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Screen Australia—Report for 2017-18

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Screen Australia | Annual Report 2017/18

Screen Australia

Annual Report 2017/18

All Annual Report enquiries should be addressed to: Communications Department Screen Australia Level 7, 45 Jones Street Ultimo NSW 2007 Toll free: 1800 213 099 Phone: 02 8113 5800 Email: publications@screenaustralia.gov.au

Auditors: Australian National Audit Office

Annual Report Production by the Communications Department

Indexed by Puddingburn

Printed in Australia by Imagination Graphics Pty Ltd

Published by Screen Australia October 2018 ISSN 1837-2740 © Screen Australia 2018

The text in this Annual Report is released subject to a Creative Commons BY licence (Licence). This means, in summary, that you may reproduce, transmit and distribute the text, provided that you do not do so for commercial purposes, and provided that you attribute the text as extracted from Screen Australia’s Annual Report 2017/18. You must not alter, transform or build upon the text in this Annual Report. Your rights under the Licence are in addition to any fair dealing rights which you have under the Copyright Act 1968 (Cwlth).

For further terms of the Licence, please see http://creativecommons.org/licenses/ by-nc-nd/3.0/au/. You are not licensed to reproduce, transmit or distribute any still photographs contained in this Annual Report without the prior written permission of Screen Australia.

TV ratings data Metropolitan and National market data is copyright to OzTAM. The data may not be reproduced, published or communicated (electronically or in hard copy) in whole or part without the prior consent of OzTAM.

Regional market data is copyright to RegionalTAM. The data may not be reproduced, published or communicated (electronically or in hard copy) in whole or part without the prior consent of RegionalTAM.

This Annual Report is available to download as a PDF from www.screenaustralia.gov.au

Front cover image from Sweet Country. Back cover image from Picnic at Hanging Rock.

Screen Australia operates within Australia, with its head office located in Sydney at 45 Jones Street, Ultimo, and an office in Melbourne at 290 Coventry Street, South Melbourne.

1

Letter from the Chair 2

About Screen Australia 4

Screen Australia Board 5

N ote from the CEO 8

Senior management 10

Organisational structure 13

HIGHLIGHTS OF 2017/18 1 4

PR ODUCTION 1 7

DOCUMENTARY 29

I NDIGENOUS 3 3

I NDUSTRY 3 7

PR ODUCER OFFSET AND CO-PRODUCTION 4 9

OPERATIONS 5 2

APPENDICES A ppendix 1 E nabling legislation 6 9

A ppendix 2 A ssessors and script consultants 7 0

A ppendix 3 I nvestments, loans, grants and other initiatives 7 1

A ppendix 4 A wards 9 7

A ppendix 5 P roducer Offset and Co-production statistics 1 00

FINANCIAL STATEMENTS 1 02

A bbreviations and acronyms 1 23

A nnual reporting requirements 1 24

Index 1 26

Contents

Screen Australia 2017/18

2

Letter from the Chair

Dear Minister,

I am pleased to present Screen Australia’s Annual Report for 2017/18, which the Board approved at its meeting on 27 August 2018.

For the year under review, Screen Australia is proud to report:

y continued success on television, where screen stories built strong audiences across broadcast, subscription and online platforms at home and abroad

y a diverse slate of feature films and documentaries, led by the critically acclaimed Sweet Country and Mountain

y outstanding success for content on online platforms, where innovative titles found unprecedented audiences.

In 2017/18, Screen Australia supported diverse drama across every free-to-air television network, as well as on subscription television and online services. More than thirty Screen Australia-supported dramas screened on broadcast television in 2017/18: Underbelly Files: Chopper averaged 1.5 million viewers on Nine, while Mystery Road (ABC), Doctor Doctor series 2 (Nine), Blue Murder: Killer Cop (Seven), Olivia Newton-John: Hopelessly Devoted to You (Seven) and The Secret Daughter series 2 (Seven) all averaged over one million viewers.1 Foxtel’s Picnic at Hanging Rock premiered at the Berlin International Film Festival and is being distributed around the world after strong initial ratings in Australia. Stan’s Romper Stomper also secured international distribution. Children’s titles The New Legends of Monkey (ABC) and Grace Beside Me (SBS and NITV)

NICHOLAS MOORE CHAIR

found audiences through multiple distribution platforms, and The Wrong Girl series 2 and Wake in Fright performed well on Ten.

Documentaries were popular with television audiences. Hawke: The Larrikin & The Leader averaged more than one million viewers on ABC TV and the special follow-up episode of War on Waste series 1 averaged 940,000 television viewers.2 Series 2 of Todd Sampson’s Body Hack averaged 760,000 viewers on Ten,3 while SBS had success with Struggle Street series 2 and Marry Me, Marry My Family.

Australian documentaries also achieved record-breaking success at the box office in 2017/18. Mountain, an innovative collaboration with the Australian Chamber Orchestra (ACO), became the highest-ever grossing Australian documentary (excluding IMAX releases). It made $2 million in Australian ticket sales,4 sold out 13 concerts through a national tour with the ACO and screened at prestigious festivals worldwide.

Several Australian feature dramas shone in 2017/18. Sweet Country won the Special Jury Prize at the Venice Film Festival, the Platform Prize at the Toronto International Film Festival and Best Feature at the Asia Pacific Screen Awards, while Breath grossed more than $4 million in Australia.5 Cargo grew from a Tropfest short film festival finalist to a feature film with an Australian theatrical release and worldwide distribution through Netflix. It joined the more than one thousand Australian drama and documentary titles that were available through Video On Demand platforms in more than 20 countries

Screen Australia 2017/18 3

1 OzTAM and RegionalTAM, 5-city-metro, combined markets, total people, 28-day consolidated, average audience. Data for 1/7/17 to 30/6/18 only. Metro viewers for the respective titles are as follows: 982,000, 874,000, 855,000, 811,000, 791,000 and 637,000.

2 OzTAM and RegionalTAM, 5-city-metro, combined markets, total people, 28-day consolidated, average audience. Metro viewers for the respective titles are as follows: 713,000 and 663,000.

3 OzTAM and RegionalTAM, 5-city-metro, combined markets, total people, 28-day consolidated, average audience. For episodes 1-4 as at June 30 2018 only. Metro viewing = 548,000.

4 comScore. All box office figures are in Australian dollars.

5 comScore. All box office figures are in Australian dollars.

6 Gyde; compiled by Screen Australia.

7 Google: https://australia.googleblog.com/2017/12/youtube-rewind-aussies-loved-skits.html

Casting JonBenet

from April to June 2018.6

The top-trending video on YouTube in Australia in 2017 was a 23-minute narrative comedy, supported by Screen Australia, from home-grown comedians Superwog.7 The Skip Ahead program supported Superwog to expand from sketch comedy and develop a dramatisation of their lives. The pilot episode had been viewed nearly 3.5 million times on YouTube by 30 June 2018.

Screen Australia’s off-screen initiatives included a new Code of Conduct to Assist the Prevention of Sexual Harassment. Developed in consultation with the industry, this code is now a condition of production funding. The first titles supported through the Gender Matters program are entering production, and there were a range of initiatives to support the inclusion of all Australians and screen stories that reflect the whole of Australia.

I would like to acknowledge the work of the Board this year, and thank outgoing member Al Clark for his service. We are proud of the contribution Screen Australia makes to high-quality, culturally significant screen stories enjoyed by Australians and international audiences.

Nicholas Moore

Mystery Road TV Series

About Screen Australia

Vision: To inspire, inform and connect audiences with compelling Australian stories. Australian screen content delivers significant cultural benefit to audiences, and the programs offered by Screen Australia encourage innovation, quality and diversity in Australian storytelling.

Mission: We support projects of scale and ambition, distinct local stories told with strong creative voices and risk-taking content for all platforms.

Screen Australia develops and supports screen projects, practitioners and businesses working across all platforms and genres. It does this through a range of programs including script and talent development, support for production-ready projects, promotion and marketing support and bespoke business assistance.

Underbelly Files: Chopper

5

Screen Australia Board

MEGAN BROWNLOW DEPUTY CHAIR Ms Brownlow is a media

and entertainment industry specialist at PwC where she performs strategy, due diligence, forecasting and market analysis work for clients. She has over 20 years of experience in media and marketing ranging from producing television and radio programs to designing cross-media strategies - both content and advertising - for online and traditional media properties. Ms Brownlow is the editor of PwC’s annual market-leading research program: The Australian Entertainment & Media Outlook, providing forecasts and commentary on the future of 12 media and telecommunications segments. As well as being Deputy Chair of Screen Australia, Ms Brownlow is Deputy Chair of the Media Federation of Australia. She holds an Executive MBA from the AGSM; a Bachelor of Arts (Hons) from the ANU and is a graduate of the INSEAD leadership program and the Australian Institute of Company Directors (GAICD).

Ms Brownlow’s term expires 13 March 2020.

NICHOLAS MOORE CHAIR Mr Moore was appointed Chief Executive Officer of Macquarie Group in May 2008. Macquarie is a diversified financial group providing clients with asset management, banking, leasing, advisory and risk and capital solutions across debt, equity and commodities. Headquartered and listed in Australia, it operates in 25 countries and has more than $A497 billion in assets under management. Mr Moore joined Macquarie in 1986. Mr Moore has a Bachelor of Commerce and a Bachelor of Laws from UNSW and is a Fellow of the Institute of Chartered Accountants. He is also Chairman of the Sydney Opera House Trust and the University of NSW Business School Advisory Council, and a Director of the Centre for Independent Studies.

Mr Moore’s term expires 24 March 2021.

AL CLARK Mr Clark has 34 years’ experience as a film producer, first in the UK - where his credits include Nineteen Eighty-Four, Absolute Beginners and Gothic - and then in Australia. His Australian films - which have been selected for most major festivals and distributed worldwide - include The Adventures of Priscilla, Queen of the Desert, Chopper, Siam Sunset, The Hard Word, Razzle Dazzle, Blessed, Red Hill, and Swinging Safari (aka Flammable Children). Priscilla was nominated for a Golden Globe® as Best Film, won an Oscar® for Costume Design and two BAFTAs, and remains one of the most successful Australian films of all time. The stage musical derived from it has now played in 16 countries - and on one cruise ship. A former board member of the Australian Film Commission, Mr Clark was the recipient of the 2013 AACTA Raymond Longford Award for lifetime achievement. He is also the author of two books, Raymond Chandler in Hollywood and Making Priscilla.

Mr Clark’s term expired 11 December 2017.

MICHAEL HAWKINS Mr Hawkins is a management consultant practicing in the fields of negotiation and facilitation. He is the Chairman of the Asia Pacific Screen Awards and is also Executive Director of the National Association of Cinema Operators - Australasia and the Australian International Movie Convention, a Director of Creative Content Australia Ltd and a member of Advisory Boards including HLB Mann Judd Chessboard and two prominent Australian’s Family Offices. He is a Member (part time) of the Administrative Appeals Tribunal. He serves on the Foundation of the Queensland State Library. He was formerly CEO of Australian Multiplex Cinemas Ltd and Deputy Chair of Screen Queensland. He is a lawyer by training and a Fellow of the Australian Institute of Company Directors.

Mr Hawkins’ term expires 23 August 2019.

BOARD

Screen Australia 2017/18

6

CLAUDIA KARVAN Ms Karvan is an acclaimed actor, producer and director. Her acting feature film credits include Daybreakers, Gillian Armstrong’s High Tide, Phillip Noyce’s Echoes of Paradise, The Heartbreak Kid, Paperback Hero and The Long Weekend. She has starred in many Australian television series and mini-series including the Jack Irish series, Puberty Blues, The Secret Life of Us, The Time of Our Lives, My Brother Jack, Small Claims, the award-winning drama series Love My Way, for which she was creator and producer, and Spirited on which she was a producer. As well as co-producing in Spirited, Love My Way and House of Hanco*ck, Ms Karvan also made her directorial debut on The Secret Life of Us. She has won several AACTA, Astra, Logie and AFI Awards. Ms Karvan is currently starring in a new eight-part drama series Newton’s Law and co-producing the television drama Doctor Doctor.

Ms Karvan’s term expires 23 August 2019.

Screen Australia Board

RICHARD KING Based in Victoria, Mr King is a corporate communications and public policy professional. As Managing Partner of GRACosway Melbourne, a public affairs and financial and corporate communications consulting firm, Mr King brings over 20 years of experience in government, media and markets. Mr King’s strong understanding of corporate governance and the political environment is drawn from his in-house experience at NAB, advisory roles for Australian and international blue-chip companies, industry groups, not-for-profit organisations and government agencies. Mr King has also held a number of senior advisory roles to government in the Treasury portfolios, and has specific expertise in communications, tax policy, fiscal policy and federal-state relations. Mr King is also Chairperson of the community-based NGO, Refugee Migrant Children Centre (RMCC).

Mr King’s term expires on 23 August 2019.

JENNY TAING Ms Taing is Head of Product Implementation at Vanguard Investments Australia, a board director of the Australian Health Practitioner Regulation Agency and the Western Bulldogs Football Club Community Foundation. She is a former board director of The Royal Victorian Eye & Ear Hospital and a former Commissioner of the Victorian Multicultural Commission. In 2016, Ms Taing attended Harvard Business School as the Hugh DT Williamson Scholar. She is the winner of Government Lawyer of the Year 2017, In-House Lawyer of the Year Finalist 2016 and 2017 and the winner of the University of Melbourne Faculty of Arts Rising Star Alumni Award 2014. She appeared in CPA Australia’s INTHEBLACK Magazine Top 40 Young Business Leaders List for 2013.

Ms Taing’s term expires 13 March 2020.

JOANNA WERNER Ms Werner has produced over 88 hours and 163 episodes of television along with two feature films, all of which have sold extensively around the world. Her work has been defined by consistent acclaim, beginning with an AACTA Award for her very first work as a television producer (The Elephant Princess) and three Emmy® Nominations. Since then, she’s amassed production credits on an array of internationally acclaimed works - most recently Riot, as well as the two-time Emmy®-nominated Dance Academy. Ms Werner has also taken a leading role in the industry itself, as Chair of Screen Australia’s Gender Matters Taskforce.

Ms Werner’s term expires 13 March 2020.

7

Doctor Doctor series 2

8

Note from the CEO

Australians love screen stories, and in a more connected world we can choose to watch anything, at any time, on any screen, in any place. Our options for screen content continue to grow:

y the number of films released in Australian cinemas has more than doubled in the last 10 years

y the number of channels on free-to-air television has tripled in the last 10 years

y online and on demand services continue to launch and expand: from social media platforms, to broadcaster-owned options and subscription services

y altered reality technology is opening up new frontiers of screen entertainment.

The competition for audience is fierce - and escalating. ‘Pretty good’ is not good enough. In a digitally disrupted world, only compelling, quality content gets the audience.

Great Australian screen stories continue to cut through. At Screen Australia, we see and support stunning successes at home and abroad. This is no surprise: Australia has talented storytellers, and multiple studies show that Australians of all ages, want Australian stories on all platforms. They want great content that reflects their lives, echoes their voices and empowers their aspirations.

While the ‘appointment viewing’ formats of news, sport and reality television hold immediate attention, dramas and documentaries continue to resonate. Our Online and On Demand 2017 report surveyed Australians that use online services

to watch professionally produced content, and asked them to list their favourite Australian stories. They could have named anything. But overwhelmingly, they listed dramas and documentaries, from old favourites such as The Castle and Crocodile Dundee to Mad Max and Offspring.

2017/18 saw bold, innovative Australian screen stories embraced by audiences on all platforms and on all screens. From the cultural triumph of Mountain, which fused cinema and orchestra to break box office records, to the cultural satire of Superwog, which dominated YouTube’s top trending videos. The extraordinary story of Sweet Country, which won major awards across Asia, Europe, North America and our own shores, underlined the ongoing success of Screen Australia’s Indigenous Department as it celebrates its 25th year.

A conversation about success must include Peter Rabbit. The first original production from acclaimed digital studio Animal Logic, Peter Rabbit grossed more than $416 million outside Australia, and almost $27 million in Australia8 - becoming the eighth highest-grossing Australian film of all time. Animal Logic hailed the pivotal role of the Producer Offset and, as administrators of the Offset on behalf of the Australian Government, we are delighted to assist in the creation of Peter Rabbit and other great Australian stories. To mark the Offset’s 10th year, Screen Australia released a report which revealed how the Offset underpins Australian screen production, which is explored on page 46.

GRAEME MASON CEO

Screen Australia 2017/18 9

Peter Rabbit’s global success was just one of the screen sector’s great export stories in 2017/18, with titles such as Sweet Country and Picnic at Hanging Rock selling around the world and reaching global audiences. The Screen Currency research project demonstrated that Australian screen content drives export earnings of at least $252 million each year - and this figure only focuses on content that received direct Screen Australia support. Great Australian stories travel. And they generate much more than revenue - they define Australia, branding us throughout the world.

That’s why Screen Australia was thrilled to assist with Tourism Australia’s Crocodile Dundee-driven campaign. As the Australian Government’s agency working across the whole sector, Screen Australia connects with all governments and departments, working across arts, communications, foreign affairs, tourism, trade and other portfolios, to support the many cultural, social and economic impacts that Australian screen stories drive at home and abroad.

To sustain those impacts into the future, Screen Australia is proud to support the growing inclusion of more women, and of more diverse Australians across factors of cultural background, physical ability, and gender identity and sexual orientation. We are excited to see the first projects supported by Gender Matters funding progressing to production, and to assist the success of projects such as Employable Me. We are heartened by collaborations throughout the sector on the best next steps towards a more inclusive industry, because cultural change requires the engagement and effort of all. We will continue to do our part through our funding streams, targeted programs and partnerships, and through steps such as the new Code of Conduct to Prevent Sexual Harassment, which is explored on page 39.

Change has been a constant theme this year. The Enterprise program called for, and funded, innovative ideas that can drive new progress. The Indigenous Department commenced a review of its priorities for the next 25 years.

From 1 July 2018, our reformed development funding streams will support more new voices and new stories on new platforms. And we have seen change across significant senior management roles, bidding farewell to staff who have made amazing contributions to the agency and the sector. I particularly note the outstanding work - from the first day of Screen Australia’s existence - of Fiona Cameron, our outgoing Chief Operating Officer.

I often write that change brings challenges and opportunities. Fundamentally, the future is bright, because a world where the audience is in control is a world where the continued demand for great Australian stories - stories that reflect who we are and what we may become - will set the foundations of the sector’s future.

Peter Rabbit

8 comScore as at 25 June 2018. All box office figures are in Australian dollars.

10

GRAEME MASON CHIEF EXECUTIVE OFFICER Graeme has over 20 years of international experience in film, television and multimedia businesses. Graeme has worked with large US studios, a UK television network, independent producers and government agencies. Graeme worked in both factual and entertainment TV programming in Australia before moving to the UK. In Britain he worked across all aspects of film production, sales and acquisitions, and distribution for companies such as Polygram Filmed Entertainment. From 1998 to 2002 he was president of worldwide acquisitions for Universal Studios. He then joined Channel 4 Television UK as Head of Media Projects and later as Managing Director of Rights before moving to New Zealand to lead the New Zealand Film Commission from 2009 to 2013.

MICHAEL BREALEY CHIEF OPERATING OFFICER Michael comes to Screen Australia with over 20 years of experience across communications and media policy and operations. Prior to joining Screen Australia, Michael was the CEO of Create NSW, Acting Executive Director of Arts NSW and Director of Policy, Strategy and Communications for Arts NSW. Before that Michael was the Head of Policy and Strategy for ABC TV and Manager of Public Policy and Content Standards for Vodafone Australia. Michael began his career with the federal Department of Communications and the Arts working across a range of communications policy areas, including broadcasting, telecommunications, arts and screen.

SALLY CAPLAN HEAD OF PRODUCTION Sally has over 25 years of international experience in the screen production industry. She is a highly respected and seasoned senior executive whose roles have covered financing, development, acquisition, production and distribution. Sally began her career as a solicitor specialising in entertainment law. In her most recent role before Screen Australia, Sally was Managing Director of eOne International (eOne), where she oversaw its international film sales operations out of the UK. Before joining eOne, Sally headed the Premiere Fund of the UK Film Council for five years, where she was responsible for funding and overseeing the production from script stage of over 45 films, including titles such as The King’s Speech, Miss Potter and Salmon Fishing in the Yemen. Prior to joining the UK Film Council, Sally was President of Icon Film Distribution UK and has held senior acquisition, distribution and production positions at PolyGram Filmed Entertainment, Momentum Pictures and Universal Pictures International.

Senior management As at 30 June 2018

Screen Australia 2017/18 11

RICHARD NANKIVELL CHIEF FINANCIAL OFFICER Richard joined Screen Australia in October 2010 from City of Ryde where he was Chief Financial Officer. He has an extensive background in finance and administration from his time in Local Government having held senior management positions in a number of NSW metropolitan and rural Councils including City of Ryde, Parramatta City Council, Willoughby City Council, Corowa Council and Boorowa Council. Richard holds an Associate in Local Government Administration and was awarded the Albert Mainard Local Government Scholarship sponsored by the then Town Clerks Society of NSW in 1982.

TIM PHILLIPS HEAD OF BUSINESS AFFAIRS & OFFSET

Tim was Legal and Business Affairs Manager at the Australian Children’s Television Foundation (ACTF) where he was responsible for advising on all aspects of the ACTF’s production, funding, distribution and licensing activities. Tim has also worked as an intellectual property lawyer at Minter Ellison, advising media and online businesses, and as a strategist for media buying company emitch Ltd. As a senior investment manager with Screen Australia, Tim has managed large, small and complex television and film productions from development through to distribution and release. His role in developing and administering the multiplatform and online programs at Screen Australia has provided him with an intricate understanding of audience trends and new distribution platforms.

