry is that it should create activity that would not
otherwise occur, i.e. that the market, left to itself, would not
engender. It follows that films backed by BSÉ/IFB should be
films that will not be made, or will not be made with the same
level of benefit to Ireland, unless enabled to do so with the
support of the agency. Such films, and the benefits that flow
from them, will represent ‘additional’ economic activity.
The procedures for considering submissions for production
funding are intended to ensure more effectively that the
extent of BSÉ/IFB’s involvement in a project really reflects
the extent to which its involvement is needed: specifically,
that the level of BSÉ/IFB’s investment is what is required to
complete a film’s financing and no more. Clearly this is hard
to police with absolute accuracy, given the nature of film
financing negotiations, but the principle holds good and will
be closely observed.
The aim to fund films that are ‘additional’ will also affect
BSÉ/IFB’s preferences in seeking out projects to support.
Additionality implies making a difference, and BSÉ/IFB will
tend to be drawn towards supporting projects that appear to
be of high quality but tangibly distinct and different from films
available in the mainstream marketplace. This does not mean
that BSÉ/IFB is interested only in supporting ‘un-commercial’
material. On the contrary, there is a wealth of cinema history
evidence to show that the big hits are frequently ground-
breaking, left-field surprises. The market appears to need
regular refreshment. BSÉ/IFB will give energetic backing to
producers who display an ambition to achieve market success
– with projects that display an awareness of the market, but not
a prostration to it.
Cultural Priorities, Industrial PrioritiesConsistent with its government remit, and responding to the
present perceived needs of the Irish film industry, BSÉ/IFB
considers that certain projects, in terms of their content,
provenance or benefit to the industry, represent clear priorities
for its funding as against others.
Strong preference will be given to submissions on behalf of
projects which:
• Are of ‘Irish initiation’ in a creative sense; that is,
conceived, written and to be directed by Irish talents
• Tell Irish stories, drawing on and depicting Ireland’s
culture, history, way of life, view of the world and of itself
• Entail new Irish filmmaking talent in key creative roles,
i.e. director, writer, producer, composer, principal actor
Serious attention will also be paid to submissions which:
• Propose a strongly Irish project (in terms of setting,
characters, etc) that is to be directed by a non-Irish talent,
where BSÉ/IFB regards the director’s track-record as an
assurance of quality
• Involve an Irish producer as minority co-producer of a film,
where (a) BSÉ/IFB is convinced of the quality of the project,
(b) the amount of BSÉ/IFB’s investment corresponds to the
level of involvement of Irish personnel, elements and
facilities in the project, and (c) a commitment is in place by
the majority co-producer to reciprocate by acting as
minority co-producer of a future Irish film
Submissions on behalf of films to be made predominantly in
the Irish language will continue to be particularly welcomed by
BSÉ/IFB.
BSÉ/IFB will always be vigilant in ensuring that films in which
it invests entail a high volume of expenditure on Irish personnel
and in the Irish industry, and this aspect of a submission is
likely to play a material part in a positive decision.
WIDE OPEN SPACES
33
34
GuNS, BEES AND TADPOLES IF THESE WALLS COuLD TALK
35
It will not in itself be a decisive factor, however, where BSÉ/IFB
is unconvinced by the quality of a project, or where the project
in other respects does not comply with any of the priorities
set out above. This is dealt with in more detail under Further
Considerations below.
Making CinemaA fundamental reason for BSÉ/IFB’s existence is to encourage,
sustain and promote work in Ireland that is made to be shown
on the big screen.
This has not prevented BSÉ/IFB from supporting work for which
the main exhibition outlet in practice is television. Moreover, to
the extent that this enables production companies to survive
and even thrive, and reflects a healthy and necessary synergy
between the cinema and television media, in a country the size
of Ireland it would be unrealistic for BSÉ/IFB to confine its
support to filmmaking for the cinema.
But, while continuing to respond positively to occasional
submissions on behalf of projects that are most likely to find
an audience on television, even including made-for-Tv films
and series, BSÉ/IFB will place somewhat greater emphasis
on its obligations towards cinema work and cinema talents
in the future.
In practice this will mean:
• Documentaries will be more rigorously assessed in
terms of their potential to achieve theatrical release or
stimulate interest from international film festivals.
Preference will be given to ‘feature documentaries’; films
aimed at a one-hour Tv slot or shorter, with little or no
international appeal, are likely to be supported only if
they are felt to be of an irresistible quality. Besides BSÉ/
IFB’s emphasis on cinema, this approach is also designed
to respond to the manifest increase in theatrical
audiences’ desire to see documentaries.
• Animation will be treated with more flexibility, in
recognition both of the growing importance of Irish work
in this field, and of the narrowness of the theatrical market
that exists for animated features. Preference will
nonetheless be given to original work from Irish talents
that appears to be sufficiently inventive and striking
to measure up to the big-screen format if an opportunity
becomes available.
• Television fiction, whether singles or series, will be
considered for its inherent quality but other factors will
also come into play. Strong emphasis will be placed on
backing directors (and, on occasions, writers) whose
careers to date clearly demonstrate an ability to make
cinema films, or who in the view of BSÉ/IFB are headed for
a career in cinema filmmaking. Further, BSÉ/IFB will need
to be convinced that its financial involvement is crucial to
the realisation of the programme and will expect to
contribute editorially to its content. Development support
by BSÉ/IFB for material specifically aimed at television
production will be forthcoming very rarely indeed.
OriginalityIn the interests of achieving distinction in the way in which
it utilises its resources, and consistent with the additionality
objectives already outlined, BSÉ/IFB will set considerable
store by originality in seeking out and selecting projects for
support. Artistic benefits apart, there is ample evidence that
in a market dominated by high-budget products, the films
that compete most effectively are those that offer audiences
something not seen before – in terms of controversial content,
provocative viewpoint, fresh humour, twisted genre, or new
depths of emotion.
This will lead BSÉ/IFB to favour directors (and writers) with
distinctive ‘voices’, whose work depicts a strongly individual
view of the world, portrays life in such a way as to give it new
meaning, holds a mirror up to aspects of nature that more
conventional filmmakers avoid or fail to notice. BSÉ/IFB is
concerned to back films that reach as wide an audience as
possible, and expects filmmakers to demonstrate a similar
ambition. At the same time it recognises that box-office success
eludes many. Whether a film succeeds or fails, BSÉ/IFB
believes that expenditure of public money can be vigorously
defended if the film has something original to say, something
original to add to the mass of world cinema.
Further ConsiderationsThe guiding principles described above should serve to give
applicants insight into the way in which BSÉ/IFB’s executives
and advisors will assess a project from the point of view of its
content and the creative team involved. In assessing production
funding applications, other factors may come into play,
concerning the economic effects of the project, the financial
arrangements, and the prospects of reaching audiences.
Where BSÉ/IFB does not consider that a project adheres to
any of the guiding principles, these other factors will not in
themselves be sufficient to secure an offer of funding. But,
in the case of a project where content and creative team are
seen as persuasive, the following considerations may affect
negotiations between BSÉ/IFB and the filmmakers as to the
level of BSÉ/IFB’s investment and the way in which the film
will be financed, produced and distributed:
• Track record of the producer
• Has the producer managed and delivered films in a
professional and efficient manner before?
• Has BSÉ/IFB had good previous experience of dealing
with the producer?
• In a co-production, do any non-Irish producers involved
have good professional track records?
• Irish employment
• Are key creative and technical positions to be filled
by Irish personnel?
• In a co-production, is the proportion of these
appropriate?
• Will the production offer employment to Irish personnel
across all possible grades?
• Spend in the Irish economy
• Will the film be shot in Ireland?
• Will the production make extensive use of Irish
production and post-production facilities?
• Will the project attract inward investment into the
Irish economy?
• Sales and Distribution
• Is an international sales agent attached to the film?
• Does the film have an Irish distributor?
• Are any distributors or broadcasters providing
production finance?
• Financial structure
• Are the proposed co-financiers of the film reliable?
• Will the proposed financing arrangements allow BSÉ/
IFB to negotiate a reasonable recoupment position?
• Will there be reasonable transparency of accounting
with regard to sales revenues, e.g. by use of a collection
agent?
It should be emphasised that for a project to be offered
production funding it is not necessary for all these questions
to be answered affirmatively. But negative answers to a
high proportion of them could undermine a strongly positive
disposition on the part of BSÉ/IFB towards the creative
aspects of a project. At the very least, a mix of affirmative and
negative answers will provoke discussion as to the extent and
manner of BSÉ/IFB’s commitment.
variant CriteriaSome BSÉ/IFB funding programmes have specific criteria of
their own and are not necessarily governed by the principles
set out above:
• Multiple Project Development (MPD)
Although the guiding principles are applied to assessment
of the slates of projects proposed, the MPD programme
carries its own additional criteria which should be checked
before an application is made.
• International Production
This programme, although subject in broad terms to
BSÉ/IFB’s normal cultural criteria, is more industrially
driven than creatively driven. Provided that the principal
producer has a good track record, and the creative package
appears plausible, assessment by BSÉ/IFB will be based
primarily on consideration of the economic ‘multiplier’
effect of its funding, and of the opportunities for Irish
personnel to be employed in key positions.
• Regional Support
This programme has an exclusively economic remit. To
be eligible, a project must already be in receipt of BSÉ/
IFB production funding, and no further creative judgment
is applied. An assessment is made of the amount of
the production budget to be spent in Ireland outside the
metropolitan and adjacent area; this must be at least twice
the amount of funding requested.
• Documenting the Arts
There are guidelines specific to this programme, as
drawn up with the Arts Council which oversees the
selection procedure.
• Distribution
The Print Provision programme functions on an automatic
basis, whereby films become eligible for support if selected
for one of a list of approved festivals, subject to agreement
with BSÉ/IFB as to the level of funding. Prints & Advertising
funding is provided to Irish distributors of BSÉ/IFB-backed
films who demonstrate that support from BSÉ/IFB will
enhance the promotion of a film in the Irish market.
36
JERICHO
APPEnDIx 5
LOCATIOn SERvICES
Location Services serves to facilitate and encourage filming of all kinds. We can help whether you are making feature
films, television, documentaries, commercials, corporates, music videos or still photography; anything that ends up on
screen. Our marketing team is here to answer your questions. Our service is free.
Here are just some of the services we offer:
• The Location Services unit handles all enquiries relating to filming in Ireland. F.I.L.M (Film Industry Location Manager)
is a searchable digital photo database that streamlines our location finding capabilities. The use of the service is free
to Irish location scouts, as well as film makers contacting us from abroad.
• As part of our service we also provide visual reference books and other reference information on matters relating
to filming in Ireland.
• We also act as the hub for a growing network of regional film offices. Our co-operation with the Northern Irish Film
and Television Commission means a combination of coverage of the island as a whole.
• We co-operate with other national bodies to make the working environment as film friendly as possible.
BORD SCAnnÁn nA hÉIREAnnRÁITIS AIRGEADAIS
FIvE DAY SHELTER
Oibríonn Bord Scannán na hÉireann faoi chreathlach Acht um
Bord Scannán 1980 agus Achtanna um Bord Scannáin (Leasú)
1993, 1997, 2000, 2006.
COMHALTAí
B’iad comhaltaí Bord Scannán na hÉireann i 2010 ná: Johnny
Gogan, uasal; Barry Grace, uasal; Tristan Orpen Lynch, uasal;
James Morris, uasal (Cathaoirleach); Lesley McKimm, uasal;
Kevin Moriarty, uasal and Kirsten Sheridan, uasal.
FOIREAnn
B’íad foireann Bord Scannán na hÉireann ar 31ú Mí na Nollag
2010 ná: Simon Perry, Príomhoifigeach Feidhmiúcháin; Teresa
McGrane, Ceannasaí Chúrsaí Gnó/Leas POF; Naoise Barry,
Coimisiúnaitheoir Scannán; Celine Forde, Rialtóir Airgeadais;
Andrew Meehan, Feidhmeannach Forbartha; Alan Maher,
Feidhmeannach Léiriúchán; Emma Scott, Feidhmeannach
Léiriúchán; Mark Byrne, Feidhmeannach Gnó agus
Dlí; Louise Ryan, Feidhmeannach Margaíochta agus
Cumarsáide; Jill McGregor, Comhordaitheoir Iarratas agus
Scéimeanna; Sarah Dillon, Comhordaitheoir Léiriúcháin agus
Forbartha; Mags O’Sullivan,Leas-Coimisinéir Scannán; Jonathan
Loughran, vP, Coimisiún na Scannán Éireannach S.A.M; Patrick
O’Neill, Feidhmeannach Chursaí Tionscail; Niamh O’Reilly,
Feidhmiúcháin; Suzanne Keane, Comhordaitheoir Cuntas (Páirt-
aimseartha); agus Aileen McCauley, Cúntóir Riaracháin.
CRuInnITHE
Bhí 9 gcruinniú ag an mBord i 2010.
OIFIG
Tá ceannáras Bord Scannán na hÉireann le fáil i gcathair
na Gaillimhe:
Queensgate, 23 Bóthar na nDuganna, Gaillimh, Éire.
Teil +353 91 561398, Faics +353 91 561405
R-phost [email protected], www.irishfilmboard.ie
Tá oifig Bord Scannán na hÉireann i mBaile átha Cliath
le fáil ag: 14-16 Lord Edward Street, Dublin 2
37
CuSPóIRí AGuS BEARTAISBORD SCAnnÁn nA hÉIREAnn
SENSATION
BunAíODH BORD SCAnnÁn nA hÉIREAnn D’FHOnn:
• Na gnéithe cruthaitheacha agus na gnéithe tráchtála a
ghabhann le scannánaíocht agus le cultúr scannán na
hÉireann a chur chun cinn ar mhaithe le lucht féachana na
tíre agus ar mhaithe le lucht féachana idirnáisiúnta. Tacaíonn
an Bord le tionscadail scannánaíochta trí mhaoiniú forbartha
a sholáthar agus cuirtear airgeadas léiriúcháin ar fáil chomh
maith trí infheistíocht fhiachais/chothromais.
• Forbairt agus oiliúint phearsanra theicniúil, ealaíne agus
léiriúcháin a spreagadh mar shlí le feabhas a chur ar
inniúlacht fhoriomlán scileanna laistigh den tionscal.
• Cúnamh a thabhairt chun scannáin Éireannacha a
dhéanamh agus le margaíocht a dhéanamh orthu laistigh
de thír na hÉireann agus thar lear mar bhealach le spéis a
mhúscailt i dtír na hÉireann, i gcultúr na hÉireann agus i
scannáin Éireannacha.
TAIRGíOnn An BORD MAOInIÚCHÁn CHun TIOnSCADAIL A FHORBAIRT AGuS A LÉIRIÚ MAR SEO A LEAnAS:
i Iasachtaí forbartha (inaisíoctha ar an gcéad lá
phríomhscannánaíochta) suas go dtí teorainn de €100,000 in
aghaidh an tionscadail, mar iasachtaí taighde, forbartha agus
féidearthachta. Ní mór ionannú a dhéanamh ó fhoinsí eile
i gcás aon mhaoiníucháin atá sa bhreis ar €50,000 d’aon
tionscadal amháin.
ii Iaschtaí léiriúcháin do thionscadail a bhfuil buiséid acu atá
• De bhreis ar €100,000 agus gan a bheith níos mó na
€1.5M, is féidir le BSÉ/IFB suas go dtí 65% den bhuiséad
léiriúcháin a chur ar fáil
• De bhreis ar €1.5M agus gan a bheith níos mó ná €5M, is
féidir le BSÉ/IFB suas go dtí €1M nó 40% den bhuiséad,
cibé acu is mó, a chur ar fáil
• De bhreis ar €5M, is féidir le BSÉ/IFB suas go dtí €2
milliún nó 25% den bhuiséad, cibé acu atá níos mó, a chur
ar fáil
DÉAnTAR IASACHTAí FORBARTHA AGuS IASACHTAí LÉIRIÚCHÁIn A MHEASÚnÚ DE RÉIR ROInnT CRITÉAR:
i Breisíocht
ii Tosaíochtaí Cultúir, Toasíochtaí Tionscail
iii Déanamh Cineama
iv Cruthaitheacht
(Féach Aguisín 4, Leathanach 62)
AIRGEADAS
MY BROTHERS
AISGHABHÁIL
Roinneann an Bord an brabús a thagann as ioncam a ghintear le
díolachán pictiúrlainne, teilifíse agus físeán agus faigheann sé
aisíocaíocht ón mbrábús sin. Chuir an Bord iomlán de €15,091,300
ar fáil in iasachtaí i dtaca le príomhscannáin a fhorbairt agus a
léiriú i gcaitheamh na bliana 2010. I gcaitheamh an ama chéanna,
fuair an Bord aisíocaíochtaí de €738,198. Tugann an figiúr sin go dtí
10% an ráta aisíoctha ar iasachtaí léiriúchán príomhscannán
a tugadh amach ó rinneadh ath-inchorprú ar BSÉ i 1993.
BunACHAR SOnRAí EACnAMAíOCHTA
Foilsíonn an Audiovisual Federation de chuid IBEC, i gcomhar
leis an mBord agus le hionadaithe ón Roinn Ealaíon,
Oidhreachta agus Gaeltachta, Screen Producers Ireland,
TG4 agus RTÉ an Bunachar Sonraí Eacnamaíochta ar bhonn
bliantúil. Clúdaíonn an tuarascáil sin tionscadail scannán
agus teilifíse a dhéantar in Éirinn gach bliain.
SCREEn TRAInInG IRELAnD
I gcaitheamh na bliana 2010, chuir an Bord €387,348 ar fáil do
FáS Screen Training Ireland d’fhonn Oiliúint Tionscail a sholáthar
go díreach.
RAnníOCAíOCHT LE GníOMHAIREACHTAí EORPACHA
Tugann Bord Scannán na hÉireann/the Irish Film Board tacaíocht
airgeadais do na heagraíochtaí seo a leanas:
EurimagesCuireann Eurimages, eagraíocht a bhunaigh Comhairle na hEorpa,
airgeadas léiriúcháin ar fáil i dtaca le comhléiriúcháin Eorpacha.