PENNY SMALLACOMBE HEAD OF INDIGENOUS Penny is a member of the Maramanindji people from the Northern Territory. She has completed a cadetship with the ABC and has a Master of Arts (Documentary Producing) degree from AFTRS. She worked as Producer/Director with the Indigenous Programs Unit in the ABC, and produced the ABC’s highly successful Yarning Up series 1 and 2. Penny was also a part of the Screen Australia Indigenous Department’s Producers Initiative in 2011. She produced a series of shorts called The Forgotten Ones in 2010, directed by prisoners from the Northern Territory, and most recently has been working as a Senior Programmer for NITV, National Indigenous Television, a division of SBS.

MANAGEMENT

12

Cargo

13

Organisational structure As at 30 June 2018

Chief Executive Officer

Chief Operating Officer

Indigenous Production

Business & Audience

Chief Financial Officer Business Affairs & Offset

Communications

Human Resources

Program Operations

Screen Intel

Contracts Management

Legal

Digital Solutions

Finance

Enterprise

Distribution

Markets & Festivals

Development

Documentary

Production Investment

Corporate Affairs & Governance

Corporate Services

Strategy & Operations

Information Technology

Producer Offset & Co-production

DID YOU KNOW?

The average staffing level (ASL) for 2017/18 was 97 and 7% of employees identify as Aboriginal and/or Torres Strait Islander.

ORGANISATIONAL STRUCTURE

Screen Australia 2017/18

14

Highlights of 2017/18

y Feature film Sweet Country , from director Warwick Thornton, was selected to screen In Competition at the 2017 Venice Film Festival, where it won the Special Jury Prize. It went on to win a number of other awards, including Best Feature at the Asia Pacific Screen Awards and the Platform Award at the 2017 Toronto International Film Festival.

y Foxtel’s Picnic at Hanging Rock was picked up by Amazon Prime Video US before the series had even finished filming and went on to sell into 30 territories.

y The top performing Screen Australia-supported television projects in 2017/18 were Underbelly Files: Chopper, which averaged 1.5 million viewers,9 and Doctor Doctor series 2, with 1.3 million viewers10 (metro + regional) within 28 days of broadcast.

y Outback crime series Mystery Road became the most streamed drama on ABC iview in the platform’s history.

y Australian short film All These Creatures by writer/ director Charles Williams was awarded the Short Film Palme d’Or at the 2018 Cannes Film Festival.

y The annual Drama Report released in October 2017 showed an all-time high of $1.3 billion in expenditure on drama production in Australia during 2016/17.

y Critically acclaimed web series Homecoming Queens was the first digital commission for SBS On Demand.

y Online series Sheilas became the first project supported by Gender Matters: Brilliant Stories to go into production. The directorial debut of Rachel Griffiths, Ride Like a Girl , was the first feature film to go into production.

y Screen Australia recouped $5.22 million from production investments across adult and children’s TV drama and feature films.

y Peter Rabbit, which has publicly recognised the Producer Offset in making the film in Australia, earned A$26.69 million at the domestic box office and A$416.66 million for the rest of world (ROW) box office. 11

y Sydney Film Festival presented the First Nations: A Celebration program to mark the 25th anniversary of Screen Australia’s Indigenous Department.

y Screen Australia partnered with organisations including The Guardian, News Ltd’s whimn, VICE Australia and the ABC on a number of online documentary initiatives.

y Feature documentary Mountain, directed by Jennifer Peedom and made in collaboration with the Australian Chamber Orchestra (ACO), earned more than $2 million domestically.

y Producer Offset final certificates were issued to 162 projects, worth a total of $154.31 million.

y Provisional Co-production approval was granted to nine projects from five countries. Final Co-production approval was granted to five projects, from three countries.

y A report that marked the 10-year anniversary of the Producer Offset showed it has contributed more than $1.5 billion in total for rebates on more than 1,000 projects (Final Certificates issued 1 Jan 2008 - 30 June 2017) and has become a fundamental component of production business models.

9 Source: OzTAM and RegionalTAM, 5-city-metro, combined markets, total people, average audience, 28 day consolidated. Metro viewers = 980,000.

10 Source: OzTAM and RegionalTAM, 5-city-metro, combined markets, total people, average audience, 28 day consolidated. Metro viewers = 850,000.

11 ComScore as at 25 June 2018.

15

25th anniversary of the Indigenous Department 2018 marks 25 years since the Indigenous Department was established at Screen Australia, resulting in some

of the nation’s most beloved films, television shows and documentaries.

Twenty-five years ago there were very few Indigenous Australians on television. Even 19 years ago there were only two Indigenous actors in sustaining roles.

It’s hard to believe when you think of the wealth of Indigenous talent in front of and behind the camera now, not only on television, but in film and online. From actors such as Deborah Mailman, Miranda Tapsell, Aaron Pedersen and Cleverman’s Hunter Page-Lochard, to writers including Nakkiah Lui, Trisha Morton-Thomas and Sweet Country’s David Tranter and Steven McGregor. As well as the astonishing number of acclaimed directors such as Leah Purcell, Wayne Blair, Rachel Perkins, Ivan Sen, Warwick Thornton, Catriona McKenzie, Beck Cole and more.

This monumental turnaround is thanks to 25 years of Indigenous Australians being supported to tell their own stories - through Screen Australia’s Indigenous Department (and its predecessor agencies), the ABC, SBS/NITV, as well as other organisations and production companies.

With Indigenous Australians taking ownership of their stories, authentic casting naturally followed. In 2016, it was clear how great the shift had been with the amount of Indigenous Australian roles on television (5%) being greater than the percentage of the entire Indigenous population (3%).12

And in the course of these 25 years, the voices of First Nations peoples have become an integral and celebrated part of Australian screen culture. At home, their stories have opened film festivals, scooped up awards, and become ratings and box office successes.

Abroad, these stories have been screened and awarded at major film festivals from Cannes to Berlin, and from Venice to Toronto.

To date, Screen Australia’s Indigenous Department has provided more than $35 million in funding for development, production and talent escalation, with over 160 titles receiving production support alone. The model has been so successful it recently inspired the Canada Media Fund to create their own Indigenous Film Fund.

The level of accomplishment across the past 25 years is astounding, making this anniversary incredibly special in Australia’s cultural history.

12 https://www.screenaustralia.gov.au/fact-finders/reports-and-key-issues/reports-and-discussion-papers/seeing-ourselves

Twenty Five by Charlotte Allingham

HIGHLIGHTS

Screen Australia 2017/18

16

1993

Indigenous Branch is launched by Australian Film Commission (AFC).

1994

The Indigenous Drama Initiative is conceived. It leads to the ground-breaking From Sand to Celluloid short films.

1995

The Branch develops Indigenous touring film festival Hidden Pictures. It includes a short ethnographic film that Eddie Mabo used as part of his submission to the High Court of Australia to destroy the colonial legal

fiction of ‘Terra Nullius’.

1996

The six shorts in the watershed From Sand to Celluloid initiative are released. They include the first work of a young Warwick Thornton and No Way to Forget by Richard Frankland, which is selected for Cannes Film Festival.

1998

Second Indigenous Drama Initiative is completed. It leads to six projects in Shifting Sands - From Sand to Celluloid Continued, including shorts by Ivan Sen and Erica Glynn.

2002

Ivan Sen’s debut feature Beneath Clouds wins two awards at the Berlin International Film Festival, Rachel Perkins’ One Night the Moon is selected for Sundance Film Festival, and Catriona McKenzie’s Road wins most popular film at

the Flickerfest International Short Film Festival.

2004

The Indigenous Branch funds the Message Sticks Indigenous Film Festival at the Sydney Opera House

2005

The documentary Yellow Fella becomes the first Indigenous Australian documentary to screen at Cannes Film Festival. 2008 Screen Australia commences operation, with the Indigenous Branch now the Indigenous Department.

The Producers Initiative is created - this goes on to kickstart the careers of practitioners such as Cleverman creator Ryan Griffen.

The landmark documentary series First Australians airs on SBS. It wins multiple awards including a Logie Award and AFI Award.

2009

Samson & Delilah, directed by Warwick Thornton, is the first feature film funded by the Indigenous Department for production and wins the Caméra d’Or at Cannes Film Festival.

Screen Australia publishes the comprehensive guide Pathways & Protocols: a filmmaker’s guide to working with Indigenous people, culture and concepts.

2012

Landmark television drama series Redfern Now premieres on ABC TV. Over two series and one telemovie, it wins five AACTA Awards and three Logies.

2016

Screen Australia’s Seeing Ourselves diversity report is released. Indigenous representation in TV drama has risen from zero in 1992 to 5% of main characters between 2011 and 2015. 2017 Feature film Sweet Country , from director Warwick Thornton, is selected to screen In Competition at the

2017 Venice Film Festival, where it wins the Special Jury Prize. It goes on to win numerous other awards, including Best Feature at the Asia Pacific Screen Awards and the Platform Award at the 2017 Toronto

International Film Festival.

2018

ABC airs drama series adaptation Mystery Road, which becomes the highest-rating iview drama in history.

INDIGENOUS DEPARTMENT TIMELINE

17

Production

Winchester

Screen Australia’s Production Department supports the development and production of television drama, feature films, children’s content, documentary and online projects, as well as enabling writers, producers and directors to further their careers through placements, attachments, events and outreach programs.

QUICK FACTS: The Production Department approved $69.9 million in 2017/18, including:

y $50.8 million across features, TV drama and children’s TV

y $3.5 million in online production

y $15.6 million in documentaries.

18

Development

DEVELOPMENT INTO PRODUCTION Of the 215 applications for projects received for Development (Story Development, Matched Marketplace Development) in 2017/18, 90 applications were approved. A total of 19 projects that received Screen Australia production funding in 2017/18 also came through the Development Department in previous years. These include Rachel Ward-directed Palm Beach, children’s features 100% Wolf and Go Karts and Gender Matters: Brilliant Stories projects Ride Like a Girl and Relic.

DEVELOPING THE DEVELOPER Following on from the success of the first Developing the Developer workshop in 2017, in April 2018 a further 10 creatives took part in the second iteration of the intensive program, aimed to increase the pool of experts in the field of story development. The focus was on improving access for practitioners from diverse backgrounds.

Of the 16 creatives who took part in the first Developing the Developer, eight have gone on to secure placements in the industry and two have had projects supported by Screen Australia through Story Development - Online and the Documentary Producer programs.

Anthea Williams, a Developing the Developer alumni, said, “I’m so grateful that Screen Australia funded me to work in development at Causeway Films. It was a unique opportunity to be part of a film company and hone my development skills. Coming from a theatre background, I had years of script experience but the time at Causeway allowed me to translate this knowledge to a film context. The experience has me energised and inspired for my future work in the industry.” Anthea was one of four producers funded through the Talent+ program to undertake industry placements.

ï¿­ See appendix 3 for details of the Production Department’s development funding in 2017/18.

Palm Beach

QUICK FACTS: In 2017/18, $3 million was provided toward projects and the professional development of writers, directors and producers through the talent development programs, including $2.3 million for story development and $1.2 million for attachments, industry partnerships, initiatives and special industry assistance.

Screen Australia 2017/18 19

Development guideline changes In May 2018, Screen Australia published proposed new guidelines for Screen Story Development (drama) funding. After a period of consultation and consideration of industry feedback, these new guidelines will go live from 1 July 2018.

Screen Australia CEO, Graeme Mason, called the guidelines a “seismic shift for early career creators - doing away with barriers based on eligibility credits, distribution platforms, when funding is available and even administrative barriers in the application process itself.”

The guidelines are also designed to increase the diversity of screen stories, emphasise talent with a strong idea and clear pathway to audience, and allow experienced creators the ability to apply for multiple phases of development on a single application.

Under the new guidelines, projects for any platform will be able to apply for development funding from one of two program strands - the Generate Fund or Premium Fund. Both funds will have a simplified and faster application process and turnaround.

The Generate Fund will be for lower budget projects with an emphasis on new and emerging talent or experienced talent wanting to take a creative risk. There will be no eligibility requirements to apply.

The Premium Fund is aimed toward higher budget projects that demonstrate ambition and scale and are from creatives who have had critical and/or commercial success. The key focus of this fund is commercial viability and a clear path to audience.

Sheilas

PRODUCTION

DID YOU KNOW?

The Development Unit is also supporting diversity through sector development. In recent years it has funded initiatives led by CuriousWorks, Information Cultural Exchange (I.C.E.) and the Media, Entertainment & Arts Alliance’s (MEAA) Equity Foundation. See ‘Diversity and inclusion’ on page 40 for more.

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The story of Picnic at Hanging Rock

Television drama

An adaptation of Joan Lindsay’s 1967 novel starring Game of Thrones actress Natalie Dormer, Foxtel’s Picnic at Hanging Rock was picked up by Amazon Prime US before it even wrapped shooting. It then premiered at Berlin International Film Festival and has since sold to a number of key territories including the UK (on BBC), France (on Canal+) and Germany (on Deutsche Telekom). It received major production investment funding from Screen Australia.

In a time dubbed “peak TV”, due to the number of scripted series inundating global audiences, producer Jo Porter says Australian content needs to be able to cut through.

“You need to be able to consider how to stand out in a unique and distinct way,” said Porter, who’s the EP/producer of Picnic at Hanging Rock.

At FremantleMedia Australia, where Porter is also Director of Drama, they had been trying to identify important pieces of IP that could lend themselves to television series adaptations when Joan Lindsay’s novel Picnic at Hanging Rock came up.

After securing the rights they did some internal development to prove the television series would be distinctively different to the iconic 1975 film.

Writers Beatrix Christian and Alice Addison were brought on to pen the series, with a predominantly female-driven directing team and cast (including Yael Stone, Lily Sullivan, Madeleine Madden and Samara Weaving).

The series was selected to make its world premiere at Berlinale in February 2018, followed by a screening at Tribeca Film Festival. It has sold to 30 territories.

“We’re all riding on the success of each other,” Porter said. “The more each of our programs sell internationally and we get international audiences used to Australian accents and our content, that’s going to make it easier for the next person coming along.”

13 Source: OzTAM and RegionalTAM, 5-city-metro, combined markets, total people, average audience, 28 day consolidated. Metro viewers = 980,000. 14 Source: OzTAM and RegionalTAM, 5-city-metro, combined markets, total people, average audience, 28 day consolidated. Metro viewers = 850,000.

Picnic at Hanging Rock DID YOU KNOW?

The top performing Screen Australia-supported television projects in 2017/18 were Underbelly Files: Chopper, which averaged 1.5 million viewers,

13 and Doctor

Doctor series 2 with 1.3 million viewers (metro + regional) within 28 days of broadcast.14 Mystery Road became ABC iview’s all-time record holder for the most views of a drama.

Screen Australia 2017/18 21

ORIGINAL DRAMAS A number of new Screen Australia-supported adult TV dramas filmed or went to air in 2017/18 including:

y Bite Club (Nine)

y Blue Murder: Killer Cop (Seven)

y Homecoming Queens (SBS)

y Olivia Newton-John: Hopelessly Devoted to You (Seven)

y Pulse (ABC)

y Picnic at Hanging Rock (Foxtel)

y Riot (ABC)

y Romper Stomper (Stan)

y Safe Harbour (SBS)

y Sando (ABC)

y Sunshine (SBS)

y The Other Guy (Stan)

y Wake in Fright (Ten).

ï¿­ See appendix 3 for a full list of TV drama projects approved for funding in 2017/18.

‘‘One of the things we wanted to tackle when telling the story this time around was to really tell it through a female lens.Jo Porter on making Picnic at Hanging Rock

22

The story of Breath Feature film

The adaptation of Tim Winton’s novel by Australian actor Simon Baker, in his feature film directorial debut, was filmed in Western Australia and premiered at Toronto International Film Festival in 2017. It received development, feature production and P&A (Promotion & Advertising) Plus support from Screen Australia.

Simon Baker was first sent a copy of Tim Winton’s Breath by Academy Award® and Emmy®-winning US producer Mark Johnson (Rain Man, Breaking Bad), who was interested in turning it into a film.

Baker, who grew up in the coastal NSW town of Lennox Head, says the coming-of-age story about two teenage surfers in 1970s Australia had a “profound effect” on him. Originally he signed on as co-producer with Johnson and Jamie Hilton, but also co-wrote the feature along with Winton and Gerard Lee, and starred as enigmatic surfer Sando in the film. The creative team were having difficulty finding the right director when Johnson realised Baker knew the film inside and out and was the perfect person to helm it.

Baker says: “I know now after this experience that on your first film I think it’s very, very important that you work on something you know and feel very confident [in]. It’s going to help you make millions of decisions that you need to make in keeping the thing on the rails.”

There were a number of challenges including working with first-time actors, and having a four-week window to film pivotal surfing scenes. “You are at the mercy of Mother Nature, which can turn on you like a robber’s dog,” Baker said.

Breath was supported by Screen Australia during development for a second draft, with production investment funding and with P&A Plus support. It made its world premiere at the Toronto International Film Festival in 2017, ahead of a national Australian release in May 2018 where it earned A$4.36 million15 at the local box office.

ï¿­ See appendix 3 for a full list of feature projects approved for development and production funding in 2017/18.

15 MPDAA

Screen Australia 2017/18 23

Breath

QUICK FACTS: y $21.8 million was provided in production funding to 29 feature films with budgets totalling $156.1 million

y $1.9 million was provided in development funding to 67 films through the Story Development, and Matched Marketplace programs

PRODUCTION

24

Grace Beside Me

25

Screen Australia-supported children’s television projects that at the end of 2017/18 were yet to release include: Little J & Big Cuz series 2, Hardball, The Unlisted, Nowhere Boys season 4, Spongo, Fuzz and Jalapena, Mustangs FC season 2, The InBESTigators, The Strange Chores, Bluey and The Bureau of Magical Things from Jonathan M Shiff Productions (H20: Just Add Water, Mako Mermaids). 16

ComScore as at 25 June 2018.

Australian families had another year of great local content on offer in 2017/18, with more set to hit screens.

In feature film, 2017/18 saw the release of global box office hit Peter Rabbit, which was produced by Australian company Animal Logic and Olive Bridge Entertainment, and earned A$443.35 million globally.16 Animated sequel Maya 2: The Honey Games, an Official Co-production between Australia and Germany, is set for a July 2018 national release. Prior to its Australian release it had already earned more than A$8 million worldwide.

In January 2018, production investment was announced for uplifting family film Go Karts from See Pictures (Breath, Swinging Safari) as well as animated feature 100% Wolf from Flying Bark Productions (Blinky Bill: The Movie). And set for release in 2019 is a contemporary re-telling of iconic family film Storm Boy .

Screen Australia-supported children’s television that went to air in 2017/18 included ABC sports series Mustangs FC, Australian/New Zealand Official Co-production The New Legends of Monkey (which aired on ABC, TVNZ and Netflix) and Justine Clarke’s Ta Da! , as well as Grace Beside Me for NITV.

Focus on kids

The New Legends of Monkey

PRODUCTION

DID YOU KNOW?

ABC ME series Little Lunch, created by Robyn Butler and Wayne Hope from Gristmill, was nominated for a 2017 International Emmy® Kids Award in the TV movie/mini-series category.

26

The first online drama commissioned for SBS On Demand, this semi-autobiographical six-part web series is about two women navigating life in their 20s after being diagnosed with chronic illness. Co-created by Michelle Law and Chloë Reeson, it received development and production funding from Screen Australia.

Homecoming Queens was always envisioned as a web series, according to Law and Reeson.

“They are a very fresh form,” Law says. “And I think they do get a bad rap and are seen as a bit of a stepping stone to longer form series, but I think they need to be respected in their own right.”

Reeson - who identifies as non-binary - says because of online storytelling and streaming platforms we are seeing a shift away from telling the same stories, the same ways, by the same people.

“With the internet it’s impossible now to pretend that these diverse narratives and these multitudes of stories don’t exist,” Reeson said. “It paves the way to allowing us to tell the kind of stories we’re trying to tell with Homecoming Queens. It proves there is an audience, people are interested in these sorts of narratives, and people are living these sorts of lives.”

It took about three years for Law, Reeson, director/ executive producer Corrie Chen and producer Katia Nizic from Generator Pictures to develop the idea for Homecoming Queens. During the early stages, Screen Queensland came on board when there was a mini bible and episode outlines, and with the support of Matchbox Pictures they were able to run a series of writers’ rooms over six to nine months.

Nizic pitched the series to SBS Head of Scripted, Sue Masters, and once she read the first two scripts, SBS came on board with development money for a proof of concept as well as further script development.

“The fact that SBS commissioned a single-episode program at the same time as they commissioned the episodes for the show allowed us to access a more traditional television financing model and ensured that the high-level production values we had envisioned for the show could be realised,” Nizic says.

Screen Australia came on board at the same time as SBS and Film Victoria joined soon after. Production commenced in Brisbane in November 2017 and the series launched on SBS On Demand to much acclaim in April 2018.

The story of Homecoming Queens

Online

Homecoming Queens

DID YOU KNOW?

$3.5 million was committed to 20 projects through Online Production in 2017/18 and 20 online projects received $370,000 in development support through the Story Development program.

27

On 27 March 2018, Screen Australia joined Google to present Celebrating Australian Stories - a live showcase of local YouTube talent at Parliament House.

Hosted by Julia Zemiro, the event featured performances by comedy trios Aunty Donna and Skit Box, musician L-Fresh The Lion and dancer Jayden Rodrigues. Along with keynotes from scientist Vanessa Hill and cooking sensations Bondi Harvest, parliamentarians and staff were given an understanding of the breadth of content available on YouTube, and how the platform is allowing Australian creatives to reach audiences and build a career.

To date, Screen Australia has funded more than 150 online originals with their collective YouTube channels racking up in excess of 3.5 billion views. One of the most popular initiatives for online creators is Skip Ahead, which is co-funded by Google and has a history of elevating the careers of recipients. For instance, in 2016

comedy duo Superwog received Skip Ahead funding to film a pilot which became the top trending YouTube video in Australia the next year, and in June 2018 was funded by Screen Australia for a full series on YouTube and ABC Comedy.

ï¿­ See appendix 3 for a full list of projects funded through Screen Australia’s online drama programs in 2017/18.