Tá Éire rannpháirteach sa scéim ó 1992 i leith. D’fheidhmigh
Brendan McCarthy mar ionadaí na hÉireann ar choiste Eurimages
i 2010. D’íoc an Bord suibscríbhinn na hÉireann i 2010, íocaíocht
de €307,420.
European Film PromotionIs é European Film Promotion (EFP) an t-aon líonra idirnáisiúnta
eagraíochtaí atá ann a bhfuil cur chun cinn agus margaíocht á
dhéanamh aige ar cineama Eorpach ar fud an domhain. Is éard atá
sa líonra ná eagraíochtaí proifisiúnta ó 32 thíorthe Eorpacha
gur saineolaithe iad i dtaobh a gcuid cineama náisiúnta féin a
chur chun cinn agus margaíocht a dhéanamh air. Faoi scáth an
EFP, feidhmíonn na heagraíochtaí sin ar fad as lámha a chéile
chu cineama Eorpach agus talann Eorpach a chur chun cinn ar fud
an domhain. Rinne an Bord ranníocaíocht de €9, 030 le EFP
sa bhliain 2010.
MEDIA Desk IrelandCuireann MEDIA Desk Ireland eolas ar fáil maidir leis an gclár
MEDIA, Eurimages, Eureka Audiovisual agus maidir le beartas
closamhairc an AE agus tugann sé comhairle mar gheall orthu
sin. Sa bhlian 2010, chuir an Bord €57,000 ar fáil leis an Desk a
reáchtáil. Tá an oifig lonnaithe san Irish Film Centre, 6 Sráid an
Iústásaigh, Baile átha Cliath 2, agus bíonn sé ar oscailt le
haghaidh fiosruithe agus le haghaidh cruinnithe comhairliúcháin
ó Luan go hAoine.
MEDIA AntennaTá MEDIA Antenna lonnaithe sa Galway Film Centre, Cluain Mhuire,
Bóthar Mhuine Mheá, Gaillimh agus feidhmíonn sé mar oifig
réigiúnach MEDIA. Tá cúram áirithe air freisin eolas agus seirbhísí
a chur ar fáil do phobal closamhairc na Gaeilge, atá ag méadú de
réir a chéile. I 2010, chuir an Bord €12,200 ar fáil mar chúnamh do
chostais reatha an Antenna.
European Audiovisual ObservatoryIs líonra faisnéise í an Fhaireachlann, a bhailíonn agus a dháileann
faisnéis dlí, eacnamaíochta agus praiticiúil maidir leis an
dtionscal closamhairc san Eoraip ar mhaithe le lucht gairme agus
cuideachtaí i réimse na teilifíse, na scannán agus na bhfíseán. D’íoc
an Bord síntiús na hÉireann don bhliain 2010, táille de €20,575.
38 39
REWIND
RÁITEAS MAIDIR LE DuALGAIS CHOMHALTAí BOIRD
Éilítear in Alt 20 (1) d’Acht um Bord Scannán na hÉireann 1980 go n-ullmhóidh comhaltaí an Bhoird Ráitis Airgeadais i
bhfoirm a d’fhéadfadh an tAire Turasóireachta, Cultúir agus Spóirt a cheadú, le toiliú ón Aire Airgeadais. Nuair a bheidh
na Ráitis Airgeadais sin á n-ullmhú aige, tá ceanglas ar an mBord:
• Beartais oiriúnacha a roghnú agus ansin iad a chur i bhfeidhm go comhsheasmhach.
• Breithiúnais agus meastacháin a dhéanamh atá réasúnta agus stuama.
• Na Ráitis Airgeadais a ullmhú ar bhonn gnóthais leantaigh ach amháin i gcás nach bhfuil sé cuí glacadh leis go
leanfaidh an Bord ag feidhmiú.
• A chur in iúl gur cloíodh le caighdeáin chuntasaíochta infheidhme faoi réir aon difríochtaí ábhartha a nochtadh agus a
míníodh sna ráitis airgeadais.
Tá an Bord freagrach as leabhair chearta cuntasaíochta a choinneáil a nochtaíonn le cruinneas réasúnta staid airgeadais
an Bhoird ag am ar bith. Tá sé freagrach as cibé bearta is gá a chur i bhfeidhm chun sócmhainní Bhord Scannán na
hÉireann a chosaint agus le calaois agus mírialtachtaí eile a chosc agus a aimsiú.
Thar ceann an Bhoird:
James Morris Lesley McKimm
Cathaoirleach Comhalta Boird
28 Samhain 2011
SEASIDE STORIES
RÁITEAS MAIDIR LE RIALÚ InMHEÁnACH AIRGEADAIS
Admhaímse leis seo, thar ceann Bhord Scannán na hÉireann/
the Irish Film Board, go bhfuil freagracht orainn a chinntiú go
gcoinnítear agus go bhfeidhmítear córas éifeachtach i dtaca le
rialú inmheánach airgeadais.
Ní féidir leis an gcóras ach deimhniú réasúnta agus ní dearbh-
dheimhniú iomlán a thabhairt go gcosnaítear sócmhainní, go
mbíonn idirbhearta údaraithe agus taifeadta mar is cuí, agus
go gcuirfear cosc le hearráidí nó mírialtachtaí ábhartha nó go
n-aimseofar iad go tráthúil.
na Príomhnósanna Imeachta i dtaca le Rialú: Tá na príomhnósanna imeachta seo a leanas maidir le rialú
inmheánach airgeadais curtha i bhfeidhm ag an mBord chun
timpeallacht chuí a chinntiú i dtaca le rialú:
• Tá plean eagraíochta i bhfeidhm a shainmhíníonn agus a
leithdháileann freagrachtaí ar an bhfoireann agus a
aithníonn línte maidir le tuairisciú i dtaobh gach gné
d’oibríochtaí an Bhoird.
• Tá nósanna imeachta agus bearta slándála i bhfeidhm
lena chinntiú go gcosnaítear sócmhainní an Bhoird
agus le dearbh-dheimhniú in aghaidh úsáid nó diúscairt
neamhúdaraithe a chinntiú.
• Moltar cultúr láidir follasachta agus freagrachta ar fud
na heagraíochta.
Tá próisis bunaithe ag an mBord chomh maith chun rioscaí gnó
a aithint agus meastóireacht a dhéanamh orthu trí:
• Nádúr, méid agus impleachtí airgeadais an riosca atá roimh
an gcomhlacht a aithint, lena n-áirítear an méid a cheaptar
a bheith inghlactha maidir le feidhmeanna éagsúla.
• Measúnú a dhéanamh ar an ndóchúlacht go dtarlóidh rioscaí
aitheanta agus measúnú a dhéanamh ar chumas an Bhoird
na rioscaí a tharlaíonn a bhainistiú agus a mhaolú.
• Athbhreithnithe rialta a dhéanamh ar phleananna
straitéiseacha an Bhoird lena chinntiú go dtugann na
pleananna sin aghaidh ar an dtimpeallacht reatha gnó.
• Spriocanna gearrthéarmacha agus fadtéarmacha a leagadh
síos do gach Aonad laistigh den Bhord agus athbhreithniú a
dhéanamh ar a ndul chun cinn i dtaca leis na spriocanna sin.
• Nósanna imeachta caighdeánacha faoinar féidir cúnamh
airgeadais a chur ar fáil do thionscadail a bhunú agus a
fhorfheidhmiú agus na nósanna imeachta sin a athbhreithniú
de réir mar is gá.
Rinne an Bord athbhreithniú ar a chuid rioscaí gnó i 2010
agus tá aghaidh á thabhairt aige faoi láthair ar aon laigeachtaí
a aithníódh.
Tá an córas rialaithe airgeadais bunaithe ar chreat oibre
d’fhaisnéis rialta bainistíochta, ar nósanna imeachta riaracháin
lena n-áirítear deighilt dualgas, údarú agus córas tarmligin agus
freagrachta. áirítear air sin, go háirithe:
• Córas cuimsitheach maidir le buiséadú lena bhfuil buiséad
bliantúil i gceist a dhéanann an Bord iad a athbhreithniú
agus a chomhaontú.
• Athbhreithnithe rialta ar thuarascálacha tréimhsiúla agus
bliantúla a léiríonn caiteachas i gcomparáid le réamhaisnéis.
• Spriocanna a shocrú chun feidhmíocht airgeadais agus
feidhmíocht eile a thomhas.
Tá Coiste Iniúchta bunaithe chomh maith ag an mBord atá
comhdhéanta d’ionadaithe ón mBord agus ón bhFheidhmeannas
agus é mar sprioc ag an gCoiste sin rialúcháin inmheánacha a
neartú.
Athbhreithniú i dtaca le Rialú Inmheánach Airgeadais: Déanann an Bord monatóireacht ar éifeachtúlachtacht an
chórais rialaithe inmheánaigh airgeadais trí athbhreithniú
bainistíochta agus iniúchadh thréimhsiúil a dhéanamh agus
trí staidéir a dhéanamh ar athbhreithnithe le comhairleoirí
seachtracha. Tá athbhreithniú déanta ag an mBord ar a chuid
rialuithe inmheánacha airgeadais don bhliain 2010.
Thar ceann an Bhoird
________________________
James Morris
Cathaoirleach
40 41
THE YELLOW BITTERN - THE LIFE AND TIMES OF LIAM CLANCY
ARD-REACHTAIRE CunTAS AGuS CISTETuARASCÁIL LE CuR FAOI BHRÁID TITHE An OIREACHTAIS
Bord Scannán na hÉireannTá ráitis airgeadais Bhord Scannán na hÉireann/the Irish Film
Board don bhliain dar críoch 31 Nollaig 2010 iniúchta agam de
réir Acht na dTeangacha Oifigiúla 2003. Tá na ráitis airgeadais,
a ullmhaíodh faoi na beartais chuntasaíochta arna leagan
amach sna ráitis, comhdhéanta den Ráiteas faoi Beartais
Chuntasaíochta, an Cuntas Ioncaim agus Caiteachais, an Clár
Comhardaithe agus na nótaí gaolmhara. Is é an creat thuairisciú
airgeadais a cuireadh i bhfeidhm chun iad a ullmhú ná an dlí a
bhaineann agus na Cleachtais Chuntasaíochta a nGlactar Leo go
Coitianta in Éirinn.
Freagrachtaí Chomhaltaí an Bhoird Tá an Bord freagrach as na ráitis airgeadais a ullmhú, as a
chinntiú go dtugann siad léargas fíor agus cothrom maidir leis
an riocht ghóthaí Oifig Choimisinéir na dTeangacha Oifigiúla agus
ar a ioncam agus a chaiteachas, agus as rialtacht a n-idirbhearta
a chinntiú.
Freagrachtaí an Ard-Reachtaire Cuntas agus CisteIs é mo fhreagrachtsa na ráitis airgeadais a iniúchadh agus
tuairisciú a dhéanamh orthu i gcomhréir leis an dlí a bhaineann.
Déantar m’iniúchadh faoi réir na gcúrsaí speisialta a bhaineann
le comhlachtaí Stáit ó thaobh a mbainistiú agus a bhfeidhmiú de.
Déantar m’iniúchadh i gcomhréir le Caighdeáin Chuntasaíochta
Idirnáisiúnta (Ríocht Aontaithe agus Éire) agus de réir Caighdeán
Eiticiúla d’Iniúchóirí de chuid an Bhoird um Chleachtais
Iniúchóireachta.
Scóip an Iniúchta ar Ráitis AirgeadaisIs éard atá i gceist le hiniúchadh ná faisnéis a fháil maidir leis
na suimeanna agus na nochtuithe sna ráitis airgeadais, ar leor
iad chun urrús réasúnta a thabhairt go bhfuil na ráitis airgeadais
saor ó mhí-ráiteas ábhartha cibé calaois nó earráid is cúis leis
sin. Clúdaíonn sé seo measúnú faoi
• Cibé an bhfuil na beartais chuntasaíochta cuí do chúinsí an
Bhoird agus gur cuireadh i bhfeidhm iad go seasmhach agus
gur nochtaíodh iad go leormhaith
• Cé chomh réasúnta is a bhí na meastacháin chuntasaíochta
shuntasacha a rinneadh agus na ráitis airgeadais á n-ullmhú
• Thíolachadh foriomlán na ráiteas airgeadais.
Déanaim iarracht freisin fianaise a fháil le linn an iniúchta maidir
le rialtacht na n-idirbhearta airgeadais.
Ina theannta sin, léann mé an fhaisnéis airgeadais agus
neamh-airgeadais sa dTuarascáil Bhliantúil le neamhréireachtaí
ábharacha maidir leis na ráitis iniúchta airgeadais a aithint.
Sa chás go dtagaim ar aon eolas i dtaobh aon mhíráiteas
ábharach dealraitheach déanaim na himpleachtaí do mo
thuarascáil a mheas.
Tuairim faoi na Ráitis AirgeadaisIs é mo thuairim, go dtugann na ráitis airgeadais, a ullmhaíodh
go cuí i gcomhréir le Cleachtais Cuntasaíochta a nGlactar Leis
go Coitianta in Éirinn, léargas fíor agus cothrom maidir leis an
riocht ghnóthaí Oifig Choimisinéir na dTeangacha Oifigiúla ag 31
Nollaig 2010 agus ar a ioncam agus ar a chaiteachas don bhliain
dar críoch sin.
Is é mo thuairim, gur choimeád Bord Scannán na hÉireann/the
Irish Film Board leabhair chuntais chuí. Tá na ráitis airgeadais ag
teacht leis na leabhair chuntais.
nithe a Tuairiscím le hEisceachtTuairiscím le heisceacht i gcás:
• Nach bhfuair mé an fhaisnéis agus na mínithe go léir a bhí de
dhíth orm le haghaidh m’iniúchta, nó
• Gur nótáladh san iniúchadh aon chás ábhartha nuair nár
úsáideadh suimeanna airgid chun na feidhmeanna a bhí
beartaithe dóibh nó nach ndearnadh na hidirbhearta de réir
na n-údarás a rialaíonn iad, nó
• Nach bhfuil an fhaisnéis a tugadh i dTuarascáil Bhliantúil an
Bhoird don bhliain ar ullmhaíodh na ráitis airgeadais dóibh
i gcomhréir leis na ráitis airgeadais, nó
• Nach léiríonn an Ráiteas um Rialú Inmheánach Airgeadais
go gcomhlíonann an Bord an Cód Cleachtais maidir le
Rialachas ar Chomhlachtaí Stáit, nó
• Go bhfaighim amach go bhfuil cúrsaí ábhartha eile ann a
bhaineann leis an gcaoi inar cuireadh gnó poiblí i gcrích.
Níl aon ní le tuairisciú agam maidir leis na cúrsaí sin faoina
ndéantar tuairisc le heisceacht.
________________________
Andrew Harkness
Ar son agus thar ceann an Ard-Reachtaire Cuntas agus Ciste
30 Samhain 2011
RuNNERS
BEARTAIS CHunTASAíOCHTA
A. Bunús na Cuntasaíochta áirítear leis na ráitis airgeadais dhá Chuntas Ioncaim agus
Caiteachais agus Clár Comhardaithe.
• Tugann an Cuntas Caipitil Ioncaim agus Caiteachais
taifead ar íocaíocht amach iasachtaí forbartha agus
léiriúcháin an Bhoird agus an ranníocaíocht le haghaidh
Screen Training Ireland, an ghníomhaireacht náisiúnta
oiliúna don tionscal scannáin in Éirinn.
• Tugann an Cuntas Ioncaim agus Caiteachais Riaracháin
taifead ar na hidirbhearta riaracháin i ndáil leis an mBord.
ullmhaíodh na ráitis airgeadais de réir choinbhinsiún an chostais
stairiúil agus de réir an Chleachtais Cuntasaíochta a bhfuil Glacadh
Leis (GAAP) ar bhonn fabhraithe ach amháin mar a luaitear thíos.
Glactar le Caighdeáin i dtaca le Tuairisciú Airgeadais a mholann
comhlachtaí cuntasaíochta de réir mar a thagann siad i bhfeidhm.
B. IoncamLéiríonn an t-ioncam a thaispeántar sna ráitis airgeadais faoi
Dheontais Oireachtais an t-airgead iarbhír a fuarthas. Cuirtear
ioncam eile san áireamh ar bhonn fáltas airgid.
C. IasachtaíCuireann an Bord iasachtaí léiriúcháin ar fáil chun cabhrú le
scannáin a léiriú. Braitheann aisíocaíochtaí agus aischuir ar rath
tráchtála na scannán lena mbaineann.
Tugtar iasachtaí forbartha do dhéantóirí scannán d’fhonn tionscadail
scannán a fhorbairt. Bíonn aisíocaíochtaí iníoctha de réir théarmaí
na gcomhaontuithe iasachta.
Go hiondúil ní bhíonn na hiasachtaí sin faoi réir mhuirir úis, ach
bíonn bearta aisghabháilte agus rannpháirtíocht brabúis san
áireamh leo.
Déanann an Bord athbhreithniú ar iasachtaí ar bhonn tréimhsiúil
agus déantar soláthar cuí i gcoinne iasachtaí gan aisíoc, bunaithe
ar fheidhmíocht stairiúil leabhar iasachta an Bhoird. Déantar an
soláthar a chuntasú tríd an gCúlchiste Caipitil.
D. Cúlchiste Caipitil Léiríonn an Cúlchiste Caipitil an maoiniú a infheistítear i Scannáin
agus i Sócmhainní Seasta tar éis soláthar agus amúchadh.
E. Sócmhainní Seasta Inláimhsithe Léirítear Sócmhainní Dochta Inláimhsithe ar a gcéad chostas
stairiúil. Déantar caipitliú ar shócmhainní atá de bhreis ar €250.
Cuirtear dímheas san áireamh ar rátaí a ríomhtar chun an
chéad chostas a dhíscríobh lúide luach iarmharach measta gach
sócmhainne faoin modh dronlíneach thar a saol úsáideach measta.