Photo credit Sam Venn

PRODUCTION

DID YOU KNOW?

2017/18 also marked the second iteration of the Screen Australia/ABC Fresh Blood initiative and the fourth round of the Screen Australia/Google initiative Skip Ahead.

YouTube and Screen Australia online showcase

Screen Australia 2017/18

28

Marketplace

Screen Australia invests in screen content primarily to achieve cultural and industry development outcomes. In 2017/18, the majority of funding across the agency was given as investments, whose financial returns are an important source of income to the agency’s yearly budget. For the remainder of funding, the agency provided grants of $500,000 or less, which are non-recoupable investments. The Marketplace team’s experience in assessing the complex deals that underpin screen content financing, and tracking deals and sales throughout a project’s life cycle, also make it a source of market intelligence for both the agency and the industry.

TV DRAMA TV drama provided the majority of returns across the board for Screen Australia in 2017/18, with a total share of 49% across children’s and adult content. The international market continues to provide most of the returns, with international sales responsible for 90% of the total recouped by children’s titles and 58% for programs for adults. In 2017/18, there were 70 television sales across 64 territories with an approximate value of $7.58 million. Picnic at Hanging

Rock and Top of the Lake series 1 dominated sales for the financial year with the top adult TV earners being Wentworth, Miss Fisher’s Murder Mysteries series 1 & 2, Wanted and Top of the Lake. The top children’s TV earners were Mako: Island of Secrets, Dance Academy series 1 & 2 and Lockie Leonard series 2.

FEATURES Feature film sales provided 38% of returns for Screen Australia in 2017/18, with 112 sales across 142 territories for an approximate value of $11.44 million. Sweet Country, Swinging Safari, 7 Guardians of the Tomb, Ali’s Wedding and Lion dominated sales for the financial year, with the top earners being The Dressmaker, Oddball, Berlin Syndrome, Lion and The Babadook. This year 55% of revenue return came from domestic sales, with 45% from international sales.

DOCUMENTARY Documentary sales have more than doubled since 2016/17, and now make up $688,789 or 13% of the total. In 2017/18, the majority (73%) of sales came from the domestic market and 27% from international.

Note that as of July 2014, all new Screen Australia funding of $500,000 or under has been provided as a grant, rather than as recoupable investment.

NET REVENUE TO SCREEN AUSTRALIA FROM ITS INVESTMENTS IN SCREEN CONTENT

International $2.87m

Documentary $0.68m

Children’s TV drama $0.99m

TV drama $1.56m

Feature films $1.99m

Domestic $2.35m

Documentary

QUICK FACTS: In 2017/18, Screen Australia allocated more than $15.59 million to the documentary sector.

y $11.1 million in production funding for 43 projects (excluding initiatives)

y $837,990 in development funding for 61 projects

y $3.4 million as Producer Equity payments to 54 projects

y $312,500 across six initiatives.

Gurrumul

30

The story of Mountain and Gurrumul

Mountain and Gurrumul and are two examples of feature documentaries that were first released through film festivals before a national release in cinemas. Both titles were supported by Screen Australia through the Documentary Producer program, with Mountain also receiving development support. Mountain would go on to earn more than $2 million and become the highest-grossing, non-IMAX Australian documentary of all time at the local box office.

Mountain was made in collaboration with the ACO, after Richard Tognetti, Artistic Director of the ACO, saw director Jennifer Peedom’s 2008 film Solo and approached her about collaborating on a project about mountains. As well as the ACO, Peedom worked with Sherpa cinematographer and climber Renan Ozturk (“he and I spent a lot of time talking about this film when we were at base camp shooting Sherpa,” she said), writer Robert McFarlane, and actor Willem Dafoe who provided the narration. The breathtaking result, Mountain, made its world premiere at the Sydney Opera House with live accompaniment by the ACO as part of the 2017 Sydney Film Festival, before screening at film festivals in Melbourne, London, San Sebastian and Busan. It also went on tour with the ACO, and after its release in Australian cinemas and on IMAX it earned A$2.03 million17 at the domestic box office.

Peedom: “That’s one of the things I’m proud of about this project is that it’s really reached from the orchestra-going audiences, to normal cinema-going audiences, to then IMAX, which will be kids in museums all around the world. They’re three totally different audiences seeing the same film in slightly different ways.”

Meanwhile Gurrumul, about the life of late Indigenous singer Dr G Yunupingu, was written and directed by Paul Damien Williams - a task bestowed upon him by Dr G Yunupingu himself. The documentary is pieced together with archival imagery and 20 years of footage of Dr G Yunupingu throughout his solo career, which his label Skinnyfish Music had the foresight to film. Gurrumul made its world premiere at Melbourne International Film Festival and was also selected for Adelaide, Berlin and Hot Docs Canadian International Documentary Festival. It was released in 2018 and earned A$859,52418 at the local box office.

17 MPDAA 18 MPDAA

31

Mountain

‘‘I took it on as a creative challenge. I knew it was going to be challenging and it was. For me the triumph of it is that we got there.Jennifer Peedom on Mountain

DOCUMENTARY

Screen Australia 2017/18

32

BODY HACK 2.0 Building on the success of the Logie-nominated first series of Todd Sampson’s Body Hack, Network Ten commissioned a second six-part series titled Todd Sampson’s Body Hack 2.0. In it adventurer and human guinea pig Todd Sampson again went to extraordinary environments to complete challenges that pushed his body to the limits. Produced by Essential Media and supported through the Documentary Unit’s Commissioned Program funding, the series also aired on Discovery Networks International and its debut episode in Australia averaged 889,000 viewers (metro + regional) over 28 days.19

OFFICIAL CO-PRODUCTION DOCOS In the past three financial years, two documentaries per year have taken advantage of the Official Co-production program. This list has included Spookers (Australia/New Zealand) and The Kingdom: How Fungi Made Our World (Australia/Canada). Australian producer of The Kingdom, Susan MacKinnon, said despite praise for making Official Co-productions, “there’s a prejudice in the filmmaking community, I believe, against working with them because we think it’s laborious, we think the bureaucracy’s burdensome, we think there’s added costs to the budget and there’s a feeling of… ‘let’s just get co-finance… not under a treaty’. And my experience of it, even though it was scarily new territory for me and complex paperwork, is that it’s a good thing and it’s leveraged subsidy in another country.”

SUPPORTING LGBTQI VOICES Love Bites was a joint documentary initiative between ABC Arts and Screen Australia created to mark the 40th anniversary of the Sydney Gay and Lesbian Mardi Gras in 2018. It provided production funding to 10 projects by filmmakers from the LGBTQI community to make a five-minute documentary showcasing the diversity and artistic expression inherent in their stories. The Coming Back Out Ball - an examination of the issues faced by an ageing, often invisible generation of LGBTQI pioneers - also received production and completion funding in 2017/18.

PATHWAYS ONLINE Screen Australia’s Documentary Unit continued to foster online forms of storytelling in 2017/18 through initiatives and partnerships including the aforementioned Love Bites, as well as:

Art Bites: At the Australian International Documentary Conference (AIDC) in March 2018, Screen Australia and ABC iview Arts announced this short-form documentary initiative would go into its third year. Art Bites supports four emerging Australian filmmaking teams to create a 6 x 5-minute documentary series to premiere on ABC iview’s Arts channel in 2019.

The Guardian: Screen Australia worked with publication The Guardian to provide production funding to four documentaries between 15 and 30 minutes long, which will be available to stream from 2019 on The Guardian’s Australian, UK, US and international sites.

Pitch Australiana: In March 2018, youth media company VICE and Screen Australia announced observational documentary Shooting Cats as the winner of their pitching competition held at AIDC. The filmmakers received $50,000 in production funding for a short-form documentary commission, to be released across VICE’s digital channels and broadcast on SBS Viceland.

Doco180: In March 2018, Screen Australia and News Corp’s new platform whimn (With Her in Mind Network) announced up to five documentaries will be selected for season two of this initiative. The funding is for projects by emerging female documentarians that make the viewer ‘do a 180’ in 180 seconds on a topic relevant to Australian women. The projects will premiere on whimn.com.au in late 2018.

ï¿­ See appendix 3 for a full list of documentary projects approved for funding in 2017/18.

19 Source: OzTAM and RegionalTAM, 5-city-metro, combined markets, total people, average audience, 28 day consolidated. Metro viewers = 647,000.

Documentary snapshot

Indigenous

QUICK FACTS: y $2.2 million in development and production funding across Indigenous documentaries, features,

online TV and special initiatives

y $375,000 for practitioner support including internships, special industry assistance and travel

y $550,000 in business support to seven companies.

The Indigenous Department celebrates a milestone in 2018 when it turns 25. The department is vital in the way it identifies and nurtures talented Indigenous Australians to ensure their bold, distinctive voices are heard through engaging stories. It is also proactive in shaping and influencing the policy environment, where it positively impacts Indigenous Australians in the screen industry.

Sweet Country

34

Initiatives

The Indigenous Department celebrates its 25th anniversary in 2018. One of the department’s goals is to identify where there is an absence of Indigenous voices and create workshops and initiatives to further the careers of First Nations practitioners in these areas.

STATE OF ALARM In December 2017, 14 creatives representing nine projects were announced as the successful recipients of the first stage of the State of Alarm documentary initiative, which will provide development funding and the opportunity to learn from experienced filmmakers, climate change scientists and researchers. The aim of the documentaries is to provide insight and provoke thought about Indigenous solutions to universal environmental issues. The creatives took part in a three-day development workshop in Sydney where they were mentored by established filmmakers and heard from guest speakers. Following the first development stage, a shortlist of projects will be selected for production funding.

INDIGENOUS SCREEN BUSINESS FUNDING In May 2018, a special Indigenous screen business initiative was announced to help provide Indigenous screen businesses with the support to consolidate or expand the scale and ambition of their production activity, and provide employment to enhance and diversify a range of business activities. The initiative is aimed at production companies who have a track record in producing successful Indigenous projects and have a clear vision for growing their business over the next two to three years.

DEVELOPMENT ASSOCIATE Across 2016/17 and 2017/18, Screen Australia’s Indigenous Department hired two Development Associates. These roles aim to build on staff members’ creative judgment as they participate in and provide support for the assessment process, assist with special initiatives, shadow Development Managers and evaluate scripts.

Top End Wedding

DID YOU KNOW?

The Indigenous Department supported four attachments on the Miranda Tapsell feature Top End Wedding and a further four attachments or placements on projects Mystery Road and Grace Beside Me, and at See-Saw Films and Matchbox Pictures.

35

This six-part television series starring Aaron Pedersen and Judy Davis was directed by Rachel Perkins (Jasper Jones) and produced by Bunya Productions who have expanded into television for the first time. The outback noir was filmed in Western Australia and premiered on ABC and ABC iview in June 2018, where it became the highest-rating iview drama in history.

A spin-off of Ivan Sen’s acclaimed film of the same name, Mystery Road again stars Aaron Pedersen as Detective Jay Swan, who this time is attempting to solve a murder together with an outback cop played by Judy Davis.

“...There’s this wonderful friction between these two trying to solve this crime, but it also explores this underbelly of relations in the town, the original Indigenous people and the settlers who came there later,” Perkins said. “So it’s interesting, it’s got other layers to it that you perhaps normally wouldn’t see in a cop show.”

Perkins said it’s something that particularly interested her as an Indigenous filmmaker.

“I think that’s the gift of doing film and television in this country, supported by Screen Australia, we can look at what makes our country unique through our storytelling and explore those things [and] present them onscreen to Australian audiences, so they can see… some of the issues that we’re facing as a country, particularly in terms of recognition of Indigenous people, resolving our past differences and hopefully having a more reconciled future.”

The story of Mystery Road

Mystery Road TV Series

36

The story of Black Divaz

Directed by Adrian Russell Wills and produced by Michaela Perske and Gillian Moody, this documentary followed the drag queens in the inaugural Miss First Nation pageant and premiered at the Queer Screen Mardi Gras Film Festival before screening on NITV and SBS. It was supported through the 2017/18 Indigenous Documentary Production strand.

The inaugural Miss First Nation drag pageant took place in Darwin over five days in late September 2017 and Black Divaz director Adrian Russell Wills (The Warriors, Wentworth) followed the Indigenous drag queens and sistagirls who took part.

“My reason for making this film is because I feel that in our communities we still haven’t really had the conversation about hom*ophobia and acceptance of our LGBTQI+ family members,” Russell Wills said.

“Too many of our youth still take their lives due to the shame and fear of rejection because of who they really are. In our film our extraordinary characters give us their stories, their humour, their sisterhood and their hearts, all in a beautiful truth.”

He adds, “A film like this, to me, is vital.”

ï¿­ See appendix 3 for a full list of projects approved for funding through the Indigenous Department in 2017/18.

Black Divaz

DID YOU KNOW?

Ground-breaking Indigenous animated series Little J & Big Cuz was greenlit for a second season.

37

Industry

A look at how Australian practitioners and businesses have performed in festivals and on the world stage, grown through Enterprise funding, and been supported through communications as well as the latest data, analysis and insights.

Safe Harbour

38

Gender Matters

Announced in December 2015, the Gender Matters KPI is that by the end of 2018/19, half of the projects that receive Screen Australia production funding will have women occupying at least 50% of key creative roles.

On a three-year average, Screen Australia has met its overall Gender Matters target for the first time since the initiative was launched, with 51% of all projects receiving production funding having at least half of the key creative roles occupied by women.

As the agency moves into the final year (2018/19) of the original Gender Matters plan, Screen Australia continues to closely monitor the volume of female-driven stories obtaining production funding to ensure the improvements continue across all format types.

Meanwhile the $5 million funding investment in Gender Matters, which was announced in 2015, continues to pay dividends:

y Online comedy Sheilas from Hannah and Eliza Reilly became the first of the 45 Brilliant Stories alumni to progress to production, with the series set to launch in August 2018.

y Ride Like a Girl, which also marks Rachel Griffiths’ directorial debut, was the first feature film from Brilliant Stories to go into production. It secured Screen Australia production funding and commenced filming in early 2018.

y Feature Relic from writer/director Natalie Erika James, another Gender Matters: Brilliant Stories alumni, received production investment funding in 2017/18.

y By the end of 2017/18, 22 women had completed Gender Matters Attachments on TV and film projects including Billie Egan who was attached to production designer Felicity Abbott on Ladies in Black, Mary Duong who was a digital producer on Strange Chores, and Lizzie Cater who was attached to the Post Supervisor on Picnic at Hanging Rock.

y Of the 22 completed attachments, 10 were on adult TV drama, three were on children’s TV, one was on children’s animation, and eight were on feature films.

Ride Like a Girl

39

Further changes have also been made to assist the progress of Gender Matters:

y Due to the success of the Attachments for Women program, from July 2017 a new Inclusive Attachment Scheme was introduced for all Screen Australia productions. The program includes a paid placement for an emerging creative, with the length of the attachment and the focus being flexible so as to suit the particular theme/direction of the project.

Notes: Percentages are rounded to the nearest whole number. Creative team roles are at the time of application and do not represent any subsequent revisions. Changes in the funding status of an application, eg due to a revocation, are updated retrospectively. For two-stage application approval processes (EOI/LOI), the approval is only counted once if it occurred in the same financial year. Applications are allocated against their format rather than distribution channel, eg. an online documentary is counted as a documentary. Figures include Screen Australia initiatives administered by third parties. Producer Equity Program (PEP) documentary projects are excluded as they do not undergo creative assessment. Application data set is more expansive than the 2015 report Gender Matters: Women in the Australian Screen Industry, so is not directly comparable.

y In April 2018, a Code of Conduct to Assist the Prevention of Sexual Harassment was finalised and went into effect. Screen Australia-approved projects from now on must adhere to the Code as a condition of their production funding.

y In May 2018, Screen Australia updated its guidelines for General Drama and Children’s Programs which stipulate that unless in exceptional circ*mstances, at least one female director must be used on extended television series (where there is more than one filming block).

SUCCESSFUL SCREEN AUSTRALIA APPLICATIONS PRODUCTION ONLY

INDUSTRY

Screen Australia 2017/18

40

Diversity and inclusion

Screen Australia’s 2016 study, Seeing Ourselves, revealed Australian television does not reflect the diverse make-up of the population - whether that be cultural background, disability, or sexual orientation and gender identity. The exception was Indigenous representation, where the amount of Indigenous Australian roles on television (5%) was greater than the percentage of the Indigenous population (3%). This is a direct result of 25 years of targeted support, particularly from Screen Australia’s Indigenous Department, the ABC and SBS/NITV.

But since Seeing Ourselves, evident change is underway. Recent Screen Australia titles have diversity of story and cast at their core, including Homecoming Queens, Safe Harbour, Kiki and Kitty, The Other Guy and Sunshine. And incidental diversity is increasingly more common, seen in shows like Picnic at Hanging Rock and Newton’s Law.

In August 2017, Screen Australia joined with 19 other leading media organisations in the Screen Diversity and Inclusion Network (SDIN) to launch a charter to promote diversity in the sector.

Although there is a limit to Screen Australia’s influence (for example, involvement in casting decisions is rare), the agency is also assisting storytellers from diverse backgrounds through a range of inclusive programs and opportunities.

DEVELOPING THE DEVELOPER An intensive workshop aimed at increasing the pool of experts in the field of story development. The second iteration of this program was held in April 2018 for 10 creatives. Participants gained a greater understanding of fiction development methodologies and tools as well as market context.

TALENT CAMP A screen industry inclusivity partnership with AFTRS and the state and territory screen agencies to support the development of emerging creative talent from diverse backgrounds. A total of 17 participants from around the country took part in an intensive workshop at AFTRS in May 2018. The creatives were selected off the strength of a 7-minute short project script they developed and pitched in the Talent Camp workshops held in 2017 across the country.

INCLUSIVE ATTACHMENTS Following the success of the Gender Matters Attachments scheme, from 1 July 2017 it became compulsory to include a meaningful, paid attachment opportunity for an emerging practitioner on most Screen Australia-funded titles. The nature of the attachment is flexible in order to reflect the theme or content of the project, for example LGBTQI. In 2017/18, there were 22 Inclusive Attachments, on projects including The Ropes, Lambs of God and Ride Like a Girl.

PARTNERED PROGRAMS THROUGH SECTOR DEVELOPMENT As Screen Australia is not equipped to directly train entry-level talent, the agency supported sector initiatives including the Breakthrough Program by CuriousWorks, the Screen Cultures Program 2017-2018 by I.C.E., and a national Diversity Showcase by MEAA’s Equity Foundation.

The Other Guy

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Enterprise

ENTERPRISE PEOPLE Enterprise People has enabled early-career or emerging writers, directors and creative producers to progress their careers, while also building the capacity of businesses and contributing to the sustainability of the industry.

When supported by a grant through Enterprise People, companies with development expertise are able to employ these writers, directors or producers on a full-time basis over one or two years.

There were several notable outcomes from the 15 companies supported through Enterprise People 2017/18:

y Daniel Schultz began a two-year placement working for Brisbane-based Emmy®-winning company Ludo Studios. It allowed Schultz to move from part-time into full-time work managing the business affairs of the company. It also enabled other employees to dedicate their time to the creative.

y Melissa Sawyer began a two-year producing placement working with Tim McGahan (Predestination) at Queensland production house Blacklab Entertainment. Sawyer first worked with Blacklab on her first “break” in the industry after years working in law - as a producer’s attachment on Winchester through Gender Matters.

y Kristy Fuller, the managing director of 1440 Productions, was able to work at a leading factual/ reality US company in their newly launched kids content arm. Fuller worked for a four-month period in Los Angeles and then brought these new skills, contacts and knowledge back to her company in Australia. 1440 Productions had already found success in the teen factual space with their International Emmy®-nominated ABC3 series Heart&Soul.

ENTERPRISE IDEAS From 1 July 2017, the new, redesigned guidelines for the Enterprise Program came into effect. They included the expansion of the Enterprise Industry strand into Enterprise Ideas.

The new expanded Enterprise Ideas program opened up possibilities for exceptional business proposals that were cutting-edge and could enable the sector to adapt to and harness emerging opportunities.

In 2017/18, Made Up Stories was one of seven successful Enterprise Ideas applicants. This funding enabled the company, which is led by producer Bruna Papandrea (Big Little Lies, Gone Girl) and her producing partner Jodi Matterson, to build commercial partnerships between Australia and the US, and develop a slate of six to eight projects by optioning content with international potential from female Australian authors.

A notable outcome from Enterprise Ideas funding completed during 2017/18 came from community-based company CuriousWorks’ “Behind Closed Doors” initiative, which aimed to connect culturally diverse storytellers from Western Sydney with experienced industry professionals. They will have their first writers’ room in July 2018.

INDUSTRY

QUICK FACTS:

In 2017/18, a total of $2.9 million was awarded to 22 different Enterprise recipients. Seven companies were awarded $1.5 million through Enterprise Ideas. A total of $1.4 million was allocated to 15 companies through Enterprise People.

Screen Australia 2017/18

42

Markets and Festivals FILM FESTIVAL SUCCESS Sweet Country, by director Warwick Thornton (Samson & Delilah) and writers Steven McGregor and David Tranter, was selected to screen In Competition at the 2017 Venice Film Festival where it won the Special Jury Prize. It also won the Platform Award at 2017 Toronto International Film Festival, where it was one of five Australian titles selected.

Meanwhile Australian short film All These Creatures by writer/director Charles Williams was awarded the Short Film Palme d’Or at the 2018 Cannes Film Festival. Eryk Lenartowicz’s short film Dots also screened.

Screen Australia again hosted selectors from Venice, Toronto, Berlin and Busan to meet filmmakers and/or see new films.

CONTENT LONDON A record number of 85 Australian delegates attended Content London 2017, including 13 creatives funded by Screen Australia to travel there through market support. The event has quickly established itself as one of the most important drama events in the industry calendar. Screen Australia CEO Graeme Mason said it enables in-demand Australians the chance “to form international partnerships to bring bigger and bolder projects to our screens.”