Is mar seo a leanas atá na rátaí dímheasa:
• Troscán agus Trealamh Oifige 20% sa bhliain
• Trealamh Ríomhaireachta 33% sa bhliain
F. Costais Pinsean Tá scéim pinsean le sochair sainithe i bhfeidhm ag an mBord a
mhaoinítear go bliantúil ar bhonn íoc mar a thuillear as airgead
atá ar fáil dó, lena n-áirítear airgead a sholáthraíonn an Roinn
Turasóireachta, Cultúir agus Spóirt. Tá an Scéim á feidhmiú ar
bhonn riaracháin ar feitheamh faomhadh ón Aire Airgeadais.
Ríomhtar dliteanais na Scéime Pinsean ar bhonn achtúireachta
agus modh chreidiúint réamh-mheasta an aonaid á úsáid.
Léiríonn costais pinsin na sochair a thuilleann fostaithe le linn
na tréimhse agus taispeántar iad glan ar ranníocaíochtaí pinsean
foirne a n-áirítear mar íocaíochtaí inaisíoctha leis an Roinn de réir
socruithe airgeadais gníomhaíochta. Aithnítear suim atá i
gcomhréir leis an muirear pinsin mar ioncam sa mhéid is go
bhfuil sé in-aisghabhála agus fritháirithe i gcoinne deontas a
bhfuarthas iad i rith na bliana le híocaíochtaí pinsin a dhéanamh.
Léirítear gnóthachain nó caillteanais achtúireacha a éiríonn as
athruithe ar thoimhdí Achtúireachta agus as gnóthachain agus
caillteanais ó thaithí sa Ráiteas Ghnóthachan agus Caillteanas
Aitheanta don bhliain ina dtarlaíonn siad agus aithnítear coigeartú
dá réir maidir leis an méid inaisghabháilte i dtréimhsí atá le
teacht ón Roinn Turasóireachta, Cultúir agus Spóirt.
Léiríonn dliteanais pinsin an luach atá faoi láthair ar íocaíochtaí
pinsean amach anseo atá tuillte ag an bhfoireann go dtí seo.
Léiríonn maoiniú pinsin iarchurtha an sócmhainn chomhréireach
a bheidh inaisghabháilte sa todchaí ón Roinn Turasóireachta,
Cultúir agus Spóirt.
G. Beartas maidir le hAirgeadra Eachtrach Aistrítear idirbhearta atá ainmnithe in airgeadra eachtrach go
dtí na hairgeadraí feidhmiúla faoi seach de réir na rátaí malairte
ar dhátaí na n-idirbhearta. Aistrítear sócmhainní agus dliteanais
airgeadaíochta atá ainmnithe in airgeadra eachtrach ar dháta a
dtuairiscithe go dtí an airgeadra feidhmiúil ar an ráta malairte
ar an dáta sin. Cuirtear san áireamh mar ghnóthachan nó mar
chaillteanas malairte sa Ráiteas Ioncaim aon ghnóthachan nó
caillteanas a éiríonn de bharr athruithe ar na rátaí malairte tar
éis dáta an idirbhearta.
42 43
MOORE STREET MASALA
RÁITIS AIRGEADAIS BORD SCAnnÁn nA hÉIREAnnDOn BHLIAIn DAR CHRíOCH 31 nOLLAIG 2010
Cuntas Ioncaim agus Caiteachais ChaipitilDon bhliain dar chríoch 31 Nollaig 2010
nótaí 2010 2009Ioncam I I
Deontais an Oireachtais 1 16,500,000 18,817,000 Ranníocaíochtaí ó Pháirtithe Eile 161,175 152,350 Ioncam Eile 72,689 72,428 Aisíocíocht ar Iasachtaí a aistríodh ón gCúlchiste Caipitil 3 738,198 1,380,377
Iomlán 17,472,062 20,422,155
CaiteachasScreen Training Ireland (387,348 ) (532,000 ) Iasachtaí Léiriúcháin 14 (13,385,800 ) (15,101,659 )Iasachtaí Forbartha 14 (1,705,500 ) (2,201,585 ) íocaíochtaí Caipitiúla Eile 4 (1,046,681 ) (1,271,028 )
Iomlán (16,525,329 ) (19,106,272 )
Barrachas/(Easnamh) 946,733 1,315,883Iarmhéid ag tús na bliana 4,364,599 3,048,716
Iarmhéid ag deireadh na bliana 5,311,332 4,364,599
Is cuid de na Ráitis Airgeadais iad na Beartais Chuntasaíochta agus na nótaí 1-17
James Morris Lesley McKimmCathaoirleach Comhalta Boird
28 Samhain 2011
MR FOLEY
Cuntas Ioncaim agus Caiteachais RiaracháinDon bhliain dar chríoch 31 Nollaig 2010
nótaí 2010 2009Ioncam I I
Deontas Oireachtais 1 2,729,953 2,975,926 Ioncam Eile 17,144 45 Glanchiste Iarchurtha do Chostais Pinsean 10c 351,461 346,494 Aistriú (chuig)/ ón gCúlchiste Caipitiúil 13 58,031 74,650
Total 3,156,589 3,397,115
CaiteachasRiarachán 5 1,973,034 2,074,400 Eagraíochtaí, Síntiúis agus Taighde 7 218,316 194,905 Costais Margaíochta 8 636,058 619,715 Oideachas 6,932 196,253 Costais Phinsean 10a 309,414 299,420
Iomlán 3,143,754 3,384,693
BARRACHAS/EASnAMH 112,835 12,422
Iarmhéid ag tús na bliana (6,202) (18,624 )
Iarmhéid ag deireadh na bliana 6,633 (6,202 )
Is cuid de na Ráitis Airgeadais iad na Beartais Chuntasaíochta agus na nótaí 1-17
James Morris Lesley McKimmCathaoirleach Comhalta Boird
28 Samhain 2011
Ráiteas i dtaca le Gnóthachain agus Caillteanais Iomlána Aitheanta Don bhliain dar chríoch 31 Nollaig 2010
nótaí 2010 2009Barrachas don bhliain I I
Cuntas Riaracháin 12,835 12,422Cuntas Caipitiúil 946,733 1,315,883
Iomlán 959,568 1,328,305
Gnóthachain ó thaithí ar dhliteanais na scéime pinsin 10d 320,044 90,900Athruithe ar na bunbhoinn tuisceana maidir le luach dliteanas na scéime pinsin faoi láthair (154,384 ) 162,302
Gnóthachan/(caillteanas) achtúireachta ar dhliteanais pinsin 10b 165,660 253,202 Coigeartú ar mhaoiniú pinsin iarchurtha (165,660 ) (253,202 )
Gnóthachan aitheanta iomlán don bhliain 959,568 1,328,305
Is cuid de na Ráitis Airgeadais iad na Beartais Chuntasaíochta agus na nótaí 1-17
James Morris Lesley McKimmCathaoirleach Comhalta Boird
28 Samhain 2011
44 45
Clár Comhardaithe Don bhliain dar chríoch 31 Nollaig 2010
nótaí 2010 2009Sócmhainní Seasta I I
Socmhainní Inláimhsithe 11 85,328 143,359
Infheistíocht i ScannáinIasachtaí Léiriúcháin 3 1,046,797 1,207,134Iasachtaí Forbartha 3 128,891 150,380
1,175,688 1,357,514
Sócmhainní ReathaAirgead sa Bhanc 6,232,600 4,556,381Réamhíocaíochtaí/Feichiúnaithe/Ioncam Fabhraithe 352,718 129,888
6,585,318 4,686,269
Creidiúnaithe
Suimeanna dlite laistigh de bhliain amháin 12 (1,267,352 ) (327,871 )
GLAnSóCMHAInní REATHA 5,317,966 4,358,398
Iomlán Sócmhainní Lúide Dliteanais Reatha roimh Pinsin 6,578,982 5,859,271
Sócmhainn Maoinithe Pinsin Iarchurtha 2,188,000 2,002,199 Dliteanais Phinsean (2,188,000 ) (2,002,199 )
Glansócmhainní 6,578,982 5,859,271
Caipiteal agus Cúlchístí Cuntas Caipitil 5,311,332 4,364,599 Cuntas Riaracháin 6,633 (6,202 ) Cúlchiste Caipitil 13 1,261,017 1,500,874
Iomlán 6,578,982 5,859,271
Is cuid de na Ráitis Airgeadais iad na Beartais Chuntasaíochta agus na nótaí 1-17
James Morris Lesley McKimmCathaoirleach Comhalta Boird
28 Samhain 2011
OLD FANGS TROLLEY BOY
Ráiteas maidir le Sreabhadh AirgidDon bhliain dar chríoch 31 Nollaig 2010
2010 2009Imréiteach Barrachais agus Glan-Insreabhadh Airgid ó Ghníomhaíochtaí Oibriucháin I I
Barrachas/(Easnamh) ar an gCuntas Caipitil 946,733 1,315,883Barrachas/(Easnamh) ar an gCuntas Riaracháin 12,835 12,422
959,568 1,328,305
Coigeartú do mhíreanna neamhoibríochtaÚs bainc (72,689 ) (72,428 )Aistriú chuig/(ó) Chuntas Ioncaim agus Caiteachais Riaracháin (58,031 ) (74,650 )
(130,720 ) (147,078 )
Coigeartú do mhíreanna nach míreanna airgid iad Dímheas 86,848 96,180(Méadú)/Laghdú i líon na bhfiachóirí (222,830 ) 253,340Méadú/(Laghdú) i líon na gcreidiúnaithe 939,481 (268,919 )
Glan-insreabhadh airgid ó ghníomhaíochtaí Oibriucháin 1,632,347 1,261,828
Ráiteas sreabhadh airgidGlan-insreabhadh airgid ó ghníomhaíochtaí Oibriúcháin 1,632,347 1,261,828Ús bainc 72,689 72,428íocaíochtaí chun sócmhainní a cheannach (28,817 ) (21,529 )
Insreabhadh/eis-sreabhadh 1,676,219 1,312,727
Imréiteach Glan-insreabhadh airgid agus gluaiseachtaí i nGlan-Chistí Méadú/Laghdú ar airgead tirim le linn na Tréimhse 1,676,219 1,312,727Glan-chistí mar a bhí ar an 1 Eanáir 2010 4,556,381 3,243,654
Glan-chistí ar an 31 nollaig 2010 6,232,600 4,556,381
Is cuid de na Ráitis Airgeadais iad na Beartais Chuntasaíochta agus na nótaí 1-17
James Morris Lesley McKimmCathaoirleach Comhalta Boird
28 Samhain 2011
46 47
nóTAí LEIS nA RÁITIS AIRGEADAIS
1. Deontais Oireachtais
Maoinítear an deontas Oireachtais i dtaca le caiteachas caipitil an Bhoird faoin gClár Oibríochtúil don Earnáil Tháirgiúil agus faoin gClár Oibríochtúil Oiliúna agus Forbartha Acmhainní Daonna den bPlean Forbartha Náisiúnta 2007-2013 2010 2009Cuspóirí Reatha I I
Bord Scannán na hÉireann 2,772,000 3,023,000Lúide Ranníocaíochtaí Pinsin (42,047 ) (47,074 )
Iomlán 2,729,953 2,975,926
Cuspóirí Caipitil
Infheistíocht Scannán 16,500,000 18,817,000
2. Teorannú ar an Méid Airgid a Sholathraíonn an Bord
De réir Alt 10 den Acht um Bord Scannán na hÉireann ní bheidh uasmhéid aon infheistíochtaí, iasachtaí, deontais agus barántais (lúide gnóthuithe) de bhreis ar €200,000,000. Ar an 31 Nollaig 2010, bhí suim de €188,727,393 soláthraithe (ar an 31/12/2009, bhí €174,780,208 curtha ar fáil).
3. Infheistíocht i Scannáin
Iasachtaí Iasachtaí Léiriúcháin Forbartha Iomlán nótaí I I I
Tugtha ar airleacani rith na bliana 13,385,800 1,705,500 15,091,300Aisghabháil i rith na bliana (604,682 ) (133,516 ) (738,198 )Soláthar don bhliain (12,941,455 ) (1,593,473 ) (14,534,928 ) Gluaiseacht i rith na bliana 13 (160,337 ) (21,489 ) (181,826 )Iarmhéid ar an 1 Eanáir 2010 1,207,134 150,380 1,357,514
Iarmhéid mar a bhí ar an 31/12/10 1,046,797 128,891 1,175,688
THE POLISH LANGuAGE
4. íocaíochtaí Caipitil Eile
I dteannta na n-íocaíochtaí a rinneadh le haghaidh iasachtaí Léiriúcháin agus Forbartha, rinna an Bord na híocaíochtaí caipitil eile seo a leanas i rith na bliana. 2010 2009Eagraíochtaí Eorpacha I I
Eurimages 307,420 291,669European Film Promotion 9,030 9,905European Observatory 20,575 19,737Media Antenna 12,200 12,200Media Desk 57,000 57,011 Cuallaíochtaí Tionscail Irish Playwrights and Screenwriters Guild 81,000 80,000Screen Directors Guild 83,000 80,000 Tacaiocht do Mhargadh na Scánnán/ócáidí TionscailFéile Scannán Idirnáisiúnta Bhaile átha Cliath 30,000 30,000Fleadh Scannán na Gaillimhe 40,000 40,000Féile Scannán Guth Gafa 10,000 10,000Stranger Than Fiction 10,000 5,500Cinemagic 5,950 -Féile Scannán Darklight 12,000 -Féile Scannán an Daingin 5,000 5,000Tacaíocht do Mhargadh Scannán na hEorpa 39,835 7,000Eile 1,398 6,576 Eile Cinemobile 60,000 60,000IFTA 120,000 140,000Oiliúint Eile 52,716 48,711Deontais i dtaca le Scabhtáil/Taisteal 35,385 50,277Léitheoirí Scripte 54,172 62,442Pictiúrlann Solas - 255,000
Iomlán 1,046,681 1,271,028
THE HERD
5. Riarachán
2010 2009 I I
Tuarastail Riaracháin 983,021 1,038,238Táillí Comhaltaí Boird 44,888 47,250Oiliúint Foirne 10,341 13,332Muirir Cíosa agus Seirbhíse 278,146 285,897árachas 8,190 7,579Solas / Teas 17,336 18,432Teileafón/Facs 59,589 67,436Postas/Teachtairí 24,500 25,705Páipéarachas Oifige/Clódóireacht 21,551 10,266Deisiúcháin/Cothabháil 37,727 63,583Taisteal /Cothabháil Foirne 158,110 155,180Ús agus Muirir Bainc 1,506 2,082Cruinnithe agus Costais Boird 10,463 6,839Táillí Dlí 4,447 -Táillí Iniúchóirí 14,852 14,852Ilghnéitheach 11,615 14,816Dímheas 86,848 96,180Comhairliúchán 143,906 201,818Costais Earcaíochta 55,998 -Forbairt Bhunachar Sonraí - 2,316Caillteanas ar Airgeadra Eachtrach - 2,599
Iomlán 1,973,034 2,074,400
48 49
BEHIND THE DESERT WALL
6. Luach Saothair an Bhoird agus Fostaithe
I rith na bliana is mar seo a leanas a bhí meán-líon na bhfostaithe, an Príomhfheidhmeannach san áireamh:
2010 2009Príomhfheidhmeannach 1 1Fostaithe 15 15
Cuireadh pacáiste luach saothair an Phríomhfheidhmeannaigh don bhliain 2009 le chéile mar seo a leanas: Buntuarastal bliantúil: €110,844 (2009: €120,382). Ní théann teidlíochtaí pinsean an Phríomhfheidhmeannaigh níos faide ná na teidlíochtaí caighdeánacha i scéim aoisliúntais sochar sainithe na hearnála poiblí. Ní théann teidlíochtaí pinsean an Phríomhfheidhmeannaigh níos faide ná na teidlíochtaí caighdeánacha i scéim aoisliúntais sochar sainithe na hearnála poiblí. Tabhaíodh costais de €48,153 i dtaca leis an bPríomhfheidhmeannach agus áirítear iad sin sna catagóirí seo a leanas: cóiríocht, táillí aeir, muirir teileafóin póca, liúntais chothabhála, táillí tacsaí agus traenach. Chaith an Príomhfheidhmeannach 77 lá thar lear ar ghnó oifigiúil chun airgeadas idirnáisiúnta a thiomsú do shláta príomhscannán BSÉ/IFB, chun margaíocht a dhéanamh ar Éirinn mar shuíomh scannán agus le feasacht idirnáisiúnta i dtaobh scannán na hÉireann a chur chun cinn. Tá ceanglas ar an bPríomhfheidhmeannach chomh maith freastal ar líon fairsing cruinnithe i mBaile átha Cliath mar chuid dá dhualgas.
íocadh asbhaintí tobhaigh pinsean de €58,856 ó thuarastail foirne leis an Roinn Cultúir, Turasóireachta agus Spóirt sa bhliain 2010.
€8,978 a bhí mar tháille ag an gCathaoirleach agus fuair gach duine den tseisear comhalta boird €5, 978. íocadh costais de €9,330 le comhaltaí boird i rith na bliana. Bhain €4,358 de sin le taisteal thar lear agus bhain €4,972.46 le costais in Éirinn, costais óstán, costais taisteal agus costais cothabhála san áireamh.
7. Eagraíochtaí, Síntiúis agus Taighde
2010 2009 I I
IBEC 12,434 13,925Síntiúis le Foilsiucháin 5,415 7,211Screen Producers Ireland 50,000 -Cartlann Scannán na hÉireann 104,000 104,000ócáidí LA 46,467 49,769Cinema Northwest - 20,000
Iomlán 218,316 194,905
8. Margaíocht
2010 2009 I I
Cur chun cinn Féilte 145,568 154,644Fógraíocht 59,663 53,777ócáidí/Caidreamh Poiblí 83,302 67,625Foilsiúcháin 29,932 30,060ábhair Margaíochta 24,532 64,544Láithreán Gréasáin/Cur Chun Cinn Ar Líne 15,209 38,252Seirbhísí Suímh 18,242 11,908Margaíocht Thar Lear 76,422 31,258Oifig LA * 183,188 167,647
Iomlán 636,058 619,715
• Léiríonn sé sin costais foirne de €134,115 agus forchostais de €49,072 (sa bhliain 2009, caitheadh €139,349 ar chostais foirne agus €28,296 ar fhorchostais).