DID YOU KNOW?

Sweet Country was one of seven projects supported in 2017/18 through Screen Australia’s P&A Plus program, designed to enhance the distribution and marketing of Australian films. Other supported titles included Ali’s Wedding and Swinging Safari.

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QUICK FACTS: Markets, festivals and distribution support is run through the Business & Audience Department, with support including:

y $0.5 million to support the theatrical release of seven Australian feature films

y $650,000 to enable practitioners to market their projects internationally.

Warwick Thornton with his Special Jury prize at Venice.

INDUSTRY

Screen Australia 2017/18

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image

Thor: Ragnarok

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G’DAY USA Australians including actress/producer Margot Robbie (I, Tonya), producer Bruna Papandrea (Big Little Lies, Gone Girl, Little Monsters) and the late actor Heath Ledger were honoured at G’Day USA’s LA Gala on 27 January 2018.

AUSTRALIAN INTERNATIONAL SCREEN FORUM + TALENT USA Thirteen emerging creatives, including four screenwriters, one director, and eight writer/directors, were funded to travel to New York in March 2018 to attend the inaugural Australian International Screen Forum. There they attended the public-facing, three-day event that shone a light on iconic Australian works, recent successes and Q&A panels with top creatives - as well as an additional day of masterclasses, networking, and meetings with agents and managers.

Global focus

INTERNATIONAL PRODUCERS Studio films including blockbuster Thor: Ragnarok and the upcoming Aquaman film are just two of the recent high-profile movies to shoot in Australia. Screen Australia supports state agencies and AUSFILM to provide advice and assistance to these kinds of productions when they locate in Australia, especially in the engagement of emerging Australian creatives.

Marvel producer Brad Winderbaum said “the potential’s always there” to return to shoot in Australia again. “We had world-class facilities and a world-class crew that was amazing to work with. You could bring any project to Australia and make something amazing,” he said in October 2017.

Academy Award® and Emmy®-winning US producer Mark Johnson (Rain Man, Breaking Bad) who worked on Breath had a similar sentiment. “Screen Australia is not demanding ‘hits’. It’s demanding good movies made by Australians and Australian subjects,” Johnson said. “Everything here in the US is about making money when it comes to films… I’m not an Australian, but I’d love to come back and make another film in Australia and it be an Australian film.”

AWARDS Australian film editor Lee Smith won an Academy Award® for his work on Christopher Nolan’s Dunkirk. Meanwhile Margot Robbie was nominated for Best Actress for I, Tonya (which she also produced), Paul Machliss was nominated for editing for Baby Driver, and Josh Lawson and Derin Seale received nods for their live-action short The Eleven O’Clock.

‘‘The committment that I make is that women can tell any story they want, behind, or in front of, the camera.Producer Bruna Papandrea

INDUSTRY

DID YOU KNOW?

The first season of Channel Seven’s Wanted, created by and starring Rebecca Gibney, was one of four series from around the globe nominated for a 2017 International Emmy® Award in the Drama Series category.

Screen Australia 2017/18

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Screen Intel

The Screen Intel Unit encompasses areas including marketplace, policy and research. Through marketplace, the unit tracks deals and sales throughout a project’s life cycle and provides market intelligence to the agency and wider industry. Through policy and research, Screen Intel supports the industry with the latest data, analysis and insights into the evolving screen production environment. This data is also used for industry events, the Screen Intel stories on the agency’s online publication Screen News, and in a number of significant reports, including:

y October 2017 - The annual Drama Report showed an all-time high of $1.3 billion in expenditure on drama production in Australia during 2016/17.

y November 2017 - Skin in the Game: The Producer Offset 10 Years On showed how the Producer Offset tax rebate has contributed more than $1.5 billion in total for rebates on more than 1,000 projects (Final Certificates issued 1 January 2008 - 30 June 2017) and has been a fundamental component of production business models.

y February 2018 - The Online and On Demand Report, based on research conducted by Nielsen on behalf of Screen Australia, found that broadcast television remains popular, piracy levels have significantly declined, and streaming services have indeed changed the way Australians consume content. The last report on this topic was conducted in 2014.

Screen Intel also assisted the Department of Communications and the Arts, and the Australian Communications and Media Authority with the Australian and Children’s Screen Content Review.

PRODUCER OFFSET - 10 YEARS ON On 15 November 2017, Screen Australia released Skin in the Game: The Producer Offset 10 Years On, which collated the experiences of broadcasters and 81 production companies to analyse the effect the Producer Offset has had on the local industry.

The report found that the Producer Offset - the tax rebate for eligible Australian productions - has contributed more than $1.5 billion in total for rebates on more than 1,000 projects (Final Certificates issued 1 January 2008 - 30 June 2017). This was made up of $992 million on 291 features, $400 million on 309 television projects and $139 million on 582 documentaries.

The report also demonstrated that the Producer Offset has become a fundamental component of production business models, with 91% of surveyed production companies indicating that it was “critically important” to the operation of their businesses. Producers noted the Producer Offset provided a revenue stream that allowed them to retain staff and continue developing projects in Australia.

Other key findings included:

y 92% of respondents considered their equity stake in projects had increased since the introduction of the Producer Offset, with 61% indicating that it had “significantly increased.”

y 98% of companies working in the television/streaming sector retained all of their Producer Offset equity.

y While 37% of respondents working on features had traded some equity, the majority of these respondents retained at least half of their equity stake.

y 87% of respondents said the Producer Offset contributed to their ability to consistently produce content.

y Producers and broadcasters consistently called for the Offset to be lifted to 40% for all projects.

y Most respondents called for the abolition of the 65-hour cap on projects, as it was seen to work against the production of successful series.

y Respondents called for reform of the definition of formats including documentary, as certainty is needed.

The Producer Offset is administered by Screen Australia under the Icome Tax Assessment Act 1997.

‘‘When considering the impact of the Producer Offset on our business sustainability - it is everything.Sue Clothier Northern Pictures

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Communications

The public face of Screen Australia is managed by the Communications Unit, across five main areas:

y M edia relations including announcing funding opportunities and recipients, research studies, initiatives and profiling international festival success.

y W ritten and video editorial content published through in-house publication Screen News, which delivers free industry intel and behind-the-scenes access for Australians.

y C ommunity engagement through social media, including sharing industry news and consumer-facing information, such as ‘what to watch’.

y Ma naging the agency’s website which includes The Screen Guide, which is a database of over 40,000 Australian titles and where to stream or buy them.

y Engagement and learning events, such as the live showcase of YouTube talent staged at Parliament House (March 2018), the Gender Matters: Brilliant Pitches Forum (July 2018) and the celebration of 25 years of Indigenous screen stories (August 2018).

Key 2017/18 achievements

y O ver 3.3 million webpage views of Screen Australia content which represents a 43% increase on 2016/17.

y S uccessful migration of festival and markets website AustraliaOnScreen.com into screenaustralia.gov.au in November 2017, meaning for the first time the agency has a single website for all content.

y O ver 1.3 million views of video content across YouTube, Facebook and Instagram.

y O ver 21% increase in social media following, finishing the financial year with a combined audience close to 100,000.

y Profiling productions, creatives and Australian international festival contingents across 108 editorial pieces on Screen News (encompassing written features, videos and podcasts), which provide substantial promotional support to the sector and free intel to the industry.

y Launch of the Screen News podcast providing another free industry resource.

y Distributing 85 media releases and backgrounders profiling the industry, which were viewed over 100,000 times.

y Positive industry feedback that Screen Australia’s content is giving them access to information they would not have had otherwise.

Notes: Page views as reported by Google Analytics. Video views as reported by Simply Measured, utilising Facebook 3-second minimum, YouTube 30-second minimum and Instagram 3-second minimum view.

Dani Boi

INDUSTRY

Screen Australia 2017/18

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Wake in Fright

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Producer Offset and Co-production

Screen Australia’s Producer Offset and Co-production Unit (POCU) administers the Producer Offset tax incentive and Australia’s Official Co-production Program on behalf of the Australian Government.

Peter Rabbit

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Producer Offset

Screen Australia issued Producer Offset Final Certificates to 162 projects (feature films, drama programs, documentaries and other content) in 2017/18, worth a total of $154.3 million. Altogether, production budgets for the 162 projects totalled $665.8 million.

ï¿­ See appendix 5 for more statistics.

The Producer Offset is available only to Australian films and programs, creating cultural benefits for the Australian community as well as economic benefits. To be eligible, a project must have significant Australian content or be an Official Co-production.

The Offset is paid through the production company’s tax return after a project is completed and Screen Australia has issued the producer with a Final Certificate. The value of the rebate is calculated as a percentage of the project’s Qualifying Australian Production Expenditure (QAPE). The rebate is:

y 40% of QAPE for feature films

y 20% of QAPE for other formats (for example, documentaries, series, telemovies or short-form animations).

Broadly speaking, QAPE is expenditure incurred on goods and services provided in Australia for making the production.

Upgrade

‘‘Without the support of Screen Australia and the Producer Offset program, it would not have been possible to produce Peter Rabbit in Australia and over 1,700 highly skilled Australians would not have had the opportunity to work on such a creatively and technically challenging production.Zareh Nalbandian Animal Logic CEO DID YOU KNOW?

Because the Producer Offset is delivered through the tax system and all taxpayers’ tax affairs are secret, Screen Australia cannot name the projects that benefitted from it. But some producers publicly acknowledge the Offset’s contribution.

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100

200

300

400

500

600

700

800

900

8

16

23

31

39

47

54

62

70

France

Canada

UK

NZ

Italy

Ireland

Israel*

Germany

China

Singapore

South Africa South Korea

Total deflated budgets ($m)

No. of co-productions

Deflated budgets ($m) No. of co-productions

-------------------------------- age of agreement------------------------------ newest →

Official Co-productions

Australia’s Co-production Program encourages production and fosters relationships between international filmmakers. Official co-productions are made under formal arrangements between Australia and the governments of various countries, creating benefits for both partners.

Official Co-productions do not need to meet the test for ‘Significant Australian Content’ to access the Producer Offset. Australia currently has treaties in force with Canada, China, Germany, Korea, Ireland, Israel, Italy, Singapore, South Africa, and the United Kingdom, and Memoranda of Understanding with France and New Zealand.

* Israel: Total deflated budget ($m) - nfp

CO-PRODUCTIONS BY COUNTRY 1986 - MARCH 2018

These arrangements set out the parameters for how two or more co-producers can make an eligible Co-production, including the minimum financial and creative contributions. The agreements are available from the Screen Australia website.

In 2017/18, provisional co-production approval was granted to nine projects from five countries, including three with China, two with Canada, two with Ireland, one with France and one with the United Kingdom. Final approval was granted to five projects, including two with Canada, two with New Zealand and one with Ireland.

PRODUCER OFFSET & CO-PRODUCTION

Screen Australia 2017/18

Operations

The BBQ

QUICK FACT: The Program Operations team processed more than 1,453 funding applications across all programs, 46% of which were successful.

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Financial Overview

Screen Australia’s operating results for the year ended 30 June 2018 was a surplus of $0.03 million.

Screen Australia’s income from all sources totalled $92.70 million.

During the year, Screen Australia received revenue from the Australian Government totalling $81.85 million.

Revenue generated from other sources totalled $8.40 million and included $0.23 million from the sale of goods and services, $2.16 million from interest earned on cash deposits, $5.22 million from the recoupment of investments and $0.79 million other income.

In addition, Screen Australia recognised $1.65 million repayment of loans and $0.8 million for the reversal of prior year written down screen projects.

Screen Australia’s operating expenditure totalled $92.67 million.

Screen Australia’s operating expenses included employee benefits of $12.09 million, supplier expenses of $6.46 million, grants of $32.59 million, loans and investments of $40.63 million to fund screen projects, and depreciation and amortisation costs of $0.90 million.

Screen Australia is focused on continuing to drive cost reductions and efficiencies throughout the organisation to meet the financial challenges that lie ahead.

The Australian National Audit Office (ANAO) inspected Screen Australia’s 2017/18 financial records and provided an unqualified audit opinion on the financial statements and notes on 27 August 2018.

Get Grubby TV

OPERATIONS

Screen Australia 2017/18

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Governance Statement

INTRODUCTION The legal framework for Screen Australia’s corporate governance practices is set out in the Screen Australia Act 2008, the Public Governance Performance and Accountability Act 2013 (the PGPA Act) and the Public Service Act 1999.

During 2017/18, Screen Australia and other arts agencies in the Minister for Communications and the Arts’ portfolio continued working on an earlier request to implement a more effective and coherent governance framework that aligns their activities, reporting and strategic planning processes with broader government priorities and cultural policy objectives.

BOARD Screen Australia congratulates Nicholas Moore on his reappointment as Chair for an additional three years, with his second term ending 24 March 2021. We bid farewell to Al Clark, whose term ended on 11 December 2017. See pages 5 and 6 for details of the Board members and their terms.

Board members are appointed by the Minister by written instrument. A member holds office for the period specified in the instrument of appointment. The period must not exceed three years. Members may be reappointed but the total period of Board membership must not exceed nine years. The Board is responsible for the governance practices of Screen Australia.

ATTENDANCE AND REMUNERATION The Board is paid such remuneration and allowances as

determined by the Remuneration Tribunal, out of the monies of Screen Australia. Board members’ attendance at Board meetings and Audit Committee meetings is set out on page 56.

ROLE OF THE BOARD The Board is responsible for performing its functions and exercising its powers consistent with the Screen Australia Act 2008. The Chief Executive Officer is appointed by the Board in consultation with the Minister, but is not a member of the Board.

The Board acts in accordance with its Charter and Code of Conduct, set out on pages 56 and 58. In accordance with Section 46 of the PGPA Act, the Board is responsible for preparing the Annual Report and for giving it to the Minister for Communications and the Arts. Senator the Hon Mitch Fifield is the Minister for Communications and the Arts.

CONFLICTS OF INTEREST Board members’ obligations are provided for in a number of legal instruments, including the Screen Australia Act 2008 and the PGPA Act. Board members are also subject to Screen Australia’s Code of Conduct and Values (which are consistent with the Australian Public Service’s Code of Conduct and Values), as well as Screen Australia’s Board Conflict of Interest Policy. Board members who have a material personal interest in a matter under consideration by the Board or the Audit Committee are required to declare that interest.

A Board member with a material personal interest in a matter being considered by the Board is required to leave the meeting while the matter is considered and a decision is made, and is not permitted to vote on other projects under consideration in that round. Disclosure of such interests and departure from the meeting are recorded in the minutes of the meeting.

The Manager, Governance & Operations is responsible for maintaining a register of Board members’ interests, which is updated regularly.

AUDIT COMMITTEE The Audit Committee was established in accordance with Section 45 of the PGPA Act, and Section 17 of the Public Government, Peformance and Accountability Rule 2014, to assist the Board in the discharge of its responsibilities. During 2017/18, the Audit Committee consisted of Richard King (Chair), Al Clark (to 11 December 2017), Claudia Karvan and Jenny Taing (as of 12 December 2017).

The Audit Committee provides a forum for communication between the full Board, senior management and Screen Australia’s internal and external auditors.

Pursuant to the Charter of the Audit Committee, the Committee must satisfy itself that the internal management and accounting controls are operating effectively, review the risk management strategy, consider external audit reports, and monitor management’s implementation of recommendations and regulatory compliance.

Screen Australia 2017/18 55

The Chief Executive Officer, Chief Operating Officer and Chief Financial Officer have a standing invitation to attend each meeting as observers only, with representatives of internal and external auditors also invited to attend as observers. The Audit Committee met on four occasions during the year (see page 56 for details).

EXTERNAL AUDIT Under Section 43 of the PGPA Act, the Auditor-General is the external auditor of Screen Australia.

INTERNAL AUDIT Screen Australia maintains an internal audit function, which reports to the Audit Committee. The current internal auditor is RSM. The role of the internal auditor includes monitoring the risk management plan, and providing assurance regarding the accuracy of financial and management information, asset protection, regulatory compliance and fraud control.

The audit strategies of the internal auditor are subject to review by the Audit Committee on an annual basis. The internal audit report of operations is reviewed at meetings of the Audit Committee.

No control or compliance deficiencies constituting unacceptable risks to Screen Australia were identified during the RSM audits.

RISK MANAGEMENT Screen Australia’s Risk Management Policy and plan provide a formal framework for effectively managing the agency’s business risks. The plan categorises Screen Australia’s business risks using methodologies derived from Australian/New Zealand Standard AS/NZS 31000:2009 Risk Management

FRAUD CONTROL The Board has a current Fraud Risk Assessment and Fraud Control Plan in place, in accordance with Section 10 of the Public Governance Performance and Accountability Rule 2014 and the Commonwealth Fraud Control Framework (2017) issued by the Attorney-General.

The plan verifies Screen Australia’s general status as a low-risk agency. This assessment was based on the adequacy of the controls that are in place or are being implemented.

The agency has in place appropriate fraud prevention, detection, investigation and reporting procedures that meet its specific needs and comply with The Fraud Guidance.

Romper Stomper

OPERATIONS

56

Board Charter

The Board is responsible to the Minister for Communications and the Arts for the performance of Screen Australia. The Board’s role, responsibilities and powers are set out in the Screen Australia Act 2008 and the Public Governance Performance and Accountability Act 2013.

The Board is responsible for the strategic directions and objectives of Screen Australia, as represented in the Corporate Plan and other strategy documents. The Corporate Plan is reviewed annually. The Board’s responsibilities include the governance practices of Screen Australia.

Subject to certain authority limits and reporting requirements, the Board reserves the following matters:

y expenditure of funds outside the current financial authorisations

y approval of material changes to guidelines for all funding programs

y approval of policy positions advocated by Screen Australia

y Compliance Report

y Annual Report

y Corporate Plan (including strategic plan and overall strategic directions)

y the annual budget and material departures from the approved budget for each Department.

y financial reports (at Departmental level)

y monitoring of Official International Co-production Program

y monitoring of the Producer Offset

y certification of projects applying for the Producer Offset in accordance with established Screen Australia policy

y membership of the Audit Committee and other Board committees

y risk management and monitoring of operational and financial risks.

The Board may decide on other matters as necessary and at its discretion. An Audit Committee is to be established to assist the Board in the discharge of its responsibilities and its role will be contained in a Charter to be established by the Board. Other committees of the Board are to be established as needed. The Board Charter will be included in each Annual Report of the Board.

AUDIT COMMITTEE ATTENDANCE 2017/18 Richard King Al Clark* Claudia Karvan Jenny Taing**

29 Aug 2017 Y Y Y

6 Dec 2017 Y Y Y

2 Mar 2018 Y N Y

22 Jun 2018 Y Y N

BOARD MEETING ATTENDANCE 2017/18 Nicholas Moore Megan

Brownlow

Al Clark*

Claudia Karvan

Richard King

Michael Hawkins

Jenny Taing

Joanna Werner

29 Aug 2017 Y Y Y Y Y Y Y Y

6 Dec 2017 Y Y Y Y Y Y Y Y

2 Mar 2018 Y Y N Y Y Y Y

13 April 2018 Y N Y Y Y Y Y

22 Jun 2018 Y Y Y Y Y N Y

Not a member at time of meeting

*Term expired 11 Dec 2017

**Committee term started 12 Dec 2017

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BOARD MEETING ATTENDANCE 2017/18 Nicholas Moore Megan

Brownlow

Al Clark*

Claudia Karvan

Richard King

Michael Hawkins

Jenny Taing

Joanna Werner

29 Aug 2017 Y Y Y Y Y Y Y Y

6 Dec 2017 Y Y Y Y Y Y Y Y

2 Mar 2018 Y Y N Y Y Y Y

13 April 2018 Y N Y Y Y Y Y

22 Jun 2018 Y Y Y Y Y N Y

Olivia Newton-John: Hopelessly Devoted to You

58

Board Code of Conduct

The Code sets out the standards of personal and professional conduct required of Board members. The standards concern personal integrity, honesty, self-discipline, diligence and professional competence.

Board members have an obligation to accept and abide by this Code in spirit as well as by the letter of the law.

Board members must at all times:

a) Understand and uphold the values and objectives of Screen Australia.

b) Be familiar with the Screen Australia Act 2008 (as amended), Screen Australia’s policies and procedures including its Code of Conduct and Values, and the duties of accountable authorities and officials as defined in the relevant legislation including the Public Governance Performance and Accountability Act 2013 and its associated Rules.

c) Prepare for, attend and participate actively in Board meetings, and make decisions in a timely, fair and efficient manner.

d) Ensure decisions of the Board are based on the best evidence and information available.

e) Maintain good relations with other government agencies and have regard to stakeholders.

f) Report immediately any personal conflicts of interest (actual or perceived) or serious breaches of the law to the Board.

g) Conduct themselves with regard to the reputation, purpose, objectives and interests of Screen Australia, and not do, say or omit to do anything which might bring Screen Australia into disrepute, be inconsistent with or detrimental to its objectives and interests or cast doubt on the professional integrity of Board members.

h) N ot claim or give the impression that they are representing the official views of Screen Australia, unless they have been expressly authorised to do so.

i) P erform their duties diligently, conscientiously and without favour to themselves or another person.

j) Not improperly use information they have obtained as a result of their position, and ensure that confidential information is not disclosed improperly, or only as required.

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Annual Performance Statement 2017/18 This Annual Performance Statement is for s39 (1)(a) of the PGPA Act for the 2017/18 financial year and accurately presents Screen Australia’s performance in accordance with s39(2) of the PGPA Act.

SCREEN AUSTRALIA’S PURPOSE As set out in its Corporate Plan 2017-21, Screen Australia encourages quality, innovation and cultural value through programs that increase the ambitions, risk tolerance and diversity of Australian storytelling.

Screen Australia’s objects and functions according to its establishing legislation are set out in appendix 1.

Key performance indicators (KPIs) are set out below from the 2017/2018 Portfolio Budget Statement (PBS) and Screen Australia’s Corporate Plan (CP) 2017-2021.

PERFORMANCE CRITERIA: PBS PBS OUTCOME 1: Promote engaged audiences and support a creative, innovative and commercially sustainable screen industry through the funding and promotion of diverse Australian screen product.

DELIVERY The key results will be for creative individuals and businesses, through financial and other assistance, to make high-quality film, television, interactive entertainment, and other screen programs and for these programs to attract Australian and international audiences.

Kiki and Kitty

OPERATIONS

Screen Australia 2017/18

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KPIs: ENGAGE, EDUCATE AND INSPIRE

Target [also under CP objective 2.2]: Total audience numbers for Australian productions, including:

2.7 million admissions for productions shown at movie theatres (based on three-year average); and

107 million cumulative audience for Screen Australia-funded productions shown on television.

Target met:

3.4 million admissions (based on three-year average per calendar year) of: 2015-5,707,551, 2016-1,601,242 and 2017-3,012,524

113.2 million cumulative audience for Screen Australia-funded content broadcast on free-to-air and/or subscription television:

(20 x general, 5 x children’s, 44 x doco): 28 Day cumulative combined metro & regional audience: 96,868,000.*

(plus 12 x online)***: 28 Day cumulative combined metro & regional audience 16,325,000.**

Target: At least 1.8 million visits to Screen Australia’s website

Target met: Number of visits to the organisation’s website: 2.3 million.

Target: At least 25 culturally diverse projects/events funded

Target met: 74 Indigenous projects/events supported during 2017/18.

Target: At least $3.3 million provided in funding for culturally diverse projects/events.

Target met: Screen Australia provided $3.3 million to Indigenous projects, practitioners and events during 2017/18.

KPIs: LEAD AND COLLABORATE

Target [also CP2.1]: At least 225 new Australian artwork projects supported.

Target met: 381 new Australian artworks supported for development and production across features, documentaries, television (general and children’s) online, and initiative projects.

Target: $59.4 million committed funding to new Australian artwork projects.

Target met: $73.7 million committed to new Australian artworks, across features, documentaries, television (general and children’s) online, and initiative projects.

*OzTAM and RegionalTAM, 5 City Metro, Combined Aggregate Markets, NationalSTV, total people, 28 day consolidated, cumulative sum of television screenings of Screen Australia funded titles from 1 July 2017 - 30 June 2018 (excludes theatrically released films). 65,769,000 viewers were achieved in metro markets.

**OzTAM and RegionalTAM, 5 City Metro and Combined Aggregate Markets, total people, 28 day consolidated, cumulative sum of television screenings of Screen Australia funded titles from 1 July 2017 - 30 June 2018 (excludes theatrically released films). 11,218,000 viewers were achieved in metro markets

***Online titles refers to projects funded through the Multiplatform Drama Production, Multiplatform Sector Development and/or Online Production funds where first release may have occurred online prior to the television broadcast.

Metropolitan and National market data is copyright to OzTAM. The data may not be reproduced, published or communicated (electronically or in hard copy) in whole or part without the prior consent of OzTAM.

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SCREEN AUSTRALIA-SPECIFIC KPIs

Target [also CP2.3]: Each $1.00 of Screen Australia investment to generate at least: - $5.50 of TV drama production - $5.90 of feature production - $3.60 of children’s TV drama production - $2.90 of documentary production.

All targets met: Television drama: each $1.00 generated $7.62. Screen Australia committed $20,963,275 (excluding development funding previously provided to those projects) to general TV during FY 2017/18, generating $159,731,046 in production budgets.

Features: each $1.00 generated $7.18. Screen Australia committed $21,737,977 (excluding development funding previously provided to those projects) to features during FY 2017/18, generating $156,085,719 in production budgets.

Children’s TV drama: each $1.00 generated $6.97. Screen Australia committed $8,001,917 (excluding development funding previously provided to those projects) to children’s TV during FY 2017/18, generating $55,785,516 in production budgets.

Documentaries: each $1.00 generated $4.49. Screen Australia committed $11,396,245 (excluding development funding and PEP provided to those projects) to documentaries during FY 2017/18, generating $34,094,559 in production budgets.

PERFORMANCE INDICATORS: CORPORATE PLAN

CP2.1 AUSTRALIAN STORIES THAT MATTER

KPI: 225 projects supported. Achieved: 381 projects supported; examples below: Quality - projects of scale and ambition include; The Dry (feature), Lambs of God (TV), The Magical Land of Oz (TV documentary), The Sydney Project (Indigenous TV), Yellow Water (Indigenous children’s TV), Working Class Boy (feature documentary), The Other Guy (online), The Unlisted (children’s TV). Culture - distinctive Australian stories; Marry Me Marry My Family (documentary) She Who Must Be Obeyed (Indigenous documentary), Dirt Music (feature), The Ropes (TV), Homecoming Queens (online), Ride Like a Girl (feature), Little J & Big Cuz series 2 (children’s TV). Innovation - risk-taking content for all platforms; Buoyancy (feature), 100% Wolf (Children’s TV spin off from feature), Awavena (VR), Go Back to Where You Came From Live (documentary), Shock Treatment (Indigenous TV short horror projects), Bright Lights (documentary distributed via Facebook), The Antarctica Experience (documentary VR). Talent escalation - projects that support the next generation of excellence in storytelling; Deadlock (first-time director, shot regionally in Byron Bay), Below (first-time feature director), Babyteeth (first-time feature female director), Australian Gangster (first-time TV director), Double Happiness: China Love (first-time documentary director), Storm in a Teacup (first-time feature-length documentary director), Screen Australia/The Guardian (London) initiative which gave four filmmaking teams access to large online platform and opportunity to work for an international commissioner, and the Indigenous Department initiatives State of Alarm and Straight Out of the Straits.

KPI: At least one major Indigenous Feature Film or Television Drama series to proceed to production. Achieved: Crime-drama Mystery Road - The Series is a six-part spin-off from Ivan Sen’s internationally acclaimed and award-winning feature films Mystery Road and Goldstone. The series, shot in the East Kimberley region of Western Australia, is directed by Rachel Perkins and has a stellar cast including Judy Davis and Aaron Pederson. Mystery Road - The Series was produced by the experienced team at Bunya Productions (David Jowsey and Greer Simpkin) for ABC TV.

OPERATIONS

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62

KPI: One major Indigenous factual project or series to achieve free-to-air broadcast and/or a commitment from an online platform. Achieved: Four factual projects were broadcast or received commitment; State of Alarm (NITV), Black Divaz (NITV), TransBlack (ABC iview) and Straight Out of the Straits (ABC iview).

KPI: By the end of 2018/19, half of the projects that receive Screen Australia production funding will have women occupying at least 50% of key creative roles (reported as a three-year average across 2016/17-2018/19). Achieved: On target, with 51% of successful production applications having female-driven creative teams across a three-year average (2015/16-2017/18 inclusive).

KPI: Through development and production investment, promote a diverse range of stories and storytelling. Achieved: Diverse projects include; Ride Like a Girl (first-time female feature director, female protagonist, high number of female key crew), Orange is the New Brown (TV comedy highlighting diversity in Australia), TransBlack (Indigenous online series exploring members of the Indigenous transgender community) and Black Divaz (a portrait of what it means to be an Indigenous Drag Queen today).

CP2.2 AUSTRALIAN STORIES THAT ARE ACCESSIBLE DOMESTICALLY AND INTERNATIONALLY ACROSS ALL PLATFORMS

KPI: Total audience numbers. Achieved: See PBS above.

KPI: At least three online programs launched during the period each reach at least one million viewers across all relevant platforms. Achieved: RackaRacka: Live (1 million views on YouTube), Superwog pilot (3.5 million views on YouTube), Crafty Kingdom (1.2 million views across the series on YouTube).

KPI: International recognition of Australian projects and people. Achieved: 72 key awards and nominations awarded across features, documentary, series (television and online) and shorts. See appendix 4 for full list. International events for Australian documentary filmmakers include; Song Keepers choir has been travelling with the film around USA since launching, Mountain premiered in Tokyo (attended by the Australian Ambassador Richard Court) with the ACO ahead of a 20-screen Japanese launch, and Gurrumul screened at both Berlin International Film Festival and Hot Docs where it secured a Canadian theatrical release.

KPI: At least 15 events supported in capital cities and regional centres. Achieved: 19 events supported including; 37ºSouth Market at Melbourne International Film Festival (MIFF), Adelaide Film Festival, Antenna Documentary Film Festival, Australian International Documentary Conference, the AACTA Awards, Canberra International Film Festival, Experimenta Media Art and Tour, Flickerfest Film Festival and Tour, Little Big Shots Film Festival for Children, Melbourne Cinematheque, MIFF and Accelerator, Monster Film Festival, St Kilda Film Festival, Sydney Film Festival, Sydney Travelling Festival, Tropfest, Revelation Film Festival and CinefestOZ (via ScreenWest), Darwin International Film Festival (via Screen Territory).

KPI: Develop one to two initiatives per year to support creative distribution, promotion and marketing strategies. Achieved: Projects supported that demonstrated creative distribution strategies include; Ben Elton’s regional publicity tour for Three Summers, innovative exhibitor partnership for Sibling Rivalry and in-season advertising boost for Ali’s Wedding.

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CP2.3 VIABLE SCREEN BUSINESSES

KPI: Dollar value of production generated for each dollar of Screen Australia investment. Achieved: See previous PBS.

KPI: Support eight long-term work placements. Achieved: 12 placements funded through Enterprise People in 2017/18 with companies including Deadhouse Films, Ludo Studio, Roar Film and Blacklab Entertainment.

KPI: Support 10 companies to undertake innovative business initiatives. Achieved: 14 companies supported, made up of; seven companies funded through Enterprise Ideas including Central Australian Aboriginal Media Association (CAAMA), CuriousWorks, Made Up Stories and Start VR; and seven Indigenous businesses which received funding through Enterprise and the Indigenous Department including Bunya Productions, No Coincidence Media and Tahlee Productions.

KPI: At least five events held with a range of businesses and projects participating. Achieved: Events supported include: Gender Matters Taskforce state mixers, AWGIES, Screen Forever, AACTAs, Cannes Film Market, MIPCOM TV Market, Australian International Screen Forum, and International Drama Summit at Content London.

KPI: Support for at least two targeted activities for Australian producers with international projects. Achieved: Australian delegations at Content London and Australian International Screen Forum (New York).

KPI: Producer Offset and Co-production Program actively marketed in at least two foreign events and markets. Achieved: Both programs marketed at; Toronto International Film Festival, MIPCOM TV Market, Ausfilm Week in Los Angeles, Content London, European Film Market at the Berlin International Film Festival, Cannes Film Market and Cannes Film Festival, and Australia-China Film Industry Exchange.

CP2.4 HIGHLY-SKILLED, CREATIVE AND INNOVATIVE PRACTITIONERS WHO EMBRACE RISK

KPI: 20% of projects developed with assistance from Screen Australia go on to be produced. Achieved: 67% of feature projects went on to be produced.

KPI: At least 10 opportunities for professional development for Indigenous practitioners, including creative workshops, internships, mentoring programs and travel grants. Achieved: 59 opportunities including; Shock Treatment’s Development workshop and Working With Actors workshop (13 practitioners total), State of Alarm Development workshop (eight teams attended with 16 practitioners total), Indigenous Developing the Developer (eight practitioners), eight internships, 14 travel grants.

KPI: Develop and run one to two initiatives per year that focus on professional development opportunities for emerging Indigenous Practitioners. Achieved: State of Alarm - factual initiative focusing on emerging writer/directors in regional and remote areas, looking at Indigenous Knowledge and Climate Change. Shock Treatment - short drama initiative, partnership with ABC with a focus on writers and directors. Funded five 10-minute horror films for ABC iview.

KPI: The Screen Australia slate supports projects and/or companies to be innovative in form or distribution. Achieved: Ms Fisher’s MODern Murder Mysteries (TV - reboot of successful series), Bloom (TV - sci-fi), Superwog series will release episodes on their own YouTube channel before screening on ABC two days later, which is a first for an Australian broadcaster, and Mad Kids production company partnered with US company Above Average (owned by SNL creator Lorne Michaels) to create web series Small Town Hackers. The Indigenous Department supported showcases at the Cannes Indigenous Art Festival and Sydney Film Festival Indigenous Showcase.

OPERATIONS

Screen Australia 2017/18

64

CP2.5 AN EFFICIENT, EFFECTIVE AND RESPONSIVE ORGANISATION

KPI: Expenditure on programs/projects at least 85% of total expenditure. Achieved: 87.87% of total expenditure in FY 2017/18 went to programs and projects.

KPI: Dissemination of evidence-based research that informs debate and policy-making and demonstrates thought leadership Achieved: IncubatHER (showcase to grow women’s participation in the screen industry), ASPERA Screen Production Research Engagement and Impact Symposium, Online and On Demand, Skin in the Game: The Producer Offset 10 Years On, Drama Report, Gender Matters interim update, SPA Business Essentials Workshop, ABS screen industry survey results, International TV Sales Snapshot for 2017, Media Matters seminar (#MeToo in Australia).

KPI: Citation of Screen Australia research and insights in media, publications and other relevant platforms. Achieved: 335 citations of Screen Australia research, both direct and indirect, across television, radio, print and online.

KPI: Commission ABS survey every four years. Achieved: Visualisation of the August 2016 ABS statistics using Infogram published in the Fact Finders section of the Screen Australia website. Screen Intel Unit met with the ABS to debrief the process of the project and discuss the next iteration of the survey.

KPI: Adherence to Screen Australia’s policies and procedures. Achieved: No instances of breaches of policies and procedures during the reporting period.

KPI: Industry consultation is incorporated into processes where appropriate; involving staged opportunities for industry comment and timely responses to feedback. Achieved: Consultation for Story Development Guidelines, Code of Conduct to Prevent Sexual Harrassment, and amendment of General and Children’s production guidelines to include the requirement of a female director on one or more blocks when the project contains more than one block in the series.

KPI: Screen Australia decides at least 70% of provisional co-production approval applications - subject to foreign competent authority agreement - within 12 weeks of receipt of a complete application. Achieved: 100% of decisions made within 12 weeks of receipt of a complete application.

KPI: 70% of Final Producer Offset Certificates issued within 12 weeks of receiving complete applications. Achieved: 92% of Final Producer Offset Certificates were issued within 12 weeks of receipt of a complete application.

ANALYSIS These performance results have been achieved in the context of significant shifts in the environment in which Screen Australia operates.

Australians now have unprecedented access to content from all over the world in a range of forms, across a range of platforms and through a range of devices; from short-form online videos, to subscription-based television viewing, to feature films on big or small screens. In this crowded marketplace, the importance and unique value of culturally relevant local content is as great as ever. Well-told Australian stories are vital to our local cultural identity and our place in the world.

The convergence of media platforms and rapid growth of new competitors to traditional models of distribution have created a challenging marketplace for the financing and monetisation of content. While audiences now demand ubiquity of access, to date, the newer platforms have not commissioned significant amounts of Australian content.

In this context, government funding becomes ever more vital, particularly to support more vulnerable, higher-risk content, including some of our most culturally important film and television. In a constrained budget environment, it is vital to be highly strategic in the allocation of government funds.

The achievement of our PBS and Corporate Plan objectives this year reflects our focus on principles of quality, innovation and culture, as well as industry resourcing and development through research and targeted initiatives for increased operation efficiency. For further details see ‘Note from the CEO’ (page 8) and ‘Highlights of 2017/18’ (page 14).

Sunshine

66

Statutory Reports

Judicial decisions and reviews by outside bodies

There were no judicial decisions or reviews by outside bodies applicable to Screen Australia in 2017/18.

Freedom of information

Ten valid requests for information under the FOI Act were received during 2017/18 and information that was not exempt was provided. Screen Australia provided quarterly and annual statistics to the Office of the Australian Information Commissioner on the number and nature of the applications received.

Privacy

No complaints, requests for information or requests for amendment under the Privacy Act were received during 2017/18.

Public Interest Disclosures

One Public Interest Disclosure was received under the Australian Government’s Public Interest Disclosure Scheme during the reporting period. Screen Australia provided information to the Office of the Commonwealth Ombudsman for its Annual Report on the operation of the scheme.

Commonwealth Ombudsman

Screen Australia responded to one consultation in relation to an FOI request made to the Commonwealth Ombudsman.

Effects of Ministerial Directions

During 2017/18, there were no Ministerial Directions received.

Reports from Parliamentary Committees relating to Screen Australia

The House of Representatives Standing Committee on Communications and the Arts’ Report on the inquiry into the Australian film and television industry referenced Screen Australia at Recommendations 9 and 10.

Commonwealth Electoral Act 1918 (311A (1))

Screen Australia made the following payments, excluding GST, to market research organisations:

• A C Neilsen Research Pty Ltd: $70,000

• A C Neilsen Television Audience Measurement Pty Ltd: $42,262

• Oztam Pty Ltd: $57,876

• Rentrak Australia Pty Ltd: $24,949

Contingency Liability Statement

As required by Part 7, Subsection 43 of the Screen Australia Act 2008, the following statement is furnished:

a) N o new guarantees were provided by the Board during the year ended 30 June 2018

b) T here is no amount subject to guarantee as at 30 June 2018.

Indemnity and insurance premiums

Screen Australia’s Comcover premium covers the normal general and property risks as well as directors’ and officers’ liability. Workers’ compensation is insured through Comcare Australia.

Work health and safety

Screen Australia is committed to promoting measures to ensure the health, safety and welfare of its employees at work. Screen Australia has in place a Health and Safety Management Arrangement that provides the mechanisms for consultation and dispute resolution between Screen Australia, its workers and its staff-elected Health and Safety Representatives, and sets out the way the Health and Safety Committee is constituted.

In 2017/18, Screen Australia arranged an on-site influenza vaccination service open to all staff, and 36 staff members availed themselves of this service. Reimbursem*nt for the cost of influenza vaccinations was also offered to all staff.

Nil incidences were reported to Comcare under the Work Health and Safety Act 2011 and nil notices were issued or investigations conducted under the Act.

67

Environmental Protection and Biodiversity Statement Screen Australia maintains a commonsense Environmental Management Policy based on the practical recommendations of ESD Operations Guide for Owners, Managers and Tenants, published by the former

Department of the Environment, Water, Heritage and the Arts. This policy aims to reduce resource wastage at all premises through systems and procedures, responsible procurement decisions and active promotion to staff of environmental initiatives.

ECOLOGICALLY SUSTAINABLE DEVELOPMENT (ESD) REPORTING

Activity How it accords with the principles of ESD How it furthers or advances ESD principles

None N/A N/A

ENVIRONMENTAL PERFORMANCE REPORTING

Theme Steps taken to reduce effect Measures to review and improve reducing the effect

Energy efficiency Energy-efficient premises

in Sydney

Mechanical systems (air conditioning) Additional building insulation in the roof promotes passive energy efficiency and reduces air conditioning loads.

Large ceiling fans promote air movement and assist efficiency of air conditioning systems.

Electrical systems

Most of the lighting consists of efficient LED sources and is controlled via high-quality microwave motion sensors complete with master override switches.

All aspects of the office fit-out were designed to comply with National Construction Code Part J - Energy Efficiency.

Waste Waste separation system At its Sydney premises, Screen Australia operates a waste separation system,

maximising the proportion of waste that is recycled, and minimising the proportion that goes to landfill.

Water N/A N/A

OPERATIONS

Screen Australia 2017/18

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The Secret Daughter series 2

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Section 6 of the Screen Australia Act 2008 lists the functions of Screen Australia as:

1. The functions of Screen Australia are to:

a) support and promote the development of a highly creative, innovative and commercially sustainable Australian screen production industry; and

b) support or engage in:

(i) the development, production, promotion and distribution of Australian programs; and

(ii) the provision of access to Australian programs and other programs; and

c) support and promote the development of screen culture in Australia; and

d) undertake any other function conferred on it by any other law of the Commonwealth.

Ways in which support may be provided

2. The ways in which Screen Australia may provide support as mentioned in subsection (1) include (but are not limited to) doing any of the following:

a) providing financial assistance (whether by way of loan, grant, investment or otherwise and whether on commercial terms or otherwise);

b) providing guarantees;

c) commissioning or sponsoring programs or other activities

d) providing services, facilities, programs or equipment.

Considerations governing the performance of functions

3. In performing its functions Screen Australia is, as far as practicable, to:

a) ensure the development of a diverse range of Australian programs that deal with matters of national interest or importance to Australians, or that illustrate or interpret aspects of Australia or the life and activities of Australian people; and

b) place an emphasis on:

(i) documentaries; and

(ii) programs of interest or relevance to children; and

(iii) programs with a high level of artistic and cultural merit; and c) promote the open market as the primary means of

support for projects with commercial potential; and d) promote the development of commercially focussed screen production businesses; and e) promote the efficient, effective and ethical use of

public resources.

Screen Australia may charge fees

4. Screen Australia may charge fees for things done in performing its functions.

Screen Australia may cooperate with others

5. Screen Australia may perform its functions alone or together with other persons.

Severability

6. Without limiting its effect apart from this subsection, this Act also has the effect it would have if the powers and functions of Screen Australia were confined to powers and functions that were to be exercised and performed:

a) so far as it is appropriate for those powers and functions to be exercised an performed by Screen Australia on behalf of the Government of the Commonwealth as the national Government of Australia; and

b) for purposes for which it is appropriate for the Parliament, as the national Parliament of Australia, to authorise Screen Australia to exercise powers and perform functions; and

c) in relation to expenditure of money that is available for the purposes of Screen Australia in accordance with an appropriation made by the Parliament; and

d) in relation to trade and commerce with other countries, among the States, between Territories or between a Territory and a State; and

e) in relation to postal, telegraphic, t elephonic, and other like services; and

f) in relation to the collection of statistics; and

g) in relation to external affairs; and

h) in relation to a Territory; and

i) in relation to the executive power of the Commonwealth; and in relation

j) to matters incidental to the execution of any of the legislative powers of the Parliament or the executive power of the Commonwealth.