9. Léas ar Áitribh
Tá gealltanais ag an mBord go dtí 2016 i dtaca lena oifig i nGaillimh ag Queensgate, 23 Bóthar na nDuganna. Tá costas bliantúil ar an léas sin de €76,350 móide CBL. Tá gealltanais ag an mBord freisin i dtaca lena chuid oifigí ag 14 -16 Sráid an Tiarna Éadbhard, Baile átha Cliath 2 ar chostas de €116,000 móide CBL in aghaidh na bliana.
THE MILL
10. Aoisliúntas
2010 2009 2008 2007a. Anailís ar na costais iomlána pinsean muirearaithe ar Chaiteachas I I I I
Costas reatha ar sheirbhísiú 266,270 271,079 188,129 208,460Ús ar Dhliteanais na Scéime Pinsin 85,191 75,415 62,121 57,859Ranníocaíochtaí Foirne (42,047 ) (47,074 ) (44,591 ) (43,826)
Iomlán 309,414 299,420 205,659 222,493
2010 2009 2008 2007b. Gluaiseacht i nDliteanais Pinsin glan i rith na bliana airgeadais I I I I
Dliteanas Pinsin Glan ar an 1 Eanáir 2,002,199 1,908,907 1,330,100 1,181,523Costas Reatha ar Sheirbhísiú 266,270 271,079 188,129 208,460Costas Úis 85,191 75,415 62,121 57,859Caillteanas /(Gnóthachain) Achtúireachta (165,660 ) (253,202 ) 328,557 (117,742 )
Dliteanas Glan Pinsin ar an 31 nollaig 2,188,000 2,002,199 1,908,907 1,330,100
c. Sócmhainn Maoiniúcháin Iarchurtha do Phinsin Aithníonn an Bord na suimeanna seo mar shócmhainn gurb ionann í agus an dliteanas iarchurtha neamh-mhaoinithe i dtaca le pinsin bunaithe ar an réimse bonn tuisceana a bhfuil cur síos deanta orthu thuas agus ar líon áirithe ócáidí a tharla cheana. I measc na n-ócáidí sin tá an bonn reachtúil leis an scéim pinsean a bhunú, agus an beartas agus an cleachtas maidir le pinsin seirbhíse poiblí a mhaoiniú lena n-áirítear ranníocaíochtaí fostaithe agus próiséas na meastachán bliantúla. Níl aon fhianaise ag an mBord nach leanfaidh an beartas maoiniúcháin sin ar aghaidh faoi chomhair na suimeanna sin de réir an chleachtais reatha.
Is mar seo a leanas a bhí an Maoiniú Iarchurtha le haghaidh Pinsean aitheanta sa Chuntas Ioncaim agus Caiteachais:
2010 2009 I I
Maoiniú Inghnóthaithe i dtaca le costais pinsean na bliana reatha 351,461 346,494Deontas Stáit i bhfeidhm chun pinsinéirí a íoc - -
Iomlán 351,461 346,494
Is é €2,188,000 an méid a bhí sa sócmhainn mhaoinithe iarchurtha do phinsin an 31 Nollaig 2010 (€2,002,199 i 2009).
2010 2009 2008 2007d. Stair na n-oibligeaidí sochair sainithe I I I I
Oibligeáidí sochair sainithe 2,188,000 2,002,199 1,908,907 1,330,100 (Gnóchain)/caillteanais ó thaithí ar dhliteanais na scéime (320,044 ) (90,900 ) 53,735 (18,546 )Céatadán de Dhliteanais na Scéime -15% -5% 3% -1%
e. Cur Síos Ginearálta ar an Scéim Socrú pinsean tuarastail dheiridh sochar sainithe is ea an scéim pinsean le sochair agus ranníócaíochtaí a sainmhínítear iad trí thagairt a dhéanamh do na rialúcháin reatha i dtaca le scéimeanna ‘eiseamláracha’ don earnáil phoiblí. Soláthraíonn an scéim pinsean (ochtóidí do gach bliain seirbhíse), aisce nó cnapshuim (trí ochtóidí do gach bliain seirbhíse) agus pinsin do chéilí agus do leanaí. Go hiondúil is é an 65ú breithlá dáta scoir an bhaill agus tá teidlíocht ag baill a bhí sa scéim roimh 2004 scor ó aois 60 gan aon laghdú achtúireachta. Go hiondúil meadaíonn pinsin atá á n-íoc agus pinsin iarchurtha de réir boilsciú tuarastal ginearálta san earnáil phoiblí. Bunaíodh an luacháil a úsáideadh le haghaidh faisnéisithe FRS 17 (leasaithe) ar luacháil iomlán achtúireach a chuir achtúire neamhspleách i gcríoch ag cur riachtanas FRS 17 san áireamh chun measúnú a dhéanamh ar dhliteanais na scéime ar an 31 Nollaig 2010.
50 51
11. Sócmhainní Seasta Inláimhsithe
Troscán Ríomhairí IomlánCostas I I I
Ar an 1 Eanáir 2010 429,610 356,943 786,553Breiseanna 2,409 26,408 28,817Diúscairtí (45,361 ) (159,212 ) (204,573 )
Ar an 31 nollaig 2010 386,658 224,139 610,797 Dímheas Amhail ar 1 Eanáir 2010 302,271 340,923 643,194Muirear don bhliain 69,038 17,810 86,848Diúscairtí (45,361 ) (159,212 ) (204,573 )
Ar an 31 nollaig 2010 325,948 199,521 525,469
Glanluach Leabhar (nBv)
Amhail ar 31 nollaig 2010 60,710 24,618 85,328
Amhail ar 31 nollaig 2009 127,339 16,020 143,359
Gluaiseacht (66,629 ) 8,598 (58,031 )
Is mar seo a leanas a bhí na príómh-bhoinn tuisceana achtúireachta: 31/12/2010 31/12/2009 31/12/2008 31/12/2007Ráta méadaithe tuarastal 3.50% 3.50% 3.50% 4.00%Ráta méadaithe pinsean á n-íoc 3.50% 3.50% 3.50% 4.00%Ráta Lascaine 4.00% 4.30% 4.00% 4.75%Boilsciú 2.00% 2.00% 2.00% 2.50%
Ceadaíonn an bonn básmhaireachta a glacadh do fheabhsuithe maidir le hionchas saoil le linn tréimhse ama, ionas go mbeidh an t-ionchas saoil ag an am scoir ag braith ar an mbliain ina bhainfidh an ball amach an an aois scoir (65 bliana d’aois).
Glacadh na rátaí b asmhaireachta mar seo a leanas:
Ionchas Saoil d’Fhear atá 65 bliana d’aois 21.8 bliainIonchas Saoil do bhean atá 65 bliana d’aois 23.4 bliainIonchas Saoil d’fhear atá 45 bliana d’aois faoi láthair (ó aois 65) 24.1 bliainIonchas Saoil do bhean atá 45 bliana d’aois faoi láthair (ó aois 65) 25.3 bliain
12. Creidiúnaithe
2010 2009 I I
IMAT/áSPC 36,369 52,351Fabhruithe Eile 462,602 136,839Cáin Shiarchoinneálach 17,651 23,052Ranníocaíocht Pinsean 7,958 -Creidiúnaithe Trádála 742,772 115,629
Iomlán 1,267,352 327,871
SEAN SCuLLY WHY THIS, NOT THAT?
13. Cúlchiste Caipitil
nótaI 2010 2009 I I
Iarmhéid ar an 01/01/10 1,500,874 1,859,291Infheistíocht Scannán 3 (181,826 ) (283,767 )Gluaiseacht sa Mhaoiniúchán Sócmhainní Seasta (58,031 ) (74,650 )
Iarmhéid ar an 31/12/10 1,261,017 1,500,874 Tá an ghluaiseacht sa Mhaoiniúchán Sócmhainní Seasta comhdhéanta mar seo a leanas: Ioncam leithroinnte do chuspóirí Caipitil 28,817 21,529Amúchadh 86,848 (96,179 )
Iomlán (58,031 ) (74,650 )
NA CLOIGNE
14. Gealltanais
Léiriúchán Léiriúchán Léiriúchán Iasachtaí Scannán Scannán Faisnéise Beochana Dáileacháin Scéimeanna IomlánIasachtaí Leiriúcháin I I I I I IGealltanais @ 01/01/10 1,351,546 725,471 251,800 74,270 274,265 2,677,352Gealltanais i 2010 9,091,588 1,344,000 1,065,000 861,649 719,000 13,081,237Gealltanais in éag 2010 - (15,000 ) - - (34,078 ) (49,078 )
Iomlán na nGealltanas 10,443,134 2,054,471 1,316,800 935,919 959,187 15,709,511
íocaíochtaí i 2010 (9,149,477 ) (1,518,496 ) (1,194,400 ) (784,535 ) (738,892 ) (13,385,800 )
Gealltanais ar an 31/12/2010 1,293,657 535,975 122,400 151,384 220,295 2,323,711
*Ináirithe leis an ngealltanas agus leis an íocaíocht le haghaidh Léiriú Príomhscannán tá suim de €293,860 i dtaca le costais a bhain le tionscadail agus costais dlí a bhain le léiriúchán.
Beochana Príomh-Scannán Forbartha Forbartha Tionsca IomlánIasachtaí Forbartha I I I I
Gealltanais @ 01/01/10 60,001 510,998 - 570,999Gealltanais i 2010 215,000 1,374,700 100,000 1,689,700Gealltanais in éag 2010 - - - -
Iomlán na nGealltanas 275,001 1,885,698 100,000 2,260,699
íocaíochtaí i 2010 (211,000 ) (1,394,500 ) (100,000 ) (1,705,500 )
Gealltanais ar an 31/12/10 64,001 491,198 - 555,199
15. Tairiscintí Sealadacha Cúnaimh do Thionscadail Scannán
I dteannta na ngealltanas conraithe de €2,878,910 atá gan íoc ag deireadh na bliana mar atá nochtaithe i Nóta 14 bhí €5,157,300 sa bhreis i dtaca le tairiscintí sealadacha gan íoc. Tá an chuid is mó de na gealltanais sin, €4,045,000, i dtaca le léiriúcháin príomhscannán, áit a mbíonn tairiscintí faoi réir théarmaí agus coinníollacha áirithe, soláthar airgeadais san áireamh. Bíonn siad bailí ar feadh tréimhse suas go dtí 6 mhí agus tagann siad faoi réir athbhreithnithe ag deireadh na treimhse sin. Tá na tairiscintí sin coinníollach ar chistí Boird a bheith ar fáil. Bhí tairiscintí neamhcainníochtaithe ag an mBord chomh maith ag deireadh na bliana i dtaobh aon phríomhscannán déag eile ag deireadh na bliana.
52 53
16. Comhaltaí Boird - nochtadh idirbheart
Tá sé ceadmhach do Bhord Scannán na hÉireann le linn a ghnáth-ghnó, cúnamh a cheadú do thionscadail scannán agus socruithe Conartha eile a dhéanamh le gnóthais a mbíonn Comhaltaí Boird fostaithe iontu nó a mbíonn leas eile acu iontu. Tá nosanna imeachta glactha ag Bord Scannán na hÉireann i ndáil le nochtuithe suime ag comhaltaí Boird agus cloíodh leis na nósanna imeachta sin i rith na bliana. Le linn 2010 tugadh faomhadh do na hiasachtaí seo a leanas do thionscadail a raibh leas ag Comhalta Boird iontu nó ina raibh Comhalta Boird fostaithe:
Ainm Cuideachta I
Lesley McKimm newgrange Pictures Stella Days (Production) 845,000 Stella Days (Regional Support) 120,000 Stella Days (Development) 25,000 Call Girl (Production) 150,000 Happy Ever Afters (P&A) 37,500 An Exact Replica of a Figment of My Imagination (Development) 15,000 Julia Here (Development) 27,000
James Morris Treasure Entertainment 30 Eggs (Development) 15,000 Simple Simon (Development) 22,500 A Month in the Country (Development) 28,000
Tristan Orpen Lynch Subotica Entertainment Flowers of Desire (Production) 300,000 A Stranger in a Strange Land (Documentary Promo) 10,000 Gold (Development) 10,500 unless (Development) 15,000 War Dog (Development) 50,000 La Mula (Development) 10,000 Fuair Subotica tairiscintí sealadacha cúnaimh chomh maith i dtaobh Gold agus A Stranger in a Strange Land
Kirsten Sheridan warehouse Pictures Doll House (Development) 15,000 Doll House (Production) 365,000 CDS The Rafters (Production) 600,000 The Rafters (Regional Support) 120,000 The Factory (Industry Development) 100,000
Johnny Gogan Bandit Films The Straits (Production) 495,000 Black Ice (Development) 20,000 The Wet Senor (Development) 5,000 Cinema northwest Swansong (Distribution) 17,642
Total 3,418,142
17. Faomhadh an Bhoird
Thug an Bord faomhadh do na Ráitis Airgeadais ar an 28ú Samhain 2011.
DENTAL BREAKDOWN
AGuISín 1 Tá aguisíní 1 go 5 ann mar thagairt eolais agus ní mar chuid de na cuntais ar leathanaigh 37 go 54.
GEALLTAnAIS CHAIPITIÚLA 2010
Iasachtaí Léiriúcháin do Phríomhscannáin
THE ROAD FROM KOLKATA
GealltaI Albert nobbs Parallel Film Productions 750,000Citadel Blinder Films 657,000Come On Eileen Blinder Films 80,000Corp & Anam Magamedia 300,000Death of a Superhero Grand Pictures 600,000Doll House Warehouse Pictures 365,000Earthbound Paper Dreams 650,000Grabbers Samson Films 500,000Losing It Samson Films 235,000Lotus Eaters Fastnet Films 100,000My Brothers Rubicon Films 15,577Silence South Wind Blows 300,000Stella Days Newgrange Pictures 845,000The Looking Glass Emu Productions 4,000The Other Side of Sleep Fastnet Films 625,000The Pier Black Equus Films 100,000The Rafters CDS Ltd 600,000The Runway Fastnet Films 65,000
GealltaICreative Co-Production Fund Istanbul Ripple World Pictures 178,000Snake Dance West Park Pictures West 80,000The Last Furlong Octagon Films 350,000The Moth Diaries Samson Films 400,000This Must Be The Place Element Pictures 500,000
Regional Support FundCorp & Anam Magamedia 60,000Grabbers Samson Films 100,000Stella Days Newgrange Pictures 120,000The Last Furlong (The Hideaways) Octagon Films 70,000The Other Side of Sleep Fastnet Films 120,000The Rafters CDS 120,000
CompletionThe Liberties Areamann Productions 15,000Jimmy Murakami: non Alien Loopline Films 15,000Stand up My Best Friend Long Grass Productions 10,000
Iomlán 8,929,577
54 55
GealltaI
Short Shorts Loft underground Films 15,000Honeycomb Samson Films 15,000Dummy Parallel Films 15,000Riders to the Sea Dig Productions 15,000Origin Souljacker 15,000Standby Black Sheep Productions 15,000
Signatures Shoe Zanita Films 66,000Crossing Salween Red Rage Films 83,000Pentecost Emu Productions 65,000This is a Test Image Now Films 71,000The Christening underground Films 80,000
Reality Bites Horizontal Collaboration Fastnet Films 15,000Blue Rinse Zucca Films 15,000How Can I Play Wildfire Films 15,000needle Exchange venom 15,000
GealltaI
virtual CinemaOur Poor Son Rubicon Films 2,000Ol’ One Eye Joanne Cunningham 2,000Signs vincent Gallagher 2,000The Monk and the Fly Souljacker 2,000Tv Dinner Two Hungry Fish Productions 2,000Irish Dog whisperer Two Hungry Fish Productions 2,000The Invention Lightbulb Lovely Productions 2,000Daylight Saving Time Jason Butler 2,000Spanx and Eve Tonyia Dowling 2,000
FrameworksAfter you Cel Division 47,000we the Masses Still Films 45,500Here to Fall Blacknorth Studio 44,500umbra And Maps and Plans 49,000
Iomlán 719,000
Scéimeanna Gearrscannán
GealltaI A Glacier Beneath Image Now Films 240,000Art will Save the world Happy Endings Productions 90,000Barbaric Genius Screenworks 15,000Children of the Revolution Transmission Films 40,000Darkness into Light Atlantic Film Alliance 15,000Doodle venom 15,000Dreams of a Life Soho Moon Pictures 150,000For One night Only Parallel Film Productions 100,000Good Days Bad Days Maccana Teo 10,000Good Robot Fastnet Films 15,000In the name of Dignity Lugh Films 15,000Jerry McGill: very Extremely Dangerous Screenworks 15,000King of Travellers (Knuckle) Rise Films 100,000Land Ripple World Pictures 15,000Last Lion Zeitgeist Films 15,000Making a Show of Myself Blinder Films 10,000Martin Hayes in Five ways Moving Still Productions 90,000Muerte and Me Fastnet Films 15,000
GealltaI On Bourbon St Cadenza Films 10,000One Minute to Midnight Crossing the Line Films 15,000Otunnu Crossing the Line Films 10,000Pikin Players Chapter 01 Productions 10,000Possession of the Sea Still Films 20,000Roadside Installation Puddle Films 15,000Sharp Knives Soft Targets Have More Fun 15,000Showrunners Black Sheep Productions 10,000Stranger in a Strange Land Subotica Ltd 10,000The Boy George Story Parallel Film Productions 10,000The Cause of Progress Zanzibar/Little Ease Films 15,000The Master the Slave and the Bank Still Films 5,000The Men of Arlington House Hotshot Films 60,000The nightdancers Still Films 15,000The Pipe underground Films 37,000The Truth Teller Solas Productions 15,000Thilafushi: Lost in Paradise El Zorrero Films 7,000what we Leave in Our wake Harvest Films 100,000
Iomlán 1,344,000
Léiriúcháin Scannán Faisnéise
PEIDHLEACáN SOLAIS (BuTTERFLY LIGHT)
GealltaI Punky Monster Animation & Design 200,000Thor: The Edda Chronicles Magma Productions 85,000Jo and Jack Dancing Girl Productions 150,000Tilly & Friends Jam Media 250,000Moon Man Cartoon Saloon 300,000I’m a Monster Monster Distribution 80,000
Iomlán 1,065,000
Léiriú Scannán Beochana
HORSES
GealltaI 30 Eggs Treaure Entertainment 27,0006 Hours Samson Films 25,000An Exact Replica of a Figment of my Imagination Newgrange Pictures 15,000Before Midnight Alan Brennan 12,000Billy Goes to war Lee Cronin 12,000Black Ice Bandit Films 20,000Blackrock Element Pictures 22,500Blinky and the war Machine Floodland Pictures 45,000Cell Six Fantastic Films 10,000Closed Circuit Ian Power 12,000Clovis Teazle Andrew Legge 12,000Cycle Samson Films 30,000Doll House CDS Limited 15,000Down to the Sunless Sea Wide Eye Films 15,000Earthbound Paper Dreams 10,000Easy Does It Janey Pictures 5,000Future Fathers Happy Endings 10,000Glass Houses Fantastic Films 5,000Gold (aka Six Days) Subotica 10,500Grooskill Mark O’Connor 12,000Guitar Heroes Brian Lynch 12,000Harm’s way Nightingale Films 15,000Hate SP Films 38,000Honoured Jasmina Kallay 12,000I Am not a Serial Killer Floodland Pictures 13,000I’m a wheel Paul Freaney/Alan Gilsenan 16,000Immaculate Ray Lawlor 12,000Jericho Fastnet Films 15,000Julia Here Newgrange Picures 27,000Julius winsome Nightingale Films 15,000Killing Tom Soho Moon Pictures 10,000Moscow never Sleeps Johnny O’Reilly 12,000Mister John Samson Films 10,000Ms Mansfield and Me Paul Walker 12,000My Father’s Daughter Carmel Winters 12,000napoleon and Josephine Octagon Films 50,000Objects of Interest Mammoth Films 20,000Peacekeepers Jane Doolan 12,000Pilgrimage Savage Productions 18,000
Princess Footnote Productions 20,000 GealltaI Prophet x Mike McCormack 12,000Reading in the Dark DeFacto Films 10,000Red Brian Finola Geraghty 12,000Reeling Parallel Film Productions 12,500Return of the Banshee Parallel Film Productions 11,500Sanctuary venom 4,000Scumbot Ciaran Foy 12,000Simple Simon Treasure Entertainment 22,500Standby Black Sheep Productions 10,000Stella Days Newgrange Pictures 25,000Synchronicity Paul Walker 12,000Synchronicity Parallel Film Productions 30,000Ten Dates with Mad Mary Element Pictures 40,000The Book of Lost Things Coastguard Films 50,000The Brave Tin Soldier Colin Downey 12,000The Canal Park Films 15,000The Cherry Tree Fantastic Films 15,000The End of Romance Trish McAdam 12,000The Fourth McHenry Christian O’Reilly 12,000The Gathering Goldfish Films 26,700The Girl in the Green Kimono Jimmy Murakami/Mary D’arcy 16,000The Islanders Pierce Ryan 12,000The Leviathan Floodland Pictures 48,000The Ranger Fastnet Films 26,000The Siege of Jadotville The Cannibal Corporation 50,000The Trial ursula Rani Sarma 12,000The wet Senor Bandit Films 5,000The winter Truce Audrey O’Reilly 12,000Three Days Brock Norman Brock 12,000Traders Peter Murphy/Rachael Moriarty 16,000Twelve Twenty Three Parallel Film Productions 22,500unless Subotica Limited 15,000unsung Hero Joel Conroy 12,000war Dog Subotica 50,000your Girlfriend and Me unstoppable Films 15,000Love Eternal Fastnet Films 5,000La Mula Subotica 10,000
Iomlán 1,374,700
Isachtaí Forbartha do Phríomhscannáin
GealltaI Bedheads Kavaleer Productions 48,000Cosmo Monster Animation & Design 16,000Cú - The Hound of ulla Pillarstone Productions 29,000Fronkey, Hugh & Chonkey Avalon Films 10,000I’m a Monster Monster Distribution 48,000nightgliders Brown Bag Films 30,000The Selfish Giant NDN Productions 34,000
Iomlán 215,000
Iasachtaí chun Scannáin Bheochana a Fhorbairt
56 57
GealltaI
Cur Chun Cinn & Fógraíocht/Tacaíocht do Mhargaíocht All Good Children Element Distribution 9,300Happy Ever Afters Buena vista 37,500His and Hers Element Distribution 74,560Little Foxes Eclipse Pictures 3,578Perrier’s Bounty Element Distribution 75,000Savage Eclipse Distribution 30,000Swansong Cinema North West 13,500The Guard Element Distribution 75,000Trafficked Stoney Road 12,000vOLTA Element Distribution 225,000Zonad Element Distribution 75,000
Dáiliúchán Díreach Colony Fastnet Films 567Colony Irish Film Institute 2,200Eamon Zanita Films 7,211Eamon Irish Film Institute 4,400Pyjama Girls Still Films 10,000Pyjama Girls Irish Film Institute 2,200
GealltaIThe Fading Light Irish Film Institute 2,200The Fading Light Park Films 2,258The Pipe underground Films 10,000
Tacaíocht do Phriontáil Anton Fox Glove Films 2,000Colony Fastnet Films 45,965Corduroy EMu Productions 2,631Eamon Zanita 1,992Fairycatcher 2000AD Productions 3,267Fall Zanzibar Films 5,500Granny O’Grimm Brown Bag Films 9,824His & Hers venom 2,062If I Should Fall Behind Tilted Pictures 484Moore St Masala Fish Films 10,172One Hundred Mornings Blinder Films 30,000Please Say Something David O’Reilly 4,034Savage SP Films 55,000Swansong: The Story of Occi Cinema North West 4,142The Herd venom 2,265The Man Inside Broken Picture 2,307The Pool Warrior Films 8,530
Iomlán 861,649
Dáileachán
GealltaI The Factory CDS 100,000
Iomlán 100,000
Forbairt Tionscail
AGuISín 2TIOMAnTAIS GAn íOC 2010
Iasachtaí Léiriúcháin do Phríomhscannáin Ar feitheamhI Citadel Blinder Films 65,700Come On Eileen Blinder Films 1,700Corp & Anam Magamedia 18,000Death of a Superhero Grand Pictures 60,000Doll House Warehouse Pictures 73,000Earthbound Paper Dreams 65,000Losing It Samson Films 23,500Lotus Eaters Fastnet Films 10,000Stella Days Newgrange Pictures 96,500The Other Side of Sleep Fastnet Films 38,500The Pier Black Equus films 5,000The Rafters CDS Ltd 72,000Roimh 2010 107,407
Iomlán 636,307
Ar feitheamhI Istanbul Ripple World Pictures 17,800The Last Furlong Octagon Films 35,000The Moth Diaries Samson Films 40,000This Must be the Place Element Pictures 50,000Roimh 2010 340,000
Iomlán 482,800
Ciste do Chomhléiriúcháin Chruthaitheach
LOLA YA BONOBO
Ar feitheamhI Jimmy Murakami: non Alien Loopline Films 3,000Stand up: My Best Friend Maurice Linnane 50The Liberties Areamann Productions 3,000
Iomlán 6,050
Críochnú
Ar feitheamhI The Last Furlong Octagon Films 70,000The Other Side of Sleep Fastnet Films 36,000Roimh 2010 62,500
Iomlán 168,500
Ciste Tacaíochta Réigiúnda
SEPARATIONS AGENCY
Ar feitheamhI All Good Children Element Distribution 4,650Happy Ever Afters Buena vista 15,000His & Hers Element Distribution 7,456Perrier’s Bounty Element Distribution 7,500The Guard Element Distribution 37,500Trafficked Stoney Road 1,000Zonad Element Distribution 7,500Roimh 2010 46,289
Iomlán Cinnte Cur Chun Cinn & Fógraíochta 126,895
Dáiliúchán - Iasachtaí Cur Chun Cinn & Fógraíochta/Tacaíocht Mhargaíochta
Ar feitheamhI Art will Save the world Happy Endings Productions 31,500Barbaric Genius Screenworks 3,000Darkness into Light Atlantic Film Alliance 3,000Doodle venom 3,000Dreams of a Life West Park Pictures West 30,000For One night Only Parallel Film Productions 20,000Good Days Bad Days Maccana Teo 2,000King of Travellers (Knuckle) Rise Films 10,000Land Ripple World Pictures 3,000Last Lion Zeitgeist Films 3,000Making a Show of Myself Blinder Films 2,000Martin Hayes in Five ways Moving Still Productions 27,000
Ar feitheamhI On Bourbon St Cadenza Films 2,000One Minute to Midnight Crossing the Line Films 3,000Roadside Installation Puddle Films 3,000Sharp Knives Soft Targets Have More Fun 7,000The Cause of Progress Zanzibar/Little Ease Films 3,000The nightdancers Still Films 1,500The Pipe underground Films 8,000The Truth Teller Solas Productions 3,000Thilafushi: Lost in Paradise El Zorro Films 2,000what we Leave in Our wake Harvest Films 10,000Roimh 2010 358,975
Iomlán 535,975
Léiriú Scannán Faisnéise
Ar feitheamhI Pyjama Girls Still Films 5,000The Pipe underground Films 5,000
Iomlán Dáiliúchán Díreach 10,000
Dáiliúchán Díreach
Ar feitheamhI Fairycatcher 2000AD Productions 37One Hundred Mornings Blinder Films 7,500The Herd venom 566Roimh 2010 6,385
Iomlán Tacaíocht Priontála 14,488
Tacaíocht Priontála
58 59
Ar feitheamhI Punky Monster Animation 60,000Roimh 2010 62,400
Iomlán 122,400
Léiriú Scannán Beochana
Ar feitheamhI Short Shorts Dummy Parallel Films 2,000Loft underground Films 2,000Origin 2,000Riders to the Sea Dig Productions 2,000
Signatures This is a Test Image Now Films 7,100
Ar feitheamhI FrameworksAfter you Cel Division 23,500we the Masses Still Films 22,750Here to Fall Blacknorth Studio 22,250umbra And Maps and Plans 24,500 Roimh 2010 112,195
Iomlán 220,295
Scéimeanna
Ar feitheamhI14 88 SP Films 3,00030 Eggs Treasure Entertainment 3,0006 Hours Samson Films 10,000An Exact Replica of a Figment of My Imagination Newgrange Pictures 3,000Before Midnight Alan Brennan 2,000Billy Goes to war Lee Cronin 2,000Black Ice Bandit Films 2,000Blackrock Element Pictures 7,500Blinky and the war Machine Floodland Pictures 5,000Cell Six Fantastic Films 2,000Closed Circuit Ian Power 2,000Clovis Teazle Andrew Legge 12,000Cycle Samson Films 5,000Down to the Sunless Sea Wide Eye Films 3,000Glass Houses Fantastic Films 1,000Gold (aka Six Days) Subotica 2,500Grooskill Mark O’Connor 2,000Guitar Heroes Brian Lynch 2,000Harm’s way Nightingale Films 3,000I Am not a Serial Killer Floodland Pictures 3,000I’m a wheel Paul Freaney/Alan Gilsenan 4,000Immaculate Ray Lawlor 2,000Jericho Fastnet Films 3,000Julius winsome Nightingale Films 3,000Killing Tom Soho Moon Pictures 2,000Mister John Samson Films 2,000Ms Mansfield and Me Paul Walker 2,000My Father’s Daughter Carmel Winters 2,000napoleon and Josephine Octagon Films 5,000Peacekeepers Jane Doolan 2,000Pilgrimage Savage Productions 3,000Princess Footnote Productions 5,000
Ar feitheamhIProphet x Mike McCormack 2,000Reading in the Dark DeFacto Films 2,000Red Brian Finola Geraghty 2,000Reeling Parallel Film Productions 2,500Return of the Banshee Parallel Films 1,500Sanctuary venom 1,000Scumbot Ciaran Foy 2,000Simple Simon Treasure Entertainment 4,500Spin City Johnny O’Reilly 2,000Standby Black Sheep Productions 2,000Synchronicity Parallel Film Productions 18,000Ten Dates with Mad Mary Calipo Pictures 10,000The Book of Lost Things Coastguard Films 5,000The Brave Tin Soldier Colin Downey 2,000The Canal Park Films 3,000The Cherry Tree Fantastic Films 3,000The Gathering Goldfish Films 3,700The Girl in the Green Kimono Jimmy Murakami & Mary D’arcy 4,000The Islanders Pierce Ryan 2,000The Leviathan Floodland Pictures 8,000The Ranger Fastnet Films 8,000The Siege of Jadotville The Cannibal Corporation 5,000The Trial ursula Rani Sarma 2,000The wet Senor Bandit Films 1,000The winter Truce Audrey O’Reilly 2,000Three Days Brock Norman Brock 2,000Traders P Murphy & R Moriarty 4,000Twelve Twenty Three Parallel Films 2,500unless Subotica 5,000war Dog Subotica 10,000your Girlfriend and Me unstoppable Films 3,000Love Eternal Fastnet Films 1,000Roimh 2010 261,498
Iomlán 491,198
Iasachtaí Forbarha do Phríomhscannáin
BYE BYE NOW
Ar feitheamhI Bedheads Kavaleer Productions 8,000Cosmo Monster Animation 3,000Cú - The Hound of ulla Pillarstone Productions 9,000Fronkey, Hugh & Chonkey Avalon Films 2,000nightgliders Brown Bag Films 5,000The Selfish Giant NDN Productions 7,000Roimh 2010 30,000
Iomlán 64,000
Iasachtaí Forbartha do Scannáin Beochana
SOMNIAC
AGuISín 3
SOnRAí MAIDIR LE COInníOLLACHA IASACHTAí
(a) Iasachtaí Forbartha
Airleactar Iasachtaí Forbartha ar bhonn íocaíocht chéimithe agus íoctar tuairim is 50-60% nuair a chuirtear conarthaí
Iasachta Forbartha idir an Bord agus an Léiritheoir i gcríoch go sásúil, agus íoctar an iarmhéid nuair a chomhlíontar
coinníollacha sonracha a a mbeidh leagtha amach ag an mBord.
Is fiú suas go dtí uasmhéid de €100,000 iad iasachtaí forbartha, ar féidir suas go dtí €50,000 a íoc ag aon am áirithe faoi
leith. Is féidir le foirne nó le daoine aonair (léiritheoir/stiúrthóir/scríbhneoir scripte) iarratas a dhéanamh. Tá ceanglas ar
an léiritheoir an t-airgead a airleacadh a aisíoc ar an gcéad lá príomhscannánaíochta.
Ba chóir féachaint orthu seo mar iasachtaí forbartha/indéantachta; Déanann an Bord gach iarracht rianadh a dhéanamh
ar an t-airgead agus soláthraíonn sé faisnéis agus tacaíocht do léiritheoirí neamhspleácha a bhfuil comhpháirtithe
ionchais léiriúcháin á lorg acu. Ní éireoidh le cuid de na tionscadail a gheobhaidh tacaíocht ón mBord leanúint ar aghaidh
go dtí céim an léiriúcháin agus d’fhéadfadh sé tarlú i ndeireadh na dála go gcaithfear iad a dhíscríobh.
Déanann an Bord monatóireacht, áfach, ar na tionscadail a tugtar chun críche go rathúil agus éilítear éilítear go
gníomhach aon airgead atá dlite.
(b) Iasachtaí Léiriúcháin
Tagann rannpháirtíocht an Bhoird i bhfoirm infheistíochta sa léiriúchán agus ina chuid díolacháin do mhargaidh cineama,
teilifíse, físeáin agus margaidh coimhdeacha (cábla, saitilít, scannán baile etc.) in Éirinn agus ar fud an domhain. Níl an
infheistíocht faoi reir úis; cuirtear dian-bhearta i dtaca le haisghabháil agus rannpháirtíocht i mbrabús i bhfeidhm. Tá
gach tairiscint ar infheistíocht ‘i bprionsabal‘ agus faoi réir conartha.
60 61
AGuISín 4 PRIOnSABAIL AGuS CRITÉIR Tá roinnt bunphrionsabal atá mar bhonn ag a chritéir
cinnteoireachta cláir maoiniúcháin BSÉ/IFB. Tá na prionsabail
sin mar seo a leanas:
• Breisíocht
• Tosaíochtaí Cultúir/Tosaíochtaí Tionscail
• Cineama a Dhéanamh
• Úrnuacht
Mínítear iad sin thíos ar bhealach níos mionsonraithe. Ina
dhiaidh sin leagann muid amach roinnt comaoineacha eile
a d’fhéadfadh tionchara bheith acu ar chinneadh i bhfábhar
tionscadail amháin seachas ceann eile.
BreisíochtIs réasúnaíocht riachtanach í nuair a chuirtear airgead poiblí
ar fáil do thionscal gur chóir go gcruthódh sé gníomhaíocht
nach dtarlódh seachas sin i.e. nach nginfeadh an margadh é as
a stuaim féin. Dá réir sin ciallaíonn sé gur chóir gur scannáin
iad nach ndéanfaí iad nó scannáin nach mbeadh an sochar
céanna ag baint leo ó thaobh na hÉireann de, ach amháin i
gcás go gcuirfí ar a gcumas é sin a dhéanamh le tacaíocht ón
ngníomhaireacht, na scannáin sin a fhaigheann tacaíocht ó
BSÉ/IFB. Léireoidh scannáin den tsaghas sin, agus na sochair a
eascróidh uathu, gníomhaíocht eacnamaíochta ‘breise’.