Appendix 1

Enabling Legislation

APPENDIX 1

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70

Gary Abrahams, Ranald Allan, Karin Altmann, Emily Anderton, Ross Grayson Bell, Adam Bishop, Anna Broinowski, Jason Burrows, Charlie Carmen, Matthew Cormack, Donna Chang, Jenevieve Chang, Santilla Chigaipe, Pauline Clague, Michael Cody, Sasha Close, Warren Coleman, Reg Cribb, Matthew Dabner, Nicole Dade, Samantha Dinning, Clea Frost, Veronica Gleeson, Lisa Gray, Anna Grieve, Gary Hayes, Majhid Heath, Sophie Hyde, Sheila Jayadev, Emma Jensen, Mike Jones, Julie Kalceff, Daniel Krige, Sam Lang, Angeli Macfarlane, Susan Mackinnon, Jessie Magnum, Lynne Vincent McCarthy, Lorien McKenna, Seph McKenna, Sharon Menzies, Gillian Moody, Sue Murray, Bali Padda,

Neil Peplow, Ray Quint, Tim Richards, Giula Sandler, Joan Sauers, Charlotte Seymour, Michael Shanks, Christopher Sharp, Megan Simpson-Huberman, Shakthi Sivanathan, Ana Tiwary, Fiona Tuomy, Jacqueline Turnure, Steve Vidler, Anthea Williams, Jennifer Wilson, Dot West, Megan Young.

Appendix 2

Assessors and script consultants

Employable Me

71

Lists full Screen Australia contribution to projects approved/commissioned during 2017/18, rather than actual expenditure during the year.

PRODUCTION

Talent and Sector Development

Domestic Attachments

Applicant Amount

Amy Stewart - attachment 10,000

Ana Tiwary - attachment 10,000

Anna Dadic - attachment 10,000

Anthea Williams - attachment 10,000

Bali Padda - attachment 10,000

Candice Bowers - attachment 10,000

Dan Pritchard - attachment 10,000

Fatima Mawas - attachment 10,000

Fiona Tuomy - attachment 10,000

Gary Abrahams - attachment 10,000

Hiroki Kobayashi - attachment 10,000

Jean Tong - attachment 10,000

Jenevieve Chang - attachment 10,000

John Harvey - attachment 10,000

Leticia Caceres - attachment 10,000

Li-Kim Chuah - attachment 10,000

Mala Sujan - attachment 10,000

Santilla Chingaipe - attachment 10,000

Sarah Bassiuoni - attachment 10,000

Vidya Thiagarajan - attachment 10,000

Total Domestic Attachments 200,000

Industry Partnerships

Title Applicant Amount

Disability Film Season Australian Broadcasting Corporation 200,000

Screen Diversity Showcase (variation) Equity Foundation - Media, Entertainment and Arts Alliance 15,000

Total Industry Partnerships 215,000

Special Industry Assistance

Description Amount

Gender Matters: Brilliant Pitches Workshop and Forum 42,714

Seeing Ourselves: Developing the Developer Workshop 30,848

Appendix 3

Investments, loans, grants and other initiatives

APPENDIX 3

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72

Total Development Special Industry Assistance 73,562

TOTAL TALENT & SECTOR DEVELOPMENT 488,562

Story Development

Feature Films

Title Production company Producer (p), director (d), writer (w),

executive producer (ep)

Amount

2067 We Are Arcadia Pty Ltd p: Lisa Shaunessy, Leonie Mansfield,

Phyllis Laing, Kate Croser, d: Seth Larney, w: Dave Paterson, Seth Larney, ep: Michael Rymer, Alexandra Burke

12,000

Agaat Bronte Pictures Pty Ltd p: Blake Northfield,

d/w: Jocelyn Moorhouse

30,000

Angry Underwear Feisty Dame Productions Pty Ltd p: Tania Chambers, w: Tania Ferrier 16,000

Audrey Invisible Republic Pty Ltd p: Michael Wrenn, d: Natalie Bailey,

w: Louise Woodruff Sanz, ep: Emma Fitzsimons

17,000

Azra Nadine Green Productions South p: Gal Greenspan, d/w: Sara Kern 42,550

Baby Cat Robyn Kershaw Productions Pty Ltd p: Robyn Kershaw, Eleanor Winkler,

w: Genevieve Clay-Smith

16,000

Babyteeth Whitefalk Films Pty Ltd p: Alex White, d: Shannon Murphy,

w: Rita Kalnejais, ep: Jan Chapman

20,000

Biohackers Truant Pictures Pty Ltd p: Zareh Nalbandian, d: Stephen

McCallum, w: Michael Kratochvil

11,000

The Boat Builder Macgowan Films Pty Ltd p: Marian Macgowan, Peter Herbert, Jan

Marnell, Senia Dremstrup, w: Elise McCredie, Andrew Knight

20,000

The Boat Builder Macgowan Films Pty Ltd p: Marian Macgowan, Peter Herbert,

w: Elise McCredie, Andrew Knight

34,000

The Breathing Sea Midwinter Films Pty Ltd p: Bridget Callow-Wright, d: Priscilla

Cameron, w: Heather Phillips, Priscilla Cameron

35,000

Bondi Beach Breakfast Club Film Depot Pty Ltd p: Louise Smith, w: Liz Doran 35,500

Croak (working title) Midwinter Films Pty Ltd p: Bridget Callow-Wright, Chloe Rickard,

d: Christiaan Van Vuuren, Connor Van Vuuren, w: Priscilla Cameron, Shane Brady, ep: Jason Burrows

38,000

Does My Head Look Big in This? Swing Wing Pty Ltd p: David Curzon, w: Randa Abdel-Fattah,

David Curzon, ep: Carolyn Johnson

32,000

The Drover’s Wife - The Legend of Molly Johnson Tahlee Productions Pty Ltd p: Bain Stewart, David Jowsey,

w: Leah Purcell

24,000

The Dry Made Up Stories Pty Ltd p: Bruna Papandrea, Reese

Witherspoon, d: Robert Connolly, w: Harry Cripps, ep: Jodi Matterson

44,750

Empty Empire Corrie Chen d: Corrie Chen, w: Corrie Chen,

Penelope Chai

32,500

The Elevator Game Grand Pacific Picture Company Pty Ltd p/w: Michelle Sahayan, d: Daniel

Nettheim, ep: Jonathan Bronfman

31,000

Finding Sanity Sandcastle Studios Pty Ltd p/w: Chris Cudlipp, ep: Mike Bullen 33,400

Followers RaMar Productions Pty Ltd p: Christina Radburn, d/w: Tim Marshall,

ep: Robyn Kershaw

26,000

Frankie Sunday Cascade Films Pty Ltd p: David Parker, Carmel Meiklejohn,

d: Nadia Tass, w: Gareth Calverley

12,000

Godfrey See Pictures Pty Ltd p: Ester Harding, Jamie Hilton,

d: Wayne Blair, w: Gerard Lee, Wayne Blair 37,000

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The Good People Aquarius Films Pty Ltd p: Polly Staniford, Angie Fielder,

w: Hannah Kent

32,000

High Watch Arenamedia Pty Ltd p: Liz Kearney, w: Sam Holst 30,000

Highway Goalpost Pictures Australia Pty Ltd p: Kylie du Fresne, d/w: Vanessa Gazy 25,000

How (Not) to Start an Orphanage Aquarius Films Pty Ltd p: Angie Fielder, Polly Staniford,

d: Jennifer Peedom, w: Allen Palmer

39,800

I am Woman Goalpost Pictures Australia Pty Ltd p: Rosemary Blight, d: Unjoo Moon,

w: Emma Jensen

25,000

In the Blood Retro Active Films Pty Ltd p: Trevor Blainey, d: Victoria co*cks,

w: Nigel Karikari

37,000

Inside Simpatico Films Pty Ltd w: Charles Williams, Steven Arriagada 26,500

Julian Corkle is a Filthy Liar Macgowan Films Pty Ltd p: Marian Macgowan, Sarah Radclyffe,

d: MJ Delaney, w: Rachel Hirons

37,100

Kelly’s Gold Major International Pictures Pty Ltd w: Colin Cairnes, Cameron Cairnes,

ep: Joan Sauers

29,000

Killing Betty Porchlight Films Pty Ltd p: Vincent Sheehan, d: Matt Day,

w: Kirsty Fisher

30,000

Laurinda Handmaid Media Pty Ltd p: Donna Chang, d: Samantha Lang,

w: Michelle Law, ep: John Maynard

32,000

The Lucky Country (working title) Invisible Republic Pty Ltd p: Michael Wrenn, w: Saman Shad 14,500

M4M Toothless Pictures Pty Ltd d: Paul Ireland, w: Damian Hill 22,500

Magic Beach Arenamedia Pty Ltd p: Robert Connolly, Liz Kearney,

w: Justin Monjo

40,000

Minding Gavin Ruby Entertainment Pty Ltd p: Stephen Luby, Mark Ruse,

w: Robyn Winslow

32,000

Modern Love The Film Company Pty Ltd p: Richard Keddie, d: Rachel Ward,

w: Glen Dolman

30,000

Monster Nanny Red Lamp Films Pty Ltd p: Sylvia Wilczynski, Ridley Scott,

Sam Roston, d/w: Kim Mordaunt, ep: Zareh Nalbandian

18,500

The Musician SixtyFourSixty Pty Ltd p: Su Armstrong, Brian Rosen,

d: Kim Mordaunt, w: Joan Sauers

20,000

The Natural Way of Things Generator Pictures Pty Ltd p: Katia Nizic, Emma Dockery,

w: Charlotte McConaghy, ep: Sue Maslin 37,000

No Man is an Island WBG Pty Ltd t/a WBMC p: Janelle Landers, Aidan O’Bryan,

w: Sue Smith

17,000

Nude Tuesday Good Thing Productions Pty Ltd p: Nick Batzias, Virginia Whitwell,

Emma Slade, d: Armagan Ballantyne, w: Jackie Van Beek

27,510

One Crowded Hour Red Lamp Films Pty Ltd p: Sylvia Wilczynski, Todd Fellman,

d: Kim Mordaunt, w: John Collee

14,000

Petrova Rebecca A Peniston-Bird w: Bec Peniston-Bird 28,500

Pig Wing Pie Revlover Films Pty Ltd p: Martha Coleman, Lauren Edwards,

d: Simon Rippingale, w: Erica Harrison

26,050

Postie Cam Kmunications Pty Ltd p: Steve Kearney, Tenille Kennedy,

w: Peter Ivan

30,750

The Princess and the Bear Matthewswood Pty Ltd p: Lee Matthews, d: Catriona McKenzie,

w: Gina Lambropoulos

18,500

Private Moody Revlover Films Pty Ltd p: Martha Coleman, Lauren Edwards,

w: Mac Gudgeon

28,500

The Prospector Blackfella Films Pty Ltd p: Miranda Dear, Darren Dale,

d: Rachel Perkins, w: Craig Silvey

28,500

Puff Causeway Films HQ Pty Ltd p: Samantha Jennings,

d: Del Kathryn Barton, w: Huna Amweero, Del Kathryn Barton

35,000

APPENDIX 3

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74

The Roughhousers Hypergiant Films Pty Ltd p: Joanne Weatherstone,

w: Damien Power

32,500

Runaway Whitefalk Films Pty Ltd p: Alex White, w: Mirrah Foulkes,

ep: Jan Chapman, Jane Campion

30,000

Salsa Masala Sense & Centsability Pty Ltd p: Leanne Tonkes, w: Mithila Gupta 17,500

School Dance Windmill Pictures Pty Ltd p: Kaye Weeks, d: Rosemary Myers,

w: Matthew Whittet

40,000

Sons of Salt Clanalpine Films Pty Ltd t/a Known

Associates

p: Rob Gibson, d: Jonathan Teplitzky, w: David O’Donnell

30,000

The Sound of Mumbai The Sound of Mumbai Pty Ltd p: James Brown, Nicky Bentham,

d/w: Sarah McCarthy

18,500

Splitters We Are Arcadia Pty Ltd t/a Arcadia p: Lisa Shaunessy, w: Brooke Goldfinch,

ep: Alexandra Burke

29,000

Square the Circle Kojo Productions Pty Ltd p: Kate Croser, Sandy Cameron,

Kate Butler, d/w: Jessica Redenbach

25,000

Stolen Arenamedia Pty Ltd p: Liz Kearney, Catriona McKenzie,

d: Catriona McKenzie, w: Catriona McKenzie, Patricia Cornelius

36,000

Tender Age YB Productions Pty Ltd p: Yael Bergman, Tui Ruwhiu,

Lee Matthews (co-producer), d: Peter Carstairs, w: Dianne Taylor

20,000

The Variations Film Art Media Pty Ltd p: Sue Maslin, w: Jocelyn Moorhouse 35,000

Vienna Boys Choir Goalpost Pictures Australia Pty Ltd p: Rosemary Blight, w: Keith Thompson 40,000

Wish Soft Tread Enterprises Pty Ltd p: Jo Dyer, d/w: Shane McNeil 20,000

You Won’t Be Alone Causeway Films HQ Pty Ltd p: Kristina Ceyton, Sam Jennings,

d/w: Goran Stolevski

26,000

You’ll Love Me The Dollhouse Pictures Pty Ltd p: Jessica Carrera, d/w: Goran Stolevski,

ep: Robyn Kershaw

30,000

Total Story Development - Feature Films 1,841,410

High-End Television

Title Production Company Producer (p), director (d), writer (w),

executive producer (ep)

Amount

Darby & Joan Cordell Jigsaw Productions Pty Ltd p: Claire Tonkin, Glenys Rowe, w: Phillip

Gwynne, ep: Matt Campbell, Nick Murray 40,000

Unknown Male No.1 Revlover Films Pty Ltd p: Martha Coleman, Liz Watts,

Vincent Sheehan, w: Beatrix Christian

35,500

Total Story Development - High-End Television 75,500

Online

Title Production Company Producer (p), director (d), writer (w),

executive producer (ep)

Amount

All My Friends Are Racist Artology Ltd p: Dena Curtis, Liliana Munoz, d: Bjorn

Stewart, w: Enoch Mailangi, Kodie Bedford 20,000

All Our Eggs Darren Mark Prichard p: Darren Prichard, w: Vanessa Bates,

Martha Goddard

20,000

Bin Chickens Channel Plarb Pty Ltd p: Nikos Andronicos, Dave Carter,

d: Dave Carter, w: Nikos Andronicos

20,000

Blood Sisters Mad Dan Productions Pty Ltd p: Daniel Mulvihill, Madeleine Dyer,

d: Madeleine Dyer, w: Daniel Mulvihill, Madeleine Dyer, ep: Stephen Corvini

10,000

Changed World Ben Fraser Howling p: Ben Howling, d: Dan Cooper,

w: Dan Cooper, Ben Howling

20,000

Ding Dong I’m Gay Wintergarden Pictures Pty Ltd p: Joshua Longhurst, Rosie Braye,

d: Sarah Bishop, w: Tim Spencer, Joshua Longhurst, Zoe Norton Lodge

15,000

75

First Day Epic Films Pty Ltd p: Kirsty Stark, d/w: Julie Kalceff 20,000

Girt by Fear Madeleine Rose Connelly Purdy p: Josh Vines, Madeleine Purdy,

Joel Perlgut, Yiani Andrikidis, David Ma, d: Madeleine Purdy, Yiani Andrikidis, David Ma, w: Joel Perlgut

12,500

Gold Diggers Rantan Productions Pty Ltd p: Muffy Potter, d: Shannon Murphy,

w: Jack Yabsely, ep: Michael Horrocks

20,000

Golden Boy Spaceboy Pty Ltd p: Yingna Lu, d: Steve Anthopoulos,

w: Mansoor Noor, Luke Davidson

20,000

Jade of Death - season two Last Frame Productions Pty Ltd p: Taylor Litton-Strain, d: Erin Good, w: Huna Amweero 17,000

Naked Maximo Entertainment Pty Ltd p: Liliana Munoz, w: Elissa Down,

Brianna La Rance

20,000

Nyanggan Ngaya No Coincidence Media Pty Ltd p: Mitchell Stanley, Shakthi Shakthidharan,

w: Katherine Beckett

25,000

Plus Ones Revlover Films Pty Ltd p: Martha Coleman, d: Sarah Bishop,

Cameron James, Thomas Hudson, w: Sarah Bishop, Cameron James

7,990

The Racka Ludo Studio Pty Ltd p: Julie Byrne, Daley Pearson,

d/w Danny Philippou, Michael Philippou, ep: Charlie Aspinwall

20,000

Reversion Midnight Snack Productions Pty Ltd p: Toby Gibson, w: Stuart Willis,

Matthew Clayfield

15,000

Roll Plays Cheeky Little Media Pty Ltd p: Celine Goetz, d: David Webster,

w: Charlotte Rose Hamlyn, ep: Patrick Egerton

20,000

Sit Down Comedy A2K Media Pty Ltd p: Ade Djajamihardja, Tim Ferguson,

d: Colin Cairnes, w: Colin Cairnes, Ade Djajamihardja, Tim Ferguson

30,000

Tiger Cops Fideo Films Pty Ltd p: Maria Tran, Craig Anderson, Adrian

Castro, d: Adrian Castro, w: Steven Oliver, Bjorn Stewart, Craig Anderson

23,500

The Virgin Intervention Galvanized Film Group Pty Ltd p: Heather Ogilvie, Holly Fraser,

d: Erin White, w: Fiona Gillman

13,500

Total Story Development - Online 369,490

TOTAL STORY DEVELOPMENT 2,286,400

Matched Marketplace Development

Title Production company Producer (p), director (d), writer (w),

executive producer (ep)

Amount

Bathurst Pictures in Paradise Development

Pty Ltd

p: Christopher Brown, w: Adam Todd 25,000

Penguin Bloom Made Up Stories Pty Ltd p: Bruna Papandrea, Naomi Watts,

Reese Witherspoon, Emma Cooper, w: Shaun Grant

50,000

Total Matched Marketplace Development 75,000

Feature Production

Title Production company Producer (p), director (d), writer (w),

executive producer (ep)

Amount

100% Wolf Flying Bark Productions Pty Ltd p: Barbara Stephen, Alexia Gates-Foale, d:

Alexs Stadermann, w: Fin Edquist, ep: Robert Slaviero, Francesca Hope

1,370,000

2067 We Are Arcadia Pty Ltd p: Lisa Shaunessy, Phyllis Laing, Kate

Croser, d: Seth Larney, w: Dave Paterson, Seth Larney, ep: Michael Rymer, Alexandra Burke

424,000

APPENDIX 3

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Acute Misfortune Arenamedia Pty Ltd p: Virginia Kay, Jamie Houge, Thomas M

Wright, d: Thomas M Wright, w: Thomas M Wright, Erik Jensen, ep: Robert Connolly, Liz Kearney

465,000

Angel of Mine SixtyFourSixty Pty Ltd p: Su Armstrong, Brian Etting, Josh Etting,

d: Kim Farrant, w: Luke Davies

873,500

Animals Animals Film Pty Ltd, Closer

Productions Pty Ltd

p: Rebecca Summerton, Sarah Brocklehurst, Cormac Fox, Sophie Hyde, d: Sophie Hyde, w: Emma Jane Unsworth

677,500

Babyteeth Whitefalk Films Pty Ltd p: Alex White, d: Shannon Murphy,

w: Rita Kalnejais, ep: Jan Chapman

965,000

Below Good Thing Productions Company

Pty Ltd

p: Veronica Gleeson, Nick Batzias, Kate Neylon, d: Maziar Lahooti, w: Ian Wilding 390,000

Book Week Albert Street Films Pty Ltd p: Joe Weatherstone, Daniel Krige,

d/w: Heath Davis, ep: Jonathan Page

120,000

Buoyancy Causeway Films HQ Pty Ltd p: Samantha Jennings, Rita Walsh,

Kristina Ceyton, d/w: Rodd Rathjen

763,000

Danger Close: The Battle of Long Tan Danger Close Production Pty Ltd, Danger Close Rights Holding Pty Ltd

p: Martin Walsh, John Schwarz, Michael Schwarz, d: Kriv Stenders, w: Stuart Beattie 1,000,000

Dirt Music Dirt Music Holdings Pty Ltd, Aquarius

Films Pty Ltd

p: Finola Dwyer, Angie Fielder, Polly Staniford, Amanda Posey, d: Gregor Jordan, w: Jack Thorne

1,000,000

The Dry Made Up Stories Pty Ltd p: Bruna Papandrea, Jodie Matterson ,

Steve Hutensky, d/ep: Robert Connolly, w: Harry Cripps

1,805,250

The Empyrean (variation) 357 Film Pty Ltd p: Amiel Courtin-Wilson, Kate Laurie, John

Baker, d/w: Amiel Courtin-Wilson, ep: Tony Nagle, Lizzette Atkins, Matt Noonan

70,000

Emu Runner Imogen Thomas t/a Imogen Thomas

Films

p: Antonia Barnard, Victor Evatt, d/w: Imogen Thomas

50,090

Go Karts Go Karts Film Holdings Pty Ltd, See

Pictures Pty Ltd

p: Jamie Hilton, Sonia Borella, d: Owen Trevor, w: Steve Worland, ep: Joel Pearlman, Seph McKenna, Michael Pontin

1,455,000

H is for Happiness Happiness Films Pty Ltd , Cyan Films

Pty Ltd

p: Julie Ryan, Lisa Hoppe, d: John Sheedy, w: Lisa Hoppe, ep: Jonathan Page, Avril Stark 1,000,000

Hearts and Bones Night Kitchen Productions Pty Ltd p: Matt Reeder, d: Ben Lawrence,

w: Ben Lawrence, Beatrix Christian

720,000

Hotel Mumbai (variation) Hotel Mumbai Pty Ltd, Hotel Mumbai Double Guess Productions Pty Ltd, Hotel Mumbai Productions Pty Ltd, Arclight Films International Pty Ltd, Electric Pictures Pty Ltd

p: Basil Iwanyck, Andrew Ogilvie, Julie Ryan, Gary Hamilton, Mike Gabrawy, d: Anthony Maras, w: John Collee, Anthony Maras

175,000

M4M Toothless Pictures Pty Ltd p/w: Damian Hill, d: Paul Ireland,

ep: Bryce Menzies, Tony Nagle, Mitu Bhowmick, John Molloy

477,500

Miss Fisher and the Crypt of Tears Every Cloud Productions Pty Ltd p: Fiona Eagger, d: Tony Tilse, w: Deb Cox, ep: Fiona Eagger, Deb Cox 1,886,657

Palm Beach Palm Beach The Movie Pty Ltd p: Bryan Brown, Deborah Balderstone,

d: Rachel Ward, w: Joanna Murray-Smith, Rachel Ward

1,420,000

Rams WBG Pty Ltd t/a WBMC p: Janelle Landers, Aidan O’Bryan,

d: Jeremy Sims, w: Jules Duncan

1,500,000

Relic Carver Films Pty Ltd p: Sarah Shaw, Anna McLeish,

d: Natalie Erika James, w: Natalie Erika James, Christian White

931,500

Ride Like a Girl 100 to 1 Films Pty Ltd p: Richard Keddie, d: Rachel Griffiths,

w: Andrew Knight, Elise McCredie

1,725,000

77

The Second Second Films Pty Ltd, Dust Bunny

Productions Pty Ltd

p: Leanne Tonkes, Stephen Lance, d: Mairi Cameron, w: Stephen Lance, ep: Amy Hobby, Anne Hubbell

20,000

Slam (variation) Invisible Republic Pty Ltd p: Michael Wrenn, d/w: Partho Sen Gupta 62,068

Standing Up for Sunny Stand Up Films Pty Ltd p: Jamie Hilton, Michael Pontin, Drew Bailey,

d: Steve Vidler

130,000

Undertow Undertow Pty Ltd, Emerald Productions

Pty Ltd

p: Lyn Norfor, d/w: Miranda Nation, ep: Liz Watts

150,450

West of Sunshine Exile Productions Pty Ltd p: Alexandros Ouzas, Jason Raftopoulos,

d/w: Jason Raftopoulos

173,530

Total Feature Production 21,800,045

General TV Drama Production

Title Duration Production company Producer (p), director (d), writer (w),

executive producer (ep)

Amount

Australian Gangster 2 x 90 Roadshow Productions Pty

Ltd t/a Roadshow Rough Diamond

p: John Edwards, Dan Edwards, d: Fadia Abboud, w: Gregor Jordan

900,000

Back in Very Small Business 8 x 27 Gristmill Pty Ltd p: Wayne Hope, Robyn Butler,

d: Robyn Butler, w: Wayne Hope, Robyn Butler, Gary McCaffrie, ep: Wayne Hope, Robyn Butler, Greg Sitch

600,000

Bad Mothers 8 x 60 Jungle FTV Pty Ltd p: Chloe Rickard, Steven Zanoski,

w: Gavin Strawhan, Rachel Lang, Phil Lloyd, Sarah Walker, ep: Jason Burrows

1,400,000

Bite Club 8 x 44 Playmaker Media Pty Ltd p: Sue Seeary, d: Wayne Blair, Jennifer Leacy,

w: Sarah Smith, ep: David Maher, David Taylor

1,450,000

Bloom 6 x 60 Playmaker Media Pty Ltd p: Sue Seeary, w: Glen Dolman,

ep: David Maher, David Taylor

1,250,000

Doctor Doctor season 2 10 x 46 DrDr2 Series Pty Ltd,

Essential Media & Entertainment Pty Ltd

p: Ian Collie, Claudia Karvan, Tony McNamara, d: Lucy Gaffy, Ian Watson, Tori Garrett, Kriv Stenders, Ben Chessell, w: Tony McNamara, Angela McDonald, Liz Doran, Tamara Asmar, ep: Andy Ryan, Jo Rooney

500,000

Doctor Doctor season 3 10 x 60 Easy Tiger Productions

Pty Ltd

p: Ian Collie, Claudia Karvan, Tony McNamara, d: Jennifer Leacey, Ian Watson, Geoff Bennett, Lucy Gaffy, w: Tony McNamara, Liz Doran, Tamara Asmar, Angela McDonald, Gretel Vella, Tim Lee

93,415

Five Bedrooms 8 x 42 Hoodlum Active Pty Ltd p: Nathan Mayfield, w: Michael Lucas,

Christine Bartlett, ep: Tracey Robertson 1,300,000

Get Krack!n season 2 8 x 25 It’s Actually Better

Productions Pty Ltd

p: Tamasin Simpkin, Antje Kulpe d: Hayden Guppy, w: Kate McCartney, Kate McLennan, ep: Kevin Whyte, Kate McCartney, Kate McLennan

500,000

How to Stay Married 2 x 120 Hell and High Waters

Holdings Pty Ltd

p: Jess Leslie, d: Natalie Bailey, w: Peter Helliar, ep: Andrea Denholm, Emma Fitzsimons

1,000,000

Lambs of God 2 x 120 Lingo Pictures Pty Ltd p: Jason Stephens, d: Jeffrey Walker,

w: Sarah Lambert, ep: Helen Bowden 1,700,000

Ms Fisher’s MODern Murder Mysteries 8 x 45 Every Cloud Productions Pty Ltd

p: Beth Frey d: Fiona Banks, w: Deb Cox, ep: Deb Cox, Fiona Eagger 1,450,000

My Life is Murder 10 x 60 Cordell Jigsaw

Productions Pty Ltd

p: Claire Tonkin, Paul Bennett, w: Claire Tonkin, Paul Bennett

1,750,000

Orange is the New Brown 6 x 24 Screentime Pty Ltd,

Screentime Productions No.1 Pty Ltd

p: Jack Kain, d: Hayden Guppy, w: Joel Slack Smith, Sophie Braham, Richard Thorp, ep: Johnny Lowry

450,000

APPENDIX 3

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Playing for Keeps 8 x 46 Screentime Pty Ltd p: Kerrie Mainwaring, Paul Moloney,

p: Sian Davies, Tori Garrett, w: Claire Phillips, Christine Bartlett

990,000

Riot aka Bent (variation) 1 x 90 Werner Film Projects

Pty Ltd , Werner Film Productions Pty Ltd

p: Joanna Werner, Louise Smith, w: Carolyn Anderson, Greg Waters

100,000

Romper Stomper Next Generation (variation) 6 x 60 Roadshow Productions Pty Ltd t/a Roadshow Rough

Diamond

p: John Edwards, Daniel Edwards, d: Geoffrey Wright, Daina Reid, James Napier Robertson, w: Malcolm Knox, Geoffrey Wright, James Napier Robertson

30,000

Sando 6 x 27 Jungle FTV Pty Ltd p: Chloe Rickard, d: Erin White,

Christiaan Van Vuuren, Connor Van Vuuren, w: Charlie Garber, Phil Lloyd, ep: Jason Burrows

600,000

Street Smart 8 x 30 Cordell Jigsaw

Productions Pty Ltd

d: Damian Davis, w: Mark O’Toole, Tahir Bilgic, ep: Damian Davis, Nick Murray 500,000

The Blake Mysteries: A New Beginning

1 x 86 FBTV Productions Pty

Ltd t/a Doctor Blake Productions, December Media Pty Ltd

p: George Adams, d: Ian Barry, w: Paul Jenner, ep: Stuart Menzies, Tony Wright

500,000

The Family Law season 3 6 x 26 Matchbox Productions

Pty Ltd, Family Law Productions Pty Ltd

p: Julie Eckersley, Sophie Miller, d: Ben Chessell, Sophie Miller w: Kirsty Fisher, Benjamin Law, ep: Debbie Lee

400,000

The Hunt 4 x 54 Closer TV Pty Ltd p: Rebecca Summerton, Sophie Hyde,

d: Sophie Hyde, w: Matthew Cormack, Niki Aken 1,000,000

The Ropes 4 x 51 Lingo Pictures Pty Ltd p: Courtney Wise, Helen Bowden,

w: Adam Todd, Tamara Asmar, Jane Allen, ep: Jason Stephens

999,860

Upright 8 x 30 Lingo Pictures Pty Ltd p: Jason Stephens, Chris Taylor, Tim Minchin,

Melissa Kelly, w: Kate Mulvany, Leon Ford, Chris Taylor, Tim Minchin, ep: Helen Bowden

1,500,000

Total General TV Drama Production 20,963,275

Children’s TV Drama Production

Title Duration Production company Producer (p), director (d), writer (w),

executive producer (ep)

Amount

100% Wolf - TV (working title) 26 x 22 Flying Bark Productions p: Michael Bourchier, d: Alexs Stadermann, w: Fin Edquist, ep: Michael Bourchier, Barbara Stephen

750,000

Grace Beside Me (variation) 13 x 26 Magpie Pictures Pty Ltd p: Lois Randall, Dena Curtis, d: Beck Cole, Adrian Wills, w: Danielle MacLean, Jon Bell, Sue McPherson, Briar Grace-Smith, Adrian Wills, Tristan Savage

12,000

Hardball 13 x 24 Northern Pictures Pty Ltd p: Joe Weatherstone, d: Darren Ashton,

Kacie Anning, w: Guy Edmonds, Matt Zeremes, ep: Catherine Nebauer

1,700,000

Little J & Big Cuz series 2 13 x 12 Ned Lander Media Pty Ltd p: Ned Lander, d: Anthony Thorne,

w: Dorothy West, Rebecca Cole, Jane Harrison, Nathan Maynard, Erica Glynn

500,000

Mustangs FC season 2 13 x 23 Matchbox Productions

Pty Ltd

p: Amanda Higgs, Rachel Davis, d: Corrie Chen, Roger Hodgman, w: Kirsty Fisher, Magda Wozniak, Shanti Gudgeon

900,000

Nowhere Boys season 4 13 x 24 Matchbox Productions

Pty Ltd

p: Beth Frey d: Nicholas Verso, w: David Hannam, Beth King, Marieke Hardy, Jessica Brookman, ep: Tony Ayres, Michael McMahon

400,000

Spongo, Fuzz & Jalapeña 26 x 12 Cheeky Little Media Pty

Ltd

p: Patrick Egerton, Isla Curtis, d: David Webster, ep: David Webster, Patrick Egerton 499,917

The Schoogle Detective Agency 20 x 30 Gristmill SPV Pty Ltd, Schoogle Holdings Pty Ltd p/d/w: Wayne Hope, Robyn Butler, ep: Wayne Hope, Robyn Butler, Greg Sitch

2,000,000

79

The Unlisted 15 x 30 The Unlisted Holding

Pty Ltd, Aquarius Films Pty Ltd

p: Polly Staniford, Angie Fielder, d: Rhys Graham, Corrie Chen, Sian Davies, w: Mithila Gupta, Timothy Lee, Tristram Baumber, Jane Allen, Greg Waters, ep: Justine Flynn

1,240,000

Total Children’s TV Drama Production 8,001,917

Online Production

Title Duration Production Company Producer (p), director (d), writer

(w), executive producer (ep)

Amount

30 Minutes of Danger 1 x 8 Happening Films Pty

Ltd, The Pulse Originals Pty Ltd

p: Jannine Barnes, George Kacevski, Melody Ha, d/w: Grant Scicluna 100,000

Awavena 1 x 17 VR Wallworth Pty Ltd p: Lynette Wallworth,

Nicole Newnham, Tashka Yawanawa, d: Lynette Wallworth, w: Lynette Wallworth, Laura Soriano de Yawanawa, ep: Sandy Herz

110,000

Beached Aziversary 10 x 5 Robot Army Productions

Pty Ltd

p: Nicholas Boshier, Jordana Johnson, d: Nicholas Boshier, w: Nicholas Boshier, Anthony Macfarlane, Jarod Green

150,000

Bonnie the Elephant 4 x 3 Swim Like A Boss Pty Ltd p: Nigel Huckle, Jerome Velinsky,

Holly Hargreaves, d/w: Holly Hargreaves

30,000

Kiki and Kitty (variation) 6 x 10 Porchlight Films Pty Ltd p: Liz Watts, Sylvia Warmer,

d: Catriona McKenzie, w: Nakkiah Lui 4,000

Method 6 x 10 Fire Sky Films Pty Ltd p: Kristin Sargent, Tawni Bryant,

Jerome Velinsky, d: Tawni Bryant, Jerome Velinsky, w: Jerome Velinsky

30,000

Mining Boom 4 x 6 Thirsty Head Productions

Pty Ltd

p: Philip Denson, d: Peter Harris, w: Peter Harris, Philip Denson

110,000

Mr Inbetween (variation) 6 x 30 Jungle FTV Pty Ltd, J

Edgerton & N.T Edgerton t/a Blue Tongue Films

p: Michele Bennett, d: Nash Edgerton, w: Scott Ryan, ep: Chloe Rickard, Jason Burrows

20,000

Patricia Moore 10 x 10 Patricia Moore Holdings

Pty Ltd, Patricia Moore Pty Ltd

p: Chris Thompson, d: Blake Fraser 250,000

Robbie Hood 1 x 60 Ludo Studio Pty Ltd p: Meg O’Connell, Tanith Glynn-

Maloney, d/w: Dylan River, ep: Charlie Aspinwall, Daley Pearson

250,000

Romp - The Web series 6 x 14 Opening Act Films Pty

Ltd

p: Pete Ireland, Gita Irwin (associate producer), d: Tonnette Stanford, w: Tonnette Stanford, ep: Zayn Buksh

75,000

Rostered On 2 x 20 Robot Army Production

Pty Ltd, Ruby Entertainment Pty Ltd

p: Stephen Luby, d/w: Ryan Chamley 200,000

Skinford 2 1 x 100 Immortal Films Pty Ltd,

Deadrock Media Pty Ltd p: Enzo Tedeschi, Christopher Seeto, d/w: Nik Kacevski, ep: Tess Meyer, George Kacevski

250,000

Squinters 6 x 24 Squinters Pty Ltd p: Chloe Rickard, d: Kate McCartney,

Cate Stewart, Christiaan Van Vuuren, Connor Van Vuuren, Trent O’Donnell, Kacie Anning, Amanda Brotchie, w: Adam Zwar, Adele Vuko, Ben Crisp, Sarah Scheller, Lally Katz, Susie Youssef, Becky Lucas, Leon Ford, Aaron Chen, Nina Oyama, Matt Okine, Sam Rugg, ep: Jason Burrows

430,000

APPENDIX 3

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Squinters season 2 6 x 26 Jungle FTV Pty Ltd p: Chloe Rickard, Johanna Somerville,

d: Christiaan Van Vuuren, Connor Van Vuuren, Trent O’Donnell, Amanda Brotchie, Erin White, w: Adele Vuko, Ben Crisp, Lally Katz, Becky Lucas, Aaron Chen, Kodie Bedford, Joel Slack-Smith, Mark O’Toole, Rose Matafeo, Wayne Blair, Sam Simmons, Nina Oyama, ep: Jason Burrows

250,000

Superwog 6 x 24 Who Hit Who Productions

Pty Ltd, Bobcat Entertainment Pty Ltd

p: Paul Walton, d/w: Theo Saidden, Nathan Saidden, ep: Emma Fitzsimons 850,000

The Big Nothing 5 x 8 Sharptooth Pictures

Pty Ltd

p: Sophie Morgan, Adam Camporeale (co-producer), d: Peter Ninos, Lucy Campbell, w: Lucy Campbell, Sophie Morgan

40,000

The Drop Off 6 x 8 Kiss & Go Productions

Pty Ltd

p: Mike McLeish, Fiona Harris, d: Tori Garrett, w: Fiona Harris, Mike McLeish, ep: Paul Walton

150,000

The Housemate 6 x 5 Chips and Gravy Film

Pty Ltd

p: Amanda Reedy, d: Hayden Mustica, w: Gemma Bird Matheson, Alexandra Keddie

80,000

Wyrmwood VR 1 x 15 Guerilla Films Pty Ltd p: Tristan Roache-Turner,

d: Kiah Roache-Turner, w: Tristan Roache-Turner, Kiah Roache-Turner

100,000

Total Online Production 3,479,000

Talent and Sector Development - Online

Skip Ahead

Title Production company Producer (p), director (d), writer (w),

executive producer (ep)

Amount

Life of Jess Life of Jess Productions Pty Ltd p: Jessica Holsman, Laura Clelland,

Sandra Makaresz, Elle Croxford, d: Laura Clelland, w: Laura Clelland, Elle Croxford, Sandra Makaresz, Jessica Holsman

100,000

Over and Out Van Vuuren Bros Pty Ltd d: Connor Van Vuuren,

w: Christiaan Van Vuuren, Adele Vuko 115,000

Rebooted LateNite Films Pty Ltd p: Chris Hocking, d/w: Michael Shanks 115,000

Skit Box Skit Box Pty Ltd d: Sarah Bishop, Adele Vuko, Greta Lee

Jackson, w: Sarah Bishop, Adele Vuko, Greta Lee Jackson

115,000

Supernormal Princess Pictures Holdings Pty Ltd p: Paul Walton, Mike Cowap,

w: Wendy Ayche, Mathew McKenna

115,000

Total Skip Ahead 560,000

Fresh Blood

Fresh Blood (variation) Australian Broadcasting Corporation 60,000

Total Fresh Blood 60,000

Online Special Industry Assistance

Fresh Blood Workshop 20,000

Online Awareness Video 22,500.00

Skip Ahead Workshop 19,890.04

VidCon Delegation 14,906.14

Total Online Special Industry Assistance 77,296

Total Talent and Sector Development - Online 697,296

TOTAL PRODUCTION 57,791,495

81

DOCUMENTARY

Documentary Development Program

Title Production company Producer (p), director (d), writer (w),

executive producer (ep)

Amount

#NastyWomen Media Stockade Two Pty Ltd p: Rebecca Barry, Madeleine Hetherton,

d: Rebecca Barry, w: Rebecca Barry

5,000

Brazen Hussies Film Camp Pty Ltd p: Philippa Campey, Andrea Foxworthy,

d/w: Catherine Dwyer, ep: Sue Maslin

11,000

Brock Wildbear Entertainment Pty Ltd p: Veronica Fury, d/w: Kriv Stenders 10,000

The Children in the Pictures DNX Media Pty Ltd p: Ruth Cross, d/w: Akim Dev, ep: Simon Nasht 20,000

China Australia Dreaming WildBear Entertainment Pty Ltd p: Alan Erson, d: Bruce Permezel, Sally Aitken, w: Alan Erson ep: Alan Erson, Michael Tear, Richard Finlayson

10,000

Chrissy Amphlett: Lay My Body Down Ghost Pictures Pty Ltd p: Richard Lowenstein, Lynn-Maree Milburn, Maya Gnyp, Andrew de Groot, d/w: Lynn-Maree Milburn 10,000

Claudia Claudia Doc Pty Ltd p: Malinda Wink, d: Hollie Fifer, w: Malinda Wink,

Hollie Fifer

20,000

The Drawer Where Summer Dwells Brian McKenzie Film Productions p: Brian McKenzie, Grace McKenzie, d/w: Brian McKenzie 10,000

Driverless Projector Films Pty Ltd p: Daniel Joyce, d/w: Paul Gallasch 10,000

Fairy Dog Mother Artemis Media Pty Ltd p/d/w: Nia Pericles, ep: Celia Tait 15,000

Finding the Eastern Australian Current Wildpacific Media Pty Ltd p: Jon Shaw, Electra Manikakis, d/w: Nicholas Robinson, ep: David Gross

15,000

Fire Starter - The Story of Bangarra In Films Pty Ltd p: Ivan O’Mahoney, Nel Minchin, d: Nel Minchin,

Wayne Blair, w: Nel Minchin, Wayne Blair, Ivan O’Mahoney, ep: Nial Fulton

15,000

The Good Life Briony Benjamin Media Pty Ltd p/d/w: Briony Benjamin 7,000

Gordafarid Unicorn Films Pty Ltd p: Lizzette Atkins, Saeed Rashtian, Nora Niasari,

d/w: Nora Niasari

15,000

The Gunnery - Woolloomoolloo Firelight Films Productions Pty Ltd p/w: Ellenor Cox, d: Marcus Gillezeau 15,000

Head On Darius Devas p: Adam Farrington-Williams, Darius Devas,

d/w: Darius Devas

5,000

The History of Australia in 100 Objects Mammal Pty Ltd t/a Optimistic Pictures

p: Paige Livingston, w: Toby Creswell, ep: Jenny Lalor

5,000

Hit the Road Jane Blackwatch Productions Pty Ltd p/d: Emma Masters, ep: Alison Black 15,000

Impermanence Mark Gould Productions Pty Ltd

t/a Bondi Rocks Media

p: Frank Haines, d/w: Ryan Jasper Walsh, ep: Mark Gould

15,000

The Investigative Artist Point Studio Pty Ltd p/d/w: Yaara Bou Melhem 10,000

Islam and the Future of Tolerance CNI Think Productions Pty Ltd p: Suzi Jamil, Aaron Louis, d/w: Desh Amila, Jay Shapiro, ep: Susan MacKinnon, Greg Stikeleather 15,000

The Kids Carver Films Pty Ltd p: Sarah Shaw, d/w: Eddie Martin 20,000

Love on the Spectrum Eye Spy Productions t/a Northern

Pictures

p/w/ep: Karina Holden, d: Cian O’Clery 10,000

Making Modest History (working title) Ikandy Films Pty Ltd p/w: Janine Hosking, Katrina McGowan, d: Janine Hosking 15,000

Milkman Carver Films Pty Ltd p: Sarah Shaw, d/w: Eddie Martin 15,000

Milkman Carver Films Pty Ltd p: Sarah Shaw, d/w: Eddie Martin 10,000

Museum on the Seam (working title) Sherine Salama p/d/w: Sherine Salama 20,000

My Big Fat Italian Kitchen Yarra Bank Films Pty Ltd p: Lisa Wang, d/w: Trevor Graham 15,000

No Rest Rest Home The Mischief Sisters Pty Ltd p/w/ep: Alison Black, Marion Farrelly 15,000

Operations From the Bottom JOTZ Productions Pty Ltd p: Tom Zubrycki, d/w: Gemma Quilty 15,000

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Orchid Fever: A Story of Obsession Radio Pictures Pty Ltd p/d/w: Mark Lewis 10,000

Otto on Otto Chalky The Film Pty Ltd p: Nicole O’Donohue, d/w: Gracie Otto,

ep: Craig Deeker, Nick Broomfield

15,000

Out Loud Wendy Champagne t/a Side By

Side Productions

p: Wendy Champagne, Oren Siedler, d/w: Wendy Champagne

15,000

Out of the Box (working title) Matadora Films Pty Ltd p: Alejandra Canales, Claire Fletcher,

d/w: Alejandra Canales

15,000

Palazzo di Cozzo (working title) Film Camp Pty Ltd p: Philippa Campey, Samantha Dinning,

d/w: Madeleine Martiniello

10,000

Petrichor Emma Roberts p: Emma Roberts, d/w: Ben Andrews,

ep: Jane Liscombe

10,000

Please F**k Off, It’s Our Turn Now Mashup Pictures Pty Ltd p/d/w: Rob Innes 10,000

Primal Screams: The Fun of Fear Lester Jerome Francois t/a Studio Bento p: Lester Francois, Anna Brady, Erinn Stevenson, d/w: Lester Francois

10,000

Quoll Farm Wild Creature Films Pty Ltd p: Nick Hayward, d: Matt Hamilton,

Simon Plowright, w: Simon Plowright, Nick Hayward, ep: Simon Nasht

15,000

The Real Jaws WildBear Entertainment Pty Ltd p: Bettina Dalton, ep: Alan Erson 15,000

Revelation In Films Pty Ltd p: Nial Fulton, w: Nial Fulton,

Sarah Ferguson

25,000

Riding the Monster Inflatable Boats Tasmania Pty

t/a IBT Productions

p/d/w: Liam Taylor, ep: Ash Dunn 15,000

A River Made Us Rock Island Bend Productions

Pty Ltd

p: Chris Kamen, Heather Cassidy, d: Kasimir Burgess, w: Natasha Pincus, ep: Annie Venables

10,000

Saving Snow Jenuine Productions Pty Ltd d: Jonica Newby, w: Jonica Newby, John

Collee, ep: Jonica Newby, Sonya Pemberton 10,000

The Secrets of Success Smith & Nasht Pty Ltd p/d/w: Annamaria Talas, ep: Simon Nasht 10,000

The Side Show The Finch Company Pty Ltd p: Karen Bryson, d: Christopher Nelius,

w: Julie-Anne Deruvo, ep: Paul Wiegard

15,000

Silent No More (working title) Southern Pictures Pty Ltd p/d/w: Anita Brown, ep: Laurie Critchley 15,000

Small Island Big Song Undergrowth Pty Ltd p: Timothy Parish, John Cherry, d/w: Tim

Cole, ep: Harry Bardwell

10,000

The Son of Captain Blood Eyeline Films Pty Ltd p: Geoffrey Smith, d: Geoffrey Smith,

Ian White, w: Ian White

20,000

Strong Women Corinne Megan Innes p/d/w: Alexandra Gaulupeau, Corinne Innes 5,000

Tall Poppy Pursekey Productions Pty Ltd p: Kiki Dillon, Michaela Perske,

d/w: Justine Moyle

15,000

A Thin Black Line Frog Hollow VR Pty Ltd p: Kate Morrison, d/w: Douglas Watkin 20,000

The University of O Budaya Productions Pty Ltd p: Rebecca Elliott, Katrina Lucas,

w: Katrina Lucas, ep: Sophie Hyde

5,000

Untitled Identity Films and Productions

Pty Ltd

p/d/w: Danny Ben-Moshe 10,000

Untitled Identity Films and Productions

Pty Ltd

p/d/w: Danny Ben-Moshe 14,990

Untitled Dudko Project Samantha Griffin t/a One With

Salt Productions

p: Sam Griffin, Maya Kuzina, d/w: Maria Dudko, ep: Chris Hilton

15,000

Untitled Tent Boxing Project Molly Minka O’Connor p: Molly O’Connor, Anton Andreacchio,

d/w: Madeleine Parry

10,000

Venus Bay Closer Screens Pty Ltd p: Sophie Hyde, d/w: Maya Newell 15,000

The Victoria Project DNX Media Pty Ltd p: Ruth Cross, Jennifer Peedom, d/w:

Jennifer Peedom, ep: Simon Nasht, Stuart Menzies

25,000

83

The Weinstein Effect - Where to From Here? Her Films Pty Ltd p/d/w: Nicole Minchin, Angela Pippos 15,000

When the Sky Fell Down - The Myth of Guy Bourdin Falling Skies Pty Ltd p/w: Shannon Owen, Sean Brandt,

d: Sean Brandt, ep: Tait Brady

15,000

Wild Blue Electric Pictures Pty Ltd p: Ingrid Longley, d: Steve Westh, w: Greg

Colgan, ep: Andrea Quesnelle

15,000

Wild Western Australia Sea Dog TV International Pty

Ltd

p: Leighton De Barros, Jodie De Barros, d/ep: Leighton De Barros, w: Leighton De Barros, Paul Payne

15,000

Total Documentary Development Program 837,990

Documentary Producer Program

Title Production company Producer (p), director (d), writer (w),

executive producer (ep)

Amount

2040 (variation) 2040 Film Pty Ltd,

Madman Production Company International Pty Ltd

p: Nick Batzias, Anna Kaplan, d/w: Damon Gameau

50,000

The Antarctica Experience White Spark Pictures Pty Ltd p: Briege Whitehead, d: Phil Harper, Briege Whitehead, w: Briege Whitehead, Ray Pedretti, ep: Ray Pedretti

107,000

Attention Wars Serendipity Productions Pty Ltd p/w: Margaret Bryant, d: Vanessa Hills 140,000

The Australian Dream Good Thing Productions

Company Pty Ltd

p: Nick Batzias, John Battsek, Sarah Thompson, Virginia Whitwell, d: Daniel Gordon, w: Stan Grant, ep: Paul Wiegard

420,000

Bright Lights - The Perils of the Pokies Marhaba Films Pty Ltd p: Rob Innes (online/digital), Charby Ibrahim, d/w: Charby Ibrahim, ep: Jennifer Peedom, Helen Gaynor

52,500

The Coming Back Out Ball Movie CBOB Films Pty Ltd p: Adam Farrington-Williams, Tristan

Meecham, d/w: Sue Thomson, ep: Michael McMahon, Tony Nagle, Shaun Miller, Roger Monk

50,000

The Coming Back Out Ball Movie CBOB Films Pty Ltd p: Adam Farrington-Williams, Tristan

Meecham, d/w: Sue Thomson, ep: Michael McMahon, Tony Nagle, Shaun Miller, Roger Monk

75,000

Death Art Ruby Girl Productions Pty Ltd p: Julia Peters, d/w: Sascha Ettinger

Epstein

150,000

The Fight (working title) UNF Pty Ltd p/d/w: Violeta Ayala, Dan Fallshaw 20,000

Future Dreaming Stuart James Thomas Campbell

t/a Sutu Eats Flies

p: Robyn Marais, d/w/ep: Stuart Campbell 125,000

Gun Ringer Ronde Pty Ltd p/d: Ash Davies, Tom Lawrence,

w/ep: Ben Davies

46,400

The Hunt Robot Army Productions Pty Ltd,

Ruby Entertainment Pty Ltd p: Stu Ross, Stephen Luby, Mark Ruse, d/w: Stu Ross

188,805

Kids Closer Productions Pty Ltd,

Kids Film Pty Ltd

p: Sophie Hyde, Rachel Edwardson, Larissa Behrendt, d: Maya Newell, ep: Felicity Hayes 225,000

The Kingdom of Fungi (variation) Fungi Kingdom Pty Ltd, Smith & Nasht Pty Ltd p: Susan MacKinnon, Bill Spahic, d: Annamaria Talas, w: Annamaria Talas,

Anne Pick, ep: Simon Nasht, Anne Pick

20,000

Little Joe Ratner & Co. Pty Ltd p: Katrina McGowan, d/w: David Ratner,

ep: Janine Hosking, Paul Watters

135,000

Mission: Whalesong Prospero Productions Pty Ltd p: Julia Redwood, Ed Punchard, d/w: Russell

Vines, ep: Julia Redwood, Ed Punchard, Russell Vines

200,000

Nolan - The Man and the Myth Flaming Star Films Pty Ltd, Riverbend Productions Pty Ltd p: Lavinia Riachi, d/w: Sally Aitken, ep: Julia Peters, Sharyn Prentice

220,000

Power Marys Media Stockade Two Pty Ltd,

Clam Media Pty Ltd

p: Joanna Lester, Madeleine Hetherton, Rebecca Barry, d: Joanna Lester

125,000

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Rockabul Rockabul Pty Ltd p: Brooke Silcox, Christian Falch,

d: Travis Beard, ep: Leslie Knott, Bill Gould, Clementine Malpas

77,440

Rone Lester Francois t/a Studio Bento p: Erinn Stevenson, d/w: Lester Francois 85,000

Storm in a Teacup Artemis Media p: Nia Pericles, Celia Tait, d/w: Nia Pericles,

ep: Celia Tait

140,000

Underminded: Tales from the Kimberley (variation) Kimberley Project Pty Ltd, Amnesia Productions Pty Ltd

p: Nicholas Wrathall, Stephanie King, d: Nicholas Wrathall, w: Nicholas Wrathall, Stephanie King

20,000

The Victoria Project DNX Media Pty Ltd p: Ruth Cross, Simon Nasht, Jennifer

Peedom, John Smithson, d/w: Jennifer Peedom, ep: Stuart Menzies

475,000

What Could Go Wrong? Mashup Pictures Pty Ltd p: Rob Innes, d: Scott Brennan, Rob Innes,

w: Scott Brennan, ep: Mish Armstrong

83,600

Working Class Boy Cordell Jigsaw Productions

Pty Ltd, Worldwide Production Services Pty Ltd

p: Toni Malone, d/w: Mark Joffe, ep: Andrew Farrell, Michael Cordell

350,000

Total Documentary Producer Program 3,580,745

Documentary Commissioned Program

Title Production company Producer (p), director (d), writer (w),

executive producer (ep)

Amount

100 Days to Victory: How The Great War Was Won Electric Pictures Pty Ltd, 100 Days to Victory Pty Ltd

p:Andrea Quesnelle, d: Don Featherstone, ep: Andrew Ogilvie, Marlo Miazga 400,000

Aftermath Renegade Films (Australia) Pty Ltd p: Lucy Maclaren, Joe Connor, Ken Connor,

d/w: Tony Jackson

250,000

Australia in Colour Australia in Colour Pty Ltd,

Stranger Than Fiction FIlms Pty Ltd p: Jo-anne McGowan, d/w: Lisa Matthews, Alec Morgan, ep: Nick Metcalfe, Jennifer Peedom 665,000

Black As series two - We’re Back Rebel Films Pty Ltd p: Jeni McMahon, d/w: David Batty,

ep: Jeni McMahon, David Noakes

150,000

The Cult of The Family Church Street Films Pty Ltd p: Anna Grieve, d/w: Rosie Jones 200,000

Double Happiness: China Love Media Stockade Two Pty Ltd p: Madeleine Hetherton, Rebecca Barry, d: Olivia Martin McGuire 223,000

Filthy Rich and Homeless season 2 Blackfella Films Pty Ltd, Shelter Productions 2 Pty Ltd p: Darren Dale, Jacob Hickey, d: Dylan Blowen, Hugh Piper, Kalita Corrigan, Tim Green,

Benjamin Pederick, Claire Leeman, Dave May, Nick McInerney, Vaughan Dagnell, Ronan Sharkey, ep: Jacob Hickey

495,000

First Wars Blackfella Films Pty Ltd,

First Wars Productions Pty Ltd p: Darren Dale, d: Rachel Perkins, w: Jacob Hickey

800,000

Go Back to Where You Came From series 4 (Live) Cordell Jigsaw Productions Pty Ltd, Worldwide Production Services

Pty Ltd

p: Toni Malone, ep: Michael Cordell, Rick McPhee 600,000

HERoes Her Films Pty Ltd p/d/w: Nicole Minchin, Angela Pippos 85,000

The Magical Land of Oz Eye Spy Productions Pty Ltd t/a

Northern Pictures

d/w: Tosca Looby, ep: Sue Clothier, Karina Holden, Caroline Hawkins, Clare Birks 485,000

Making Child Prodigies Screentime Pty Ltd p: Jeff Siberry, Helen Barrow, Niamh Linnie,

d: Jeff Siberry, w: Anita Brown, Jeff Siberry, Jennifer Collins, ep: Jennifer Collins

500,000

Marry Me, Marry My Family series 2 Worldwide Production Services Pty Ltd, Cordell Jigsaw Productions Pty Ltd

p: Sophie Meyrick, ep: Andrew Farrell 400,000

My Family Secret Artemis Media Pty Ltd,

My Family Secret Pty Ltd

p: Claire Forster, Robin Eastwood, d/w: Steven Peddie, ep: Celia Tait

450,000

The Royals Down Under Fredbird Entertainment p/d/w: Bernice Toni, ep: Craig Graham 250,000

85

The Secret Life of 4 Year Olds Screentime Pty Ltd, Screentime Productions No.1 Pty Ltd p: Emily Griggs, Niamh Linnie, d: Kate Douglas Walker, w: Basia Bonkowski, ep: Jennifer Collins

350,000

Teenage Boss McAvoy Media Pty Ltd p: David Grusovin, Leisa Pratt, d/w: Matthew

Tomaszewski, ep: Matthew Tomaszewski, John McAvoy, Simon Steel

500,000

Truth Be Told: Lest We Forget Since1788 Productions Pty Ltd p: Tanith Glynn-Maloney, d: Erica Glynn, w: Tanith Glynn-Maloney, Erica Glynn 50,000

War on Waste series 2 Lune Media Pty Ltd,

WOW2 Pty Ltd

d: Jodi Boylan, Sandra Welkerling, w: David Galloway, ep: Leonie Lowe, David Galloway, Jodi Boylan

650,000

Total Documentary Commissioned Program 7,503,000

Special Initiatives - Documentary

Doco180

Title Production company Producer (p), director (d), writer (w),

executive producer (ep)

Amount

Asking For It Mariel Thomas p: Mariel Thomas, d: Blue Lucine 6,000

A Hairy Problem Rebecca Thomson p/d/w: Rebecca Thomson 6,000

Inner Demons (working title) Last Frame Productions Pty Ltd p: Taylor Litton-Strain, d: Hawanatu Bangura 6,000

Mother/Lover Erin McBean p/d: Erin McBean, w: Holly Zwalf 6,000

Together, She Succeeds Sam Weingott p: Sam Weingott, d: Laura Clelland,

w: Sam Weingott

6,000

Total Doco180 30,000

Art Bites

Title Production company Producer (p), director (d), writer (w),

executive producer (ep)

Amount

Against the Grain Arenamedia Pty Ltd p: Chloe Brugale, Kate Laurie, d: Santilla

Chingaipe, ep: Robert Connolly

30,000

The Unmissables Film Camp Pty Ltd p/d: Samantha Dinning, Philippa Campey,

d/w: Madeleine Martiniello

30,000

Total Art Bites 60,000

Documentary Partnerships - The Guardian

Title Production company Producer (p), director (d), writer (w),

executive producer (ep)

Amount

The Big Wait Yannick Jamey t/a Lyrebird

Productions

p: Yannick Jamey, Lucy Pijnenburg, Melissa Hayward, Pete Gleeson, d/w: Yannick Jamey 32,500

Lost Rambos Pursekey Productions Pty Ltd p: Michaela Perske, d/w: Chris Phillips 32,500

Operations From the Bottom JOTZ Productions p: Tom Zubrycki, d/w: Gemma Quilty 32,500

Where the River Runs Red Gravy Productions Pty Ltd p: Nicholas Flynn Flynn, d/w: Brodie Poole 32,500

Total Documentary Partnerships - The Guardian 127,500

Pitch Australiana with VICE Australia

Title Production company Producer (p), director (d), writer (w),

executive producer (ep)

Amount

Shooting Cats (working title) Pony Films Pty Ltd p: Dylan Blowen, d: Inday Ford,

w: Dylan Blowen, Inday Ford

30,000

Total Documentary Pitch Australiana with VICE Australia 30,000

Windows on the World

Title Production company Producer (p), director (d), writer (w),

executive producer (ep)

Amount

Brass Against the Odds Jerrycan Films Pty Ltd p/d: Douglas Watkin, ep: Mick Angus 15,000

Total Documentary Windows on the World 15,000

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Love Bites

Title Producer (p), director (d), writer (w),

executive producer (ep)

Amount

Beyond the Mirror Ball Australian Broadcasting Corporation p: Josh Feeney, d: Luke Cornish 5,000

Club Arak Australian Broadcasting Corporation p: Alissar Gazal, d: Fadia Abboud 5,000

Dances Australian Broadcasting Corporation p: Stephanie Westwood, d: Ramon Watkins 5,000

Dani Boi Australian Broadcasting Corporation p: Zena Bartlett, d: Logan Mucha 5,000

Desperately Seeking Shavers Australian Broadcasting Corporation p: Christina Radburn, d/w: Emmett Aldred 5,000

Fez Australian Broadcasting Corporation p: Jessica Magro, d: Jermaine D’Vauz,

ep: Kate Paul

5,000

Monsta Gras Australian Broadcasting Corporation p: Jain Moralee, d: Kelli Jean Drinkwater 5,000

Only Different Australian Broadcasting Corporation p: Elizabeth Cater, d/w: Thomas Wilson 5,000

Queen Biryani Australian Broadcasting Corporation p: Kate Vinen, d: Gary Paramanathan 5,000

Wicked Women Australian Broadcasting Corporation p/d: Anna Brownfield 5,000

Total Documentary Love Bites 50,000

Total Special Initiatives - Documentary 312,500

Producer Equity Program

Title Production company Producer (p), director (d), writer (w),

executive producer (ep)

Amount

Against the Grain Arenamedia Pty Ltd p: Chloe Brugale, Kate Laurie,

d: Santilla Chingaipe, ep: Robert Connolly 25,000

The Antarctica Experience White Spark Pictures Pty Ltd p: Briege Whitehead, d: Phil Harper, Briege

Whitehead, w: Briege Whitehead, Ray Pedretti, ep: Ray Pedretti

59,859

The Art of the Game Closer Productions Pty Ltd p: Katrina Lucas, d/w: Matthew Bate,

ep: Rebecca Summerton

29,888

Atlantis, Iceland Living Not Beige Films Pty Ltd p: Peter Hanlon, Rick Davies, Cole Larsen,

d/w/ep: Peter Hanlon

50,142

Attention Wars Serendipity Productions Pty Ltd p/w: Margaret Bryant, d: Vanessa Hills 50,880

Aussie Salvage Squad Fredbird CDK Pty Ltd t/a Fredbird

Entertainment

p: Colin Thrupp , Ash Dunn, d/ep: Craig Graham, w: Craig Graham, Colin Thrupp 100,000

Big in Japan Walking Fish Productions Pty Ltd p/w: David Elliot-Jones, d: Lachlan Mcleod,

Louis Dai

100,000

Black As series two - We’re Back Rebel Films Pty Ltd p: Jeni McMahon, d/w: David Batty,

ep: Jeni McMahon, David Noakes

62,923

Black Divaz Pursekey Productions Pty Ltd p: Michaela Perske, Gillian Moody,

d/w: Adrian Russell Wills

100,000

Bondi Boardriders Versus the World Ronde Pty Ltd p: Michael Dye, d/w/ep: Ben Davies 25,000

Carriberrie VR - Indigenous Dance and Song Carriberrie Pty Ltd p/d: Dominic John Allen, w: Tara June Winch,

ep: Virginia Kay, Kivu Ruhorahoza, Aden Ridgeway 56,181

Changing Lives JOTZ Productions Pty Ltd p: Tom Zubrycki, Teri Calder, d: Vivien Altman 31,250

Descent into the Maelstrom Living Eyes Pty Ltd d/w/ep: Jonathan Sequeira 83,302

Elsta Foy DNA Productions Australia Pty Ltd p/d/w: Dannielle Booth, ep: Daniel Brown,

Jacqueline Willinge

64,000

Finding The Field: The Colour of Hope Ghost Pictures Pty Ltd p: Maya Gnyp, Richard Lowenstein, Andrew de Groot, d/w: Lynn-Maree Milburn 47,600

Future Dreaming Stuart James Thomas Campbell t/a

Sutu Eats Flies

p: Robyn Marais, d/w/ep: Stuart Campbell 72,500

Gun Ringer Ronde Pty Ltd p/d: Ash Davies, Tom Lawrence,

w/ep: Ben Davies

47,517

HERoes Her Films Pty Ltd p/d/w: Nicole Minchin, Angela Pippos 96,574

87

Hotel Coolgardie Raw and Cooked Media Pty Ltd p: Melissa Hayward, Kate Neylon,

d: Pete Gleeson

47.517

The Hunt Robot Army Productions Pty Ltd,

Ruby Entertainment Pty Ltd p: Stu Ross, Stephen Luby, Mark Ruse, d/w: Stu Ross

96.574

Invictus Documentary 2018 Threefold Films Pty Ltd p/d: Belinda Cone 63.688

The Kimberley Man Periscope Pictures Pty Ltd p: Alice Wolfe, d/w: Jeremy Thomson 31.250

Lessons from Joan Angel Lane Films Pty Ltd p: Julia Overton, d/w: Walter McIntosh 70.225

Lili: My Mother My Daughter Soul Vision Films Pty Ltd p: Peter Hegedus, Rebecca McElroy,

d/w: Peter Hegedus

61.513

Little Joe Ratner & Co. Pty Ltd p: Katrina McGowan