Tá sé mar aidhm ag na nósanna imeachta i dtaca le breithniú
a dhéanamh ar iarratais ar mhaoiniú léiriúcháin a chinntiú
níos éifeachtúla i gcás go mbíonn BSE/IFB rannpháirteach
i dtionscadal go léiríonn sé go fíor a mhéid is go bhfuil a
rannpháirtíocht riachtanach: go sonrach, gurb é leibhéal
infheistíochta BSÉ/IFB an leibhéal atá riachtanach chun
maoiniú an scannáin a chur i gcríoch ach nach bhfuil an leibhéal
níós airde ná mar is gá. Gan amhras tá sé an-deacair póilíniú
a dhéanamh air sin le dearbh-chruinneas, ag cur san áireamh
nádúr na n-idirbheartaíochtaí a bhíonn da dhíth i dtaca le
hairgeadas scannán, ach seasann an prionsabal agus cloífear
go docht leis.
Beidh tionchar freisin ag an sprioc maoiniú a dhéanamh ar
scannáin a bhfuil ‘breisíocht’ ag baint leo ar thosaíochtaí
BSÉ/IFB agus tionscadail á lorg aige chun tacaíocht a thabhairt
dóibh. Tá sé i gceist le breisíocht go ndéanfaidh sé difríocht,
agu beidh claonadh i BSÉ/IFB luí i dtreo tionscadal a bhfuil an
chosúlacht orthu go bhfuil siad ar ardchaighdeán ach go bhfuil
sé inbhraite go bhfuil siad leithleach agus difriúil ó scannáin atá
ar fáil i bpríomhshruth an mhargaidh. Ní chiallaíonn sé sin nach
bhfuil spéis ag BSÉ/IFB ach i dtacaíócht a thabhairt d’ábhar
‘neamhthráchtála’. A mhalairt ar fad atá fíor, tá raidhse fianaise
ann i stair na scannán a léiríonn gur minic gur ábhar iontais,
ceannródaíochta agus imeallacha iad na móréachtaí cineama.
Is cosúil go mbíonn athnuachan rialta de dhíth ar an margadh.
Tabharfaidh BSÉ/IFB tacaíocht fhuinniúil do léiritheoirí a
thaispeánann go bhfuil uaillmhian acu rath a bhaint amach sa
mhargadh – le tionscadail a léiríonn feasacht maidir leis an
margadh ach nach bhfuil ró-umhal dó.
Tosaíochtaí Cultúir/Tosaíochtaí Tionscail De réir a chuid téarmaí tagartha ón Rialtas, agus ag freagairt
do na riachtanais a mbraitear atá ag tionscal na scannán
in Éirinn faoi láthair, tá BSÉ/IFB den tuairim go léiríonn
tionscadail áirithe, ó thaobh a n-ábhar, a bhfoinse nó a leas don
tionscal, tosaíochtaí soiléire dá mhaoiniúchán maoiniú seachas
tionscadail eile.
Tabharfar tosaíocht láidir d’iarratais ar son tionscadal:
• a ‘tionscnaíodh in Éirinn’ ó thaobh na cruthaitheachta de;
is é sin le rá gur cheap agus gur scríobh talainn Éireannacha
iad agus go stiúróidh talainn Éireannacha iad
• a insíonn scéalta Éireannacha, a tharraingíonn as agus a
léiríonn cultúr, stair agus modh maireachtála na hÉireann
agus an chaoi a fhéachann muintir na hÉireann ar an saol
agus orthu féin
• a bhfuil sé i gceist leo go mbeidh talann scannánaíchta nua
Éireannach sna príomhróil chruthaitheacha i.e. stiúrthóir,
scríbhneoir, léiritheoir, cumadóir, príomhaisteoir
Tabharfar aird dáiríre ar iarratais:
• a mholann tionscadal atá go soiléir Éireannach (ó thaobh
suímh, carachtar, etc. de) ach a bheidh á stiúradh ag
talann nach as Éireann é, i gcás go bhfuil BSÉ/IFB den
tuairim go gcinntíonn teist an stiúrthóra go dtí seo go mbeidh
ardchaighdeán ann
• a mbíonn léiritheoir Éireannach i gceist mar chomhléiritheoir
mionlaigh i gcás (a) go bhfuil BSÉ/IFB iomlán sásta maidir
le caighdeán an tionscadail, (b) go bhfuil an méid
infheistíochta ar chomhchéim leis an leibhéal
CORDuROY
rannpháirtíochta a bheidh ag pearsanra, gnéithe agus
saoráidí Éireannacha sa dtionscadal, agus (c) go bhfuil
gealltanas i bhfeidhm ag an gcomhléiritheoir tromlaigh go
ndéanfaidh sé comhalartú trí ghníomhú mar chomhstiúrthóir
mionlaigh ar scannán Éireannach sa todhchaí
Cuirfidh BSÉ/IFB fáilte faoi leith i gcónaí roimh iarratais ar son
scannán a bhfuil sé i gceist iad a dhéanamh go príomha trí mheán
na Gaeilge.
Beidh BSÉ/IFB airdeallach i gcónaí lena chinntiú i gcás scannán
a dhéanann sé infheistíocht iontu go ndéantar cuid mhór dá
gcaiteachas ar phearsanra Éireannach agus sa dtionscal in
Éirinn, agus tá sé dóchúil go mbeidh an gné sin den iarratas
an-thábhachtach maidir le cinneadh dearfach a dhéanamh. Ann
féin, áfach, ní bheidh sé ina thoisc chinntitheach, i gcás nach
bhfuil BSÉ/IFB cinnte dearfach maidir le caighdeán tionscadail,
nó i gcás nach comhlíonann an tionscadal aon cheann de na
tosaíochtaí leagtha amach thuas ar bhealaí eile. Tugtar níos mó
sonraí i dtaca leis an gceist sin faoi na Cúínsí Eile thíos.
Cineama a Dhéanamh Cúis bhunúsach go bhfuil BSÉ/IFB ar an tsaol is ea chun saothar
in Éirinn a dhéantar lena thaispeáint ar an scáileán mór a
spreagadh, a chothú agus a chur chun cinn.
Níl cosc curtha aige sin ar BSÉ/IFB ó thacaíocht a thabhairt do
shaothar gurb í an teilifís an príomh-mhargadh i bhfeidhm dó.
Thairis sin, sa mhéid is go gcuireann sé ar chumas chuideachtaí
léiriúcháin maireachtáil agus fiú amháin maireachtáil faoi bhláth,
agus go léiríonn sé sineirge atá folláin agus riachtanach idir na
mheán na teilifíse agus meán na scannán, bheadh sé míréadúil, i
dtír atá chomh beag le hÉireann, go dteorannódh BSÉ/IFB a gcuid
tacaíochta don scannánaíocht cineama amháin.
Mar sin féin, cé go leanfaidh BSÉ/IFB ar aghaidh ag freagairt go
dearfach i dtaca le hiarratais a fhaightear ó am go chéile ar son
tionscadal gurb é an dóchúlacht is mó ina dtaobh go bhfaighidh
siad lucht féachana teilifíse, agus fiú ag cur scannán agus
sraitheanna a dhéantar don dteilifís san áireamh, leagfaidh BSÉ/
IFB béim níos treise amach anseo ar a chuid oibligeáidí maidir le
saothar don cineama agus talainn cineama.
I bhfeidhm, ciallóidh sé sin:
• Go ndéanfar measúnú níos deine ar scannáin faisnéise ó
thaobh na hacmhainne atá acu chun eisiúint pictiúrlainne
a bhaint amach nó chun spéis ó fhéilte idirnáisiúnta scannán
a spreagadh. Tabharfar tús áite do ‘phríomhscannáin
faisnéise’; i gcás scannán atá dírithe ar shliotán teilifíse
atá uair an chloig nó níos giorra ar fhad agus nach bhfuil aon
tarraingt nó nach bhfuil ach tarraingt an-bheag acu, ní dócha
go dtabharfar tacaíocht dóibh ach amháin i gcás go meastar
go bhfuil caighdeán do-shéanta acu. I dteannta béim BSÉ/IFB
ar chúrsaí cineama, ceapadh an cur chuige seo chun
freagairt don mhéadú follasach ar an mian atá i measc lucht
féachana pictiúrlainne scannáin faisnéise a fheiceáil.
• Go léireofar níos mó solúbthachta i gcás scannán beochana,
mar aitheantas ar an méadú maidir le tábhacht an tsaothair
Éireannaigh sa réimse sin, agus cúinge an mhargaidh
idirnáisiúnta pictiúrlainne atá ann do phríomhscannáin
bheochana. Mar sin féin, tabharfar tús áite do shaothar
cruthaitheach ó thalainn Éireannacha a bhfuil an cuma air
go bhfuil sé cruthaitheach agus suntasach a dhóthain lena
chur in oiriúint d’fhormáid an mhórscáileáin ach an deis
chuige sin a bheith ann.
• Go ndéanfar ficsean teilifíse, cláracha aonair nó sraitheanna,
a bhreithniú dá chaighdeán bunúsach ach go gcuirfear tosca
eile san áireamh freisin. Cuirfear béim láidir ar thacaíocht a
thabhairt do stiúrthóirí (agus, ó am go chéile, do scríbhneoirí)
a dtaispeánann a dtaifead gairme go dtí seo go soiléir go
bhfuil an cumas iontu scannáin cineama a dhéanamh, nó go
bhfuil siad, i dtuairim BSÉ/IFB, ag dul i dtreo gairm bheatha
a bhaint amach sa scannánaíocht cineama. Ina theannta
sin, beidh sé riachtanach a chur ina luí ar BSÉ/IFB go bhfuil
a rannpháirtíocht airgeadais ríthábhachtach leis an gclár a
thabhairt chun críche agus beifear ag súil le rannpháirtíocht
eagarthóireachta maidir lena lánas. Ní bheidh tacaíocht
forbartha ó BSÉ/IFB d’ábhar atá dírithe go sonrach ar léirú
teilifíse ar fáil ach go hannamh ar fad.
ÚrnuachtAr mhaithe le sainiúlacht a bhaint amach sa tslí ina úsáideann
sé a chuid acmhainní, agus go comhsheasmhach maidir leis
na spriocanna breisíocht a bhfuil cur síos déanta orthu cheana
féin, tabharfaidh BSÉ/IFB aird shuntasach ar úrnuacht agus é
i mbun tionscadal a lorg agus a roghnú le tacaíocht a thabhairt
dóibh. Seachas na sochair ealaíonta, tá neart fianaise ann i gcás
margaidh a bhfuil an lámh in uachtar ag táirgí mórbhuiséid, gurb
iad na scannáin is éifeachtúla a theann san iomaíocht na cinn
sin a thairgíonn don lucht féachana rud éigin nach bhfaca siad
cheana, ó thaobh ábhair conspóide, dearcadh spreagúil, greann
úrnua, séanra lúbtha nó doimhneas úr mothúcháin de.
Cuirfidh sé sin BSÉ/IFB i dtreo tús áite a thabhairt do stiúrthóirí
(agus scríbhneoirí) a bhfuil ‘guthanna’ sainiúla acu, a léiríonn a
gcuid saothar dearcadh atá go láidir aonaránach maidir leis an
tsaol, a léiríonn cúrsaí an tsaoil ar bhealach a thugann brí nua
dóibh, a léiríonn gnéithe den nadúr a theipeann ar scannánóirí
níós gnásúla iad a thabhairt faoi deara nó a sheachnaíonn siad ar
fad iad. Tá sé mar chuspóir ag BSÉ/IFB tacaíocht a thabhairt do
scannáin a aimsíonn lucht féachana chomh leathan agus is féidir,
agus tá sé ag súil go léireoidh lucht deanta scannán an uaillmhian
chéanna. Ag an am céanna aithníonn sé nach n-éiríonn ach le
fíórbheagán daoine rath a bhaint amach ag an ndíoloifig. Cibé an
éiríonn le scannán nó má theipeann air, creideann BSÉ/IFB gur
féidir caiteachas airgid poiblí a chosaint go láidir matá rud éigin
úrnua le rá ag an scannán,rud éigin úrnua le cur le hiomlán an
cineama domhanda.
Cúinsí Eile Ba chóir go dtabharfadh na treoirphrionsabail atá leagtha
amach thuas léargas d’iarratasóirí ar an gcaoi a dhéanfaidh
feidhmeannaigh agus comhairleoirí BSÉ/IFB measúnú ar
thionscadal ó thaobh ábhair de agus ó thaobh na foirne
62 63
cruthaithigh a bhaineann leis. Agus measúnú á dhéanamh ar
iarratais ar mhaoiniú léiriucháin, d’fhéadfaí tosca eile a chur
san áireamh, a bhaineann le héifeachtaí eacnamaíochta an
tionscadail, na socruithe airgeadais, agus an t-ionchas go n-
aimseofar lucht féachana.
I gcás nach mbíonn BSÉ/IFB den tuairim go gcloíonn tionscadal
le haon cheann de na treoirphrionsabail, ní bheidh a ndóthain
sna tosca eile sin le tairiscint maoiniúcháin a bhaint amach.
Ach i gcás tionscadail ina meastar go bhfuil an t-ábhar agus an
fhoireann chruthaitheach áititheach, is féidir leis na cúinsí sin
tionchar a bheith acu ar idirbheartaíochtaí idir BSÉ/IFB agus
lucht déanta an scannáin maidir le leibhéal infheistíochta BSÉ/
IFB agus ar an gcaoi a dhéanfar an scannán a mhaoiniú, a léiriú
agus a dháileadh.
• Teist gairme an léiritheora go dtí seo
• An ndearna an léiritheoir bainistiú agus seachadadh
proifisiúnta agus éifeachtúil ar scannáin roimhe seo?
• An bhfuil dea-thaithí ag BSÉ/IFB roimhe seo maidir le
plé a dhéanamh leis an léiritheoir?
• I gcás comhléiriúcháin, an bhfuil teist gairme proifisiúnta
go dtí seo ag léiritheoiri nach léiritheoirí Éireannacha iad
a bhfuil baint acu leis an dtionscadal?
• Fostaíocht Éireannach
• An mbeidh na príomh-phostanna cruthaitheacha agus
teicniúla lena líonadh ag pearsanra Éireannach?
• I gcás comhléiriúcháin, an bhfuil an coimheas cuí i dtaca
leo sin?
• An dtairgeoidh an léiriúchán fostaíocht do phearsanra
Éireannach i ngach grád is féidir?
• Caiteachas i ngeilleagar na hÉireann
• An ndéanfar an scannánaíocht in Éirinn?
• An mbainfidh an léiriúchán feidhm fhairsing as saoráidí
léiriúcháin agus iar-léiriúcháin in Éirinn?
• An meallfaidh an tionscadal infheistiócht isteach
i ngeilleagar na hÉireann?
• Díolachán agus Dáileachán
• An bhfuil baint ag gníomhaire díolacháin idirnáisiúnta
leis an scannán?
• An bhfuil dáileoir Éireannach ag an scannán?
• An bhfuil airgeadas léiriúcháin á sholáthar ag aon
dáileoir nó craoltóir?
• Struchtúr Airgeadais
• An bhfuil na hairgeadaithe atá á moladh don scannán
iontaofa?
• An gcuirfidh na socruithe airgeadais atá a moladh ar
chumas BSÉ/IFB idirbheartaíocht a dhéanamh i dtaca
le seasamh réasúnach aisghabhála.
• An mbeidh follasacht reasúnach cuntasaíochta i gceist
maidir le hioncam díolacháin, e.g. trí ghníomhaire
bailiúcháin a úsáid?
Ba chóir a chur in iúl go soiléir nach bhfuil sé riachtanach
freagraí dearfacha a thabhairt ar na ceisteanna sin ar fad le go
dtairgeofaí maoiniú léiriúcháin do thionscadal. Ach d’fhéadfadh
sé tarlú go mabainfeadh coibheas ard de fhreagraí diúltacha
an bonn a bhaint de dhearcadh a bheadh go láidir dearfach
ó thaobh BSÉ/IFB de maidir le gnéithe cruthaitheacha den
tionscadal seachas sin. Ar a laghad ar fad, spreagfaidh meascán
de fhreagraí dearfacha agus diúltacha díospóireacht maidir le
méid agus modh ghealltanas BSÉ/IFB.
Critéir Athraitheacha Tá critéir sainiúla dá gcuid féin ag cuid de chláir maoiniúcháin
BSÉ/IFB agus ní gá go rialódh na prionsabail atá leagtha amach
thuas iad:
• Forbairt Ilthionscadal (MPD)
Cé go gcuirtear na treoirphrionsabail i bhfeidhm maidir le
measúnú a dhéanamh ar shlátaí na dtionscadal atá á moladh,
tá a chlár breise critéar féin ag an gclár MPD agus ba chóir
iad sin a iniúchadh sula gcuirtear isteach iarratas.
• Léiriúchán Idirnáisiúnta
Cé go bhfuil an clár seo i dtéarmaí ginearálta faoi réir
ghnáthchritéar cultúrtha BSÉ/IFB, luíónn sé níos mó i dtreo
an tionscail ná na cruthaitheachta. An fhad is go bhfuil
dea-theist gairme go dtí seo ag an bpríomhléiritheoir, agus go
bhfuil cuma sochreidthe ar an bpacáiste cruthaitheach,
bunófar measúnú BSÉ/IFB ar bhreithniú ar thionchar
‘iolraitheach’ eacnamaíochta a chuid maoiniúcháin, agus
ar na deiseanna fostaíochta do phearsanra Éireannach i
bpríomh-phostanna.
• Tacaíocht Réigiúnda
Tá téarmaí tagartha an chláir seo go heisiatach eacnamaíoch.
Lena bheith incháilithe, ní mór go mbeadh maoiniú léiriúcháin
BSÉ/IFB cheana féin ag tionscadal, agus ní chuirfear a
thuilleadh breithniú cruthaitheach i bhfeidhm. Déanfar
measúnú ar an méid den bhuiséad léiriúcháin atá le
caitheamh in Éirinn lasmuigh den limistéir uirbeach agus an
limistéir máguaird; ní mór go mbeadh ar a laghad a dhá
oiread i gceist leis an méid sin agus an méid maoiniúcháin
a éilítear.
• Doiciméadú ar na hEalaíona
Tá treoirlínte a bhaineann go sainiúl leis an gclár seo, a
tarraingíodh suas i gcomhar leis an gComhairle Ealaíon
a dhéanann maoirseacht ar an nós imeachta roghnúcháin.
• Dáileadh
Feidhmíonn an clár Soláthar Priontaí ar bhonn uathoibríoch,
trína mbíonn scannáin incháilithe le haghaidh tacaíochta i
gcás go roghnaítear iad d’fhéile amháin ar liosta na bhféilte
ceadaithe, faoi réir chomhaontú le BSÉ/IFB maidir le leibhéal
an mhaoiniúcháin. Cuirtear maoiniú le haghaidh Priontaí agus
Fógraíócht ar fáil do dháileoirí Éireannacha ar scannáin
a bhfuil tacaíocht faighte acu ó BSÉ/IFB a thaispeánann go
bhfeabhsóidh tacaíocht ó BSÉ/IFB cur chun cinn scannáin
i margadh na hÉireann.
THE BALLAD OF KID KANTuRK
AGuISín 5
SEIRBHíSí SuíMH
Tá sé mar chuspóir ag seirbhísí suímh scannánaíocht de gach cineál a éascú agus a spreagadh. Is féidir linn cabhrú leat
cibé an bhfuil príomhscannáin, scannáin teilifíse, scannáin faisnéise nó scannáin tráchtála, corparáideacha, físeáin cheoil
nó grianghrafadóireacht á ndéanamh agat; rud ar bith a theann ar scáileán. Tá ár bhfoireann margaíochta ar fáil chun do
chuid ceisteanna afhreagairt. Tá ár seirbhís saor in aisce.
níl anseo ach cuid de na seirbhísí atá á dtairiscint againn:
• Láimhseálann an tAonad Seirbhísí Suíomh gach fiosrúchán a bhaineann le scannánaíócht in Éirinn. Bunachar sonraí
inchuardaithe grianghraf is ea F.I.L.M. (Bainisteoir Suíomh do Thionscal na Scannán in Éirinn) a chuireann barr
feabhais ar ár gcumas suímh a aimsiú. Tá úsáid na seirbhíse saor in aisce do lorgairí suíomh in Éirinn agus do lucht
déanta scannán a dhéanann teagmháil linn ó thíortha thar lear.
• Mar chuid dár seirbhís soláthraíonn muid freisin leabhair tagartha amhairc agus faisnéis tagartha eile maidir le cúrsaí
a bhaineann le scannánaíocht in Éirinn.
• Feidhmíonn muid chomh maith mar mhol do líonra oifigí réigiúnda scannán atá ag fás i gcónaí. Ciallaíonn an
comhoibriú atá eadrainn féin agus an Northern Irish Film and Television Commission go bhfuil teaglaim ann a
chlúdaíonn an t-oileán ar fad.
• Déanann muid comhoibriú le comhlachtaí eile leis an dtimpeallacht oibre a dhéanamh chomh cairdiúil agus is
féidir do lucht na scannán.
64 65
66 67
FEATuRE FILMS/FADSCAnnÁIn1993-2010
32A 2007 / Director/Script: Marian Quinn, Producers: Tommy Weir, Roshanak Behesht Nedjad, Production Company: Janey Pictures.
48 Angels 2006 / Director: Marion Comer, writers: Marion Comer, Craig Holland, Producers: John McDonnell, Robert Medema, Marion Comer, Production Company: Reflected Light Pictures.
AAbout Adam 1999 / Director: Gerard Stembridge, Producers: Anna Devlin, Marina Hughes, Script: Gerard Stembridge, Production Company: venus Film & Television.
The Actors 2003 / Director/Script: Conor McPherson, Story by: Neil Jordan, Producers: Neil Jordan, Redmond Morris, Stephen Woolley, Production Company: Company of Wolves.
Accelerator 1999 / Director: vinny Murphy, Producer: Michael Garland, Script: Mark Stewart, vinny Murphy, Production Company: Two For the Show.
Adam & Paul 2004 / Director: Lenny Abrahamson, Producer: Jonny Speers, Executive Producers: Andrew Lowe, Ed Guiney, Script: Mark O’Halloran, Production Company: Porridge Pictures.
A Further Gesture 1996 / Director: Robert Dornhelm, Producers: David Collins, Chris Curling, Script: Ronan Bennett, Production Company: Samson Films.
Agnes Browne 1999 / Director: Anjelica Huston, Producers: Jim Sheridan, Arthur Lappin, Greg Smith, Anjelica Huston, Script: Brendan O’Carroll, John Goldsmith, Production Company: Hell’s Kitchen.
Alarm 2008 / Director/Script: Gerard Stembridge, Producers: Anna Devlin, Marina Hughes, Production Company: venus Productions.
All Soul’s Day 1997 / writer/Director: Alan Gilsenan, Producer: David McLoughlin, Production Company: Yellow Asylum Films.
Ailsa 1993 / Director: Paddy Breathnach, Producer: Ed Guiney, Script: Joe O’Connor, Production Company: Temple Films.
All Good Children 2010 / Director: Alicia Duffy, Producers: Ed Guiney, Andrew Lowe, Jonathan Cavendish, Tom Dercourt, Patrick Quinet, Production Company: Element Pictures.
All Things Bright and Beautiful 1993 / Director: Barry Devlin, Producer: Katy McGuinness, Script: Barry Devlin, Production Company: The Good Film Co.
A Film with Me In It 2008 / Director: Ian Fitzgibbon, Producers: Alan Molony, Susan Mullen, Script: Mark Doherty, Production Company: Parallel Film Productions.
A Love Divided 1998 / Director: Syd Macartney, Producers: Tim Palmer, Alan Moloney, Gerry Gregg, Script: Stuart Hepburn, Production Company: Parallel Films.
A Kiss For Jed wood 2010 / Director: Maurice Linnane, Producer: Tim Palmer, Script: Barry Devlin, Maurice Linnane, Production Company: Ignition Film Productions.
A Man of no Importance 1993 / Director: Suri Krishnama, Producer: Jonathan Cavendish, Script: Barry Devlin, Production Company: Little Bird.
A Shine of Rainbows 2009 / Director: vic Sarin, Producers: Tina Phelme, Kim Roberts, James Flynn, Script: Danis Foon, Catherine Spear, vic Sarin, Production Companies: Octagon Films, Sepia Films.
BBeckett on Film 2000 / Act without words I, Director: Karel Reisz, Act without words II, Director: Enda Hughes, A Piece of Monologue, Director: Robin Lefevre, Breath, Director: Damien Hirst, Catastrophe, Director: David Mamet, Come and Go, Director: John Crowley, Endgame, Director: Conor McPherson, Footfalls, Director: Walter Aasmus, Happy Days, Director: Patricia Rozema, Krapp’s Last Tape, Director: Atom Egoyan, not I, Director: Neil Jordan, Ohio Impromptu, Director: Charles Surridge, Play, Director: Anthony Minghella, Rockaby, Director: Richard Eyre, Rough for Theatre I, Director: Kieron J. Walsh, Rough for Theatre II, Director: Katie Mitchell, That Time, Director: Hales Garrad, waiting for Godot, Director: Michael Lindsay-Hogg, what where, Director: Damien O’Donnell, Producers: Alan Moloney, Michael Colgan Production Company: Blue Angel Films.
Becoming Jane 2007 / Director: Julian Jarrold, Producers: Robert Bernstein, Douglas Rae, Graham Broadbent, James Flynn, Morgan O’Sullivan, Script: Kevin Hood, Sarah Williams, Production Companies: Ecosse Films, Blueprint Films, Octagon Films.
Between The Canals 2010 / Director/Script: Mark O’Connor, Producer: Deirdre Barry, Production Company: Avalon Films.
Black Day at Black Rock 2000 / Director/ Script: Gerard Stembridge, Producers: Anna Devlin, Marina Hughes, Production Company: venus Films.
Blind Flight 2004 / Director: John Furse, Producers: Sally Hibbin, David Collins, Eddie Dick, Script: Brian Keenan, John Furse, Production Company: Samson Films.
Bloody Sunday 2001 / Director/Script: Paul Greengrass, Producers: Mark Redhead, Jim Sheridan, Arthur Lappin, Production Company: Hell’s Kitchen.
Bloom 2004 / Director/Script: Sean Walsh, Producers: Sean Walsh, Gerry Murphy, Mark Byrne, Production Company: Odyssey Pictures.
Bogwoman 1997 / writer/Director: Tom Collins, Producers: Martha O’Neill, Tom Collins, Production Company: De Facto Film & video.
Borstal Boy 2000 / Director: Peter Sheridan, Producers: Pat Moylan, Arthur Lappin, Jim Sheridan, Script: Peter Sheridan, Nye Heron, Production Company: Hell’s Kitchen.
Boxed 2003 / Director/Script: Marion Comer, Producers: Laurence Penn, Lene Bausager, Douglas Graham, Production Companies: Fireproof Films, ugly Duckling Films.
The Boxer 1998 / Producer/Director: Jim Sheridan, Producer: Arthur Lappin, Script: Terry George, Production Company: Hell’s Kitchen.
Boy Eats Girl 2005 / Director: Stephen Bradley, Producers: Ed Guiney, Andrew Lowe, Script: Derek Landy, Production Company: Element Films.
The Boy from Mercury 1996 / Director/ writer: Martin Duffy, Producer: Marina Hughes, Production Company: Mercurian Films.
Breakfast on Pluto 2006 / Director: Neil Jordan, writer: Neil Jordan (based on the book by Patrick McCabe), Producers: Alan Moloney, Neil Jordan, Stephen Woolley, Production Companies: Parallel Films, Number 9 Films.
Broken Harvest 1993 / Director: Maurice O’Callaghan, Producer: Jerry O’Callaghan, Script: Kate O’Callaghan, Maurice O’Callaghan, Production Company: Destiny Films.
CChaos 2001 / Director/Script: Geraldine Creed, Producer: Brendan McCarthy, Production Company: Blue Light Productions.
Cherrybomb 2009 / Directors: Lisa Barros D’Sa, Glenn Leyburn, Producers: Michael Casey, Mark Huffam, Brian Kirk, Script: Daragh Carville, Production Companies: Octagon Films, Green Park Films, Generator Entertainment.
Circle of Friends 1993 / Director: Pat O’Connor, Producers: Frank Price, Arlene Sellers, Alex Winitsky, Script: Andrew Davies, Production Company: Good Girls.
Circus Fantasticus 2010 / Director/Script:Janez Burger, Producers: Morgan Bushe, Jozko Rutar Petri Rossi, Production Companies: Fastnet Films, Staragara Productions.
Conamara 2000 / Director: Eoin Moore, Producer: Ingrid Holzapfel, Script: Greg Brennan, Production Company: Boje Buck Produktion.
Country 2000 / Director/Script: Kevin Liddy, Producer: Jack Armstrong, Production Company: Indi Films.
Cowboys & Angels 2004 / Director/Script: David Gleeson, Producer: Nathalie Lichtenthaeler, Production Company: Wide Eye Films.
The Crooked Mile 2001 / Director/Script: Stephen Kane, Producers: Triona Campbell, Avril Ryan, Production Company: Campbell Ryan Productions.
Cracks 2009 / Director: Jordan Scott, Producers: Julie Payne, Kwesi Dickson, Rosalie Swedlin, Andrew Lowe, Christine vachon, Script: Caroline Ip, Ben Court, Jordan Scott, Production Companies: Element Pictures, Future Films, Antenna 3 Films, Scott Free.
Crushproof 1997 / Director: Paul Tickell, Producers: Nicholas O’Neill, Kees Kassander, Script: James Mathers, Production Company: Liquid Films.
DThe Daisy Chain 2008 / Director: Aisling Walsh, Producers: Tristan Orpen Lynch, Dominic Wright, Script: Lauren Mackenzie, Production Company: Subotica Entertainment.
Dancing at Lughnasa 1998 / Director: Pat O’Connor, Producer: Noel Pearson, Script: Frank McGuinness, Production Company: Ferndale Films.
Dead Bodies 2003 / Director: Robert Quinn, Producers: David McLoughlin, Clare Scully, Script: Derek Landy, Production Company: Distinguished Features.
Dead Long Enough 2006 / Director: Tom Collins, Script: James Hawes, Tom Collins, Producer: Paul Donovan, Production Company: Grand Pictures.
Dead Meat 2004 / Director/Script: Conor McMahon, Producers: Ed King, Michael Griffin, Production Company: 3 Way Productions.
The Disappearance of Finbar 1994/95 / Director: Sue Clayton, Producers: David Collins/Bertil Ohlsson, Martin Bruce Clayton, Script: Dermot Bolger, Production Company: Samson Films.
Disco Pigs 2000 / Director: Kirsten Sheridan, Producer: Ed Guiney, Script: Enda Walsh, Production Company: Temple Films.
Drinking Crude 1997 / writer/Director: Owen McPolin, Producers: Kim Tapsell, Gerry Johnston, Production Company: Sweetskin.
Dorothy Mills 2008 / Director: Agnes Merlet, Producers: Marc Missonier, Eric Jehelman, James Flynn, Script: Agnes Merlet, Juliette Sales, Production Companies: Fidélité Films, Octagon Films.
EEamon 2009 / Director/Script: Margaret Corkery, Producer: Seamus Byrne, Production Company: Zanita Films
The Eclipse 2009 / Director: Conor McPherson, Producer: Rob Walpole, Script: Conor McPherson, Billy Roche, Production Company: Treasure Entertainment.
Eden 2008 / Director: Declan Recks, Producer: David Collins, Script: Eugene O’Brien, Production Company: Samson Films.
The Englishman 2008 / Director: Ian Sellers, Producers: Teresa Mulqueen, David Collins, Script: Ian Sellers, Brendan Grant, Production Company: Samson Films.
The Escapist 2007 / Director: Rupert Wyatt, Producers: Adrian Sturges, Alan Molony, Script: Rupery Wyatt, Daniel Hardy, Production Company: Parallel Film Productions.
FThe Fading Light 2010 / Director/Script: Ivan Kavanagh, Producer: Anne Marie Naughton, Production Company: Park Films.
The Fifth Province 1997 / Director: Frank Stapleton, Producer: Catherine Tiernan, Nina Fitzpatrick, Frank Stapleton, Production Company: Ocean Films.
Five Day Shelter 2010 / Director/Script: Ger Leonard, Producers: Liam O’Neill, villi Ragnarsson, Production Company Paradox Pictures.
Five Minutes of Heaven 2009 / Director: Oliver Hirschbiegel, Producers: Eoin O’Callaghan, Ed Guiney, Andrew Lowe, Script: Guy Hibbert, Production Companies: Element Pictures, Big Fish Films, Ruby Films.
Flick 1999 / Director: Fintan Connolly, Producer: Fiona Bergin, Script: Fintan Connolly, Production Company: Fubar.
Frankie Starlight 1994/95 / Director: Michael Lindsay-Hogg, Producer: Noel Pearson, Script: Chet Raymo, Ronan O’Leary, Production Company: Ferndale Films.
Freeze Frame 2004 / Director/Script: John Simpson, Producers: Michael Casey, Martha O’Neill, Production Companies: Parallel World Productions, Wildfire Films.
The Front Line 2006 / Director/writer: David Gleeson, Producers: Nathalie Lichtenhaeler, James Flynn, Production Company: Wide Eye Films.
GGarage 2007 / Director: Lenny Abrahamson, Producers: Ed Guiney, Andrew Lowe, Script: Mark O’Halloran, Production Company: Element Pictures.
The General 1998 / writer/Producer/ Director: John Boorman, Production Company: Merlin Films.
Gold in the Streets 1996 / Director: Elizabeth Gill, Producer: Noel Pearson, Script: Janet Noble, Noel Pearson, Production Company: Ferndale Films.
Goldfish Memory 2003 / Director/Script: Liz Gill, Producer: Breda Walsh, Production Company: Goldfish Films.
The Guard 2010 / Director/Script: John Michael McDonagh, Producers Ed Guiney, Andrew Lowe, Chris Clark, FloraFernandez Marengo, Production Companies: Element Pictures, Reprisal Films.
Guiltrip 1994/95 / Director: Gerry Stembridge, Producer: Ed Guiney, Script: Gerry Stembridge, Production Company: Temple Films.
HH3 2001 / Director: Les Blair, Producers: James Flynn, Juanita Wilson, Script: Laurence McKeown, Brian Campbell, Production Company: Metropolitan Films.
The Halo Effect 2004 / Director/Script: Lance Daly, Producers: Macdara Kelleher, Hughie Kelly, Executive Producers: John Kelleher, Les Kelly, Production Company: Fastnet Films.
The Hanged Man (El Juego del Adhorcado) 2009 / Director Manuel Gómez Pereira, Producers: Ana Amigo, Tristan Orpen Lynch, Dominic Wright, Production Companies: Subotica Entertainment Amigo Produtions, Cinematograficas, Lennon Proucciones.
68 69Happy Ever Afters 2009 / Director/Script: Stephen Burke, Producer: Lesley McKimm, Production Company: Newgrange Pictures.
Headrush 2003 / Director/Script: Shimmy Marcus, Producer: Edwina Forkin, Production Company: Zanzibar Films.
Helen 2009 / Directors/Script: Christine Molloy, Joe Lawlor, Producer: Joe Lawlor, Production Company: Desperate Optimists.
His & Hers 2009 / Director/Script: Ken Wardrop, Producer: Andrew Freedman, Production Company: venom.
The Honeymooners 2004 / Director/Script: Karl Golden, Producers: Martina Niland, Martin Brinkler, Production Company: Samson Films.
How About you 2007 / Director: Anthony Byrne, Producer: Noel Pearson, Script: Jean Pasley, based on a short story by Maeve Binchy, Production Company: Ferndale Films
How Harry Became a Tree 2001 / Director: Goran Paskaljevic, Producer: Liam O’Neill, Script: Goran Paskaljevic, Stephen Walsh, Production Company: Paradox Films.
How to Cheat in the Leaving Certificate 1997 / Director: Graham Jones, Producers: Graham Jones, Ciara Flanagan, Script: Graham Jones, Tadhg O’Higgins, Aislinn O’Loughlin, Production Company: Graham Jones.
High Boot Benny 1993 / Director: Joe Comerford, Producer: David Kelly, Script: Joe Comerford, Production Company: Sandy Films.
II Could Read the Sky 1999 / Director: Nichola Bruce, Producers: Janine Marmot, Nicholas O’Neill, Script: Nichola Bruce, based on the book by Timothy O’Grady & Steve Pyke, Production Company: Liquid Films.
I went Down 1997 / Director: Paddy Breathnach, Producer: Rob Walpole, Script: Conor McPherson, Production Company: Treasure Films.
The Investigator (A nyomazó) 2009 / Director/Script: Attila Galambos, Producers: Ferenc Pustai, Macdara Kelleher, Martin Persson, Production Companies: Fastnet Films, KMH Film, Anagram Production.
Inside I’m Dancing 2004 / Director: Damien O’Donnell, Producers: James Flynn, Juanita Wilson, Catherine Tiernan, Script: Jeffrey Caine, based on a story by Christian O’Reilly, Production Company: Octagon Films.
Intermission 2003 / Director: John Crowley, Producers: Neil Jordan, Alan Moloney, Stephen Woolley, writer: Mark O’Rowe, Production Companies: Parallel Films, Company of Wolves.
Isolation 2006 / Director/writer: Billy O’Brien, Producers: Ruth Kenley-Letts, Bertrand Faivre, Ed Guiney, Production Companies: Element Films, The Bureau.
JJohnny was 2006 / Director: Mark Hammond, writer: Brendan Foley, Producers: Patrick Fitzsymons, Tom Maguire, Paul Largan, Lars Hermann, Ira Besserman, Brendan Foley, Production Company: Borderline Productions.
KKill Daddy, Goodnight (Das vaterspiel) 2008 / Director/Script: Michael Glawogger, Producers: Christine Ruppert, Lesley McKimm, Production Companies: Tatfilm, Newgrange Films.
Kings 2007 / Director/Script: Tom Collins, Producer: Jackie Larkin, Production Company: Newgrange Pictures
Kisses 2008 / Director/ Script: Lance Daly, Producer: Macdara Kelleher, Production Company: Fastnet Films.
Korea 1993 / Director: Cathal Black, Producer: Darryl Collins, Script: Joe O’Byrne, Production Company: Black Star Films/Cathal Black Films.
LThe Last Bus Home 1997 / writer/Director: Johnny Gogan, Producer: Paul Donovan, Production Company: Grand Pictures.
The Last of the High Kings 1994/95 / Director: David Keating, Producer: Tim Palmer, Script: David Keating, Gabriel Byrne, Production Company: Parallel Films.
The Last September 1999 / Director: Deborah Warner, Producer: Yvonne Thunder, Script: John Banville, Production Company: Thunder Pictures.
Le Dernier Mot 1999 / Director: Sebastien Grall, Producers: John Kelleher, Fabienne Servan-Schreiber, Script: Anne valton, Marina Ní Dhubhain, Production Company: Fastnet Films.
Little Foxes (Lísticky) 2009 / Director/Script: Mira Fornayovà, Producers: Davis Collins, Brian Willis, viktor Schwarcz, Juraj Buzalka, Production Companies: Samson Films, Cineart Tv Prague, Miras SRO.
The Looking Glass 2010 / Director/Script: Colin Downey, Producer: Eimear O’Kane, Production Company: EMu Productions
Love and Rage 1998 / Producer/Director: Cathal Black, Producer: Rudolf Wichmann, Script: Brian Lynch, Production Company: Cathal Black.
Love and Savagery 2009 / Director: John Smith, Producers: Barbara Doran, Lynne Wilson, Kevin Tierney, Tristan Orpen Lynch, Script: Des Walsh, Production Companies: Subotica Entertainment, Morag Loves Company, Park Ex Pictures.
MThe Magdalene Sisters 2003 / Director/ Script: Peter Mullan, Producers: Ed Guiney, Frances Higson, Production Company: Element Films.
Man About Dog 2004 / Director: Paddy Breathnach, Producers: Robert Walpole, Simon Channing Williams, Script: Pearse Elliott, Production Companies: Treasure Entertainment, Potboiler Productions.
Mapmaker 2001 / Director/Script: Johnny Gogan, Producer: Paul Donovan, Production Company: Grand Pictures.
Mickybo & Me 2005 / Director/Script: Terry Loane, Producers: Mark Huffam, Mike McGeagh, Production Companies: Octagon Films.
Middletown 2006 / Director: Brian Kirk, writer: Daragh Carville, Producers: Michael Casey, Mark Byrne, Martha O’Neill, Production Company: Green Park Films.
The Mighty Celt 2005 / Director/Script: Pearse Elliott, Producers: Robert Walpole, Paddy McDonald, Paddy Breathnach, Michael Casey, Production Companies: Treasure Entertainment, Green Park Films.
Moondance 1993 / Director: Dagmar Hirtz, Producers: James Mitchell, Jonathan Cavendish, Script: Burt Weinshanker, Production Company: Little Bird.
The Most Fertile Man in Ireland 2000 / Director: Dudi Appleton, Producer: David Collins, Script: Jim Keeble, Production Company: Samson Films.
My Brothers 2010 / Director: Paul Fraser, Producers: Rebecca O’Flanagan, Rob Walpole, Script: William Collins,Production Company: Rubicon Films.
My Friend Joe 1994/95 / Director: Chris Bould, Producers: Michael O’Connell, Gerhard Schmidt, Script: David Howard, Declan Hughes, Production Company: ProMedia.
Mystics 2003 / Director: David Blair, Producers: Mark O’Sullivan, Michael Ryan, Nigel Warren Green, Script: Wesley Burrows, Production Company: MR Films.
nnight Train 1998 / Director: John Lynch, Producer: Tristan Orpen Lynch, Script: Aodhan Madden, Production Company: Subotica Entertainment.
niko and the way to the Stars 2008 / Directors: Michael Hegner, Kari Juusonen, Script: Hannu Tuomainen, Marteinn Thorisson, Mark Hodkinson, Production Companies: Magma Films, Animaker, ulysses Films, Afilm.
nora 1999 / Director: Pat Murphy, Producers: James Flynn, Tracey Seaward, Script: Pat Murphy, Gerard Stembridge, Production Company: volta/Metropolitan Films.
not Afraid, not Afraid 2001 / Director: Annette Carducci, Producers: Morgan O’Sullivan, James Flynn, Howard Gibbins, Script: Annette Carducci, Barry Devlin, Production Company: World 2000.
nothing Personal 1994/95 / Director: Thaddeus O’Sullivan, Producers: Tracey Seaward, Jonathan Cavendish, Script: Danny Mornin, Production Company: Little Bird.
nothing Personal 2009 / Director/Script: urszula Antoniak, Producers: Reiner Selen, Edwin van Meurs, Morgan Bushe, Production Companies: Fastnet Films, Rinkel Film, Family Affair Films.
november Afternoon 1996 / Directors: John Carney, Tom Hall, Producer: Pat O’Donoghue, Script: John Carney, Tom Hall, Production Company: High Hat Productions.
OOmagh 2004 / Director: Pete Travis, Producers: Ed Guiney, Paul Greengrass, Script: Guy Hibbert, Paul Greengrass, Production Company: Hells Kitchen International.
On the nose 2000 / Director: David Caffrey, Producers: Tristan Orpen Lynch, Scott Kennedy, Script: Tony Philpott, Production Company: Subotica Entertainment.
Once 2007 / Director/Script: John Carney, Producers: Martina Niland, David Collins, Production Company: Samson Films.
Ondine 2009 / Director/Script: Neil Jordan, Producers: Neil Jordan, James Flynn, Ben Browning, Production Company: Octagon Films.
Ordinary Decent Criminal 1999 / Director: Thaddeus O’Sullivan, Producer: Jonathan Cavendish, Script: Gerry Stembridge, Production Company: Little Bird.
Our wonderful Home 2008 / Director/Script: Ivan Kavanagh, Producers: Dominic Wright, Jacqueline Kerrin, Production Company: Ripple World Pictures.
Outcast 2010 / Director/Script: Colm McCarthy, Producers: John McDonnell, Brendan McCarthy, Production Companies:Fantastic Films, Makar Films.
PPark 1999 / Directors: John Carney, Tom Hall, Producers: John Carney, Tom Hall, Script: John Carney, Production Company: High Hat Productions.
Pavee Lackeen 2005 / Director: Perry Ogden, Producers: Perry Ogden, Martina Niland, John Rocha, Script: Perry Ogden, Mark venner, Production Company: An Lár Films.
Peaches 2000 / Director/Script: Nick Grosso, Producer: Ronan Glennane, Production Company: Stone Ridge Film.
Perrier’s Bounty 2009 / Director: Ian Fitzgibbon, Producers: Alan Molony, Stephen Woolley, Elizabeth Karlsen, Script: Mark O’Rowe, Production Company: Parallel Film Productions.
Pete’s Meteor 1998 / writer/Director: Joe O’Byrne, Producers: Liam O’Neill, John Lyons, Production Company: Paradox Pictures.
Princess (Prinsessa) 2009 / Director/Script: Teresa Fabik, Producers: Sandra Harms, Morgan Bushe, Production Companies: Fastnet Films, Breidablick Film Production.
Puckoon 2001 / Director/Script: Terence Ryan, Producers: Ken Tuohy, Terence Ryan, Production Company: Distinguished Features.
RThe Race 2009 / Director: André Nebe, Producers: Michael Garland, Martin Hagermann, Script: Rowan O’Neill, Production Companies: Grand Pictures, Zero West Film Produktion.
Rewind 2010 / Director: PJ Dillon, Producers: Alex Jones, JohnWallace, Script: PJ Dillon, Ronan Carr, Production Company: Carbon Films.
The Runaway 2010 / Director/Script: Ian Power, Producers: Macdara Kelleher, Brendan McDonald, Bernard Michaux,Production Companies: Fastnet Films, Lucil Films.
SSaltwater 1999 / Director: Conor McPherson, Producer: Robert Walpole, Script: Conor McPherson, Production Company: Treasure Films.
Savage 2009 / Director/Script: Brendan Muldowney, Producer: Conor Barry, Production Company: SP Films.
Seaside Stories 2010 / Director/Producer/Script: Fergus Tighe, Production Company: Gallivanting Media.
The Secret of Kells 2008 / Directors: Tomm Moore, Nora Twomey, Producers: Paul Young, Didier Brunner, vivian van Fleteran, Script: Fabirce Ziolkowski, Tomm Moore, Production Company: Cartoon Saloon.
Sensation 2010 / Director/Script: Tom Hall, Producers: Katie Holly, Kieron J Walsh, Production Company: Blinder Films.
Separation Anxiety 1997 / Director: Mark Staunton, Producer: Liam O’Neill, Script: Shelagh Harcourt, Production Company: Paradox Pictures/Dogtown Films.
Shrooms 2007 / Director: Paddy Breathnach, Producers: Robert Walpole, Paddy McDonald, Script: Pearse Elliot, Production Company: Treasure Entertainment.
Silent Grace 2001 / Director/Producer/ Script: Maeve Murphy, Production Company: Follower Productions.
Small Engine Repair 2007 / Director/Script: Niall Heery, Producers: Tristan Orpen Lynch, Dominic Wright, Production Company: Subotica Entertainment.
Snakes and Ladders 1994/95 / Director: Trish McAdam, Producers: Lilyan Sievernich, Chris Sievernich, Script: Trish McAdam, Production Company: Livia Film.
Snap 2010 / Director/Script: Carmel Winters, Producer: Martina Niland, Production Company: Samson Films.
Some Mother’s Son 1996 / Director/ writer: Terry George, Producers: Jim Sheridan, Arthur Lappin, Ed Burke, Production Company: Hell’s Kitchen.
Some Other Stories 2010 / Directors: Ivona Juka, Ana Maria Rossi, Marija Dzidzeva, Ines Tanovic, Hannah Slak, Producers: Ian W Davis, James Flynn, Anita Juka, Nenad, Dukic, Alem Babic, Tomi Salkovski, Dunja, Kemenc, Script: Ivona Juka, Ana Maria Rossi, Ines Tanovic, Gjorche Stavreski, Hanna Slak, Production Companies: DIG Productions, Octagon Films, See Films Pro, Studio Maj Production, 4 Film, Dokument,Skopje Film Studio.
Song for a Raggy Boy 2003 / Director: Aisling Walsh, Producers: Tristan Orpen Lynch, Dominic Wright, John McDonnell, Kevin Byron Murphy, Script: Aisling Walsh, Kevin Byron Murphy, based on book by Patrick Galvin, Production Company: Subotica Entertainment.
Spaghetti Slow 1996 / Director: valerio Jalongo, Producers: Katy McGuinness, Carlos Pasini Hansen, Script: Barry Devlin, valerio Jalongo, Lucinda Coxon, Production Company: The Good Film Company.
Speed Dating 2007 / Director/Script: Tony Herbert, Producers: John Conroy, Tony Herbert, Production Company: System 48.
Spin the Bottle 2003 / Director: Ian FitzGibbon, Producer: Michael Garland, Script: Ian FitzGibbon, Michael McElhatton, Production Company: Grand Pictures.
Studs 2006 / Director/writer: Paul Mercier, Producers: Fiach Mac Conghail, Cuán Mac Conghail, Production Company: Brother Films.
Sugar 2005 / Directors: Patrick Jolley, Reynold Reynolds, Producers: Samara Golden, Patrick Jolley, Reynold Reynolds, Edwina Forkin, Script: Reynold Reynolds, Samara Golden, Patrick Jolley, Production Companies: Zanzibar Films, Make Films.
Summer of the Flying Saucer 2008 / Director: Martin Duffy, Producers: Ralph Christians, Clodagh Freeman, Script: Marleinn Thorisson, Production Company: Magma Films.
The Sun, the Moon and the Stars 1996 / Director/writer: Geraldine Creed, Producer: Brendan McCarthy, Production Company: Blue Light.
Sunset Heights 1998 / Director: Colm villa, Producers: Denis Bradley, James Flynn, Script: Colm villa, Production Company: Northland Films.
Swansong - The Story of Occi Byrne 2009 / Director/Script: Conor McDermottroe, Producers: Hermann Florin, Edwina Forkin, Tom Maguire, Production Companies: Zanzibar Films, Florin Film.
Sweety Barrett 1998 / writer/Director: Stephen Bradley, Producer: Ed Guiney, Production Company: Temple Films.
TTara Road 2005 / Director: Gillies MacKinnon, Producers: Noel Pearson, Miron Blumental, Sarah Radclyffe, Script: Cynthia Cidre, Shane Connaughton, Production Company: Ferndale Films.
This is the Sea 1996 / Director/writer: Mary McGuckian, Producer: Michael Garland, Production Company: Pembridge Productions.
The Tiger’s Tail 2006 / Director/writer: John Boorman, Producers: John Boorman, Kieran Corrigan, John McDonnell, John Buchanan, Production Company: Merlin Films.
Timbuktu 2003 / Director: Alan Gilsenan, Producers: Martin Mahon, John McDonnell, Emma Scott, Script: Paul Freaney, Production Companies: Yellow Asylum Films, Fantastic Films, MR Films.
Tonight is Cancelled 2007 / Director/Script: Brendan Grant, Producer: Macdara Kelleher, Production Company: Fastnet Films.
Triage 2009 / Director/Script: Danis Tanovic, Producers: Alan Molony, Cedomir Kolar, Mark Baschet, Production Companies: Parallel Film Productions, ASAP Films, Tornasol Films, Freedom Spain.Trojan Eddie 1996 / Director: Gillies MacKinnon, Producers: Seamus Byrne, Emma Burge, Script: Billy Roche, Production Company: Irish Screen.
Trouble with Sex 2005 / Director: Fintan Connolly, Producer: Fiona Bergin, Script: Fintan Connolly, Catriona McGowan, Production Company: Fubar.
uugly Duckling and Me! 2007 / Directors: Michael Hegner, Karsten Kiilerich, Producers: Ralph Christians, Anders Maastrup, Moe Honan, Daina Sacco, Script: Mark Hodkinson, Production Companies: Magma Films, A Film Futurikon, ulysses.
vvasha 2009 / Director/ Script: Hannu Salonen, Producers: Piret Tibbo-Hudgins, Philipp Homberg, Jarkko Hentula, Nathalie Lichtenthaeler, Production Companies: Wide Eye Films, Homberg Film Produktion, All Film, Juoni Filmi.
wThe wake wood 2009 / Director: David Keating, Producers: John McDonnell, Brendan McCarthy, Script: Brendan McCarthy, Production Companies: Fantastic Films, Solid Entertainment.
when Brendan Met Trudy 2000 / Director: Kieron J. Walsh, Producer: Lynda Myles, Script: Roddy Doyle, Production Company: Deadly Films 2.
when The Sky Falls 1999 / Director: John Mackenzie, Producers: Nigel Warren-Green, Michael Wearing, Script: Colum McCann, Michael Sheridan, Ronan Gallagher, Production Company: Irish Screen.
wide Open Spaces 2009 / Director: Tom Hall, Producers: Paul Donovan, Clare Kerr, Script: Arthur Matthews, Production Company: Grand Pictures, Mead Kerr.
The wind That Shakes The Barley 2006 / Director: Ken Loach, writer: Paul Laverty, Producers: Rebecca O’Brien, Andrew Lowe, Production Companies: Sixteen Films, Element Films, BIM Distrubuzione, EMC Produktion, Tornasol Films.
words upon the window Pane 1993 / Director: Mary McGuckian, Producers: Mary McGuckian, Anna J. Devlin, Script: Mary McGuckian, Production Company: Pembridge Productions.
yyou Looking at Me? 2003 / Director/Producer: Margo Harkin, Script: Teresa Godfrey, Production Company: Besom Productions.
ZZonad 2008 / Director: John Carney, Producers: Ed Guiney, Andrew Lowe, John McDonnell, Script: John Carney, Kieran Carney, Production Company:
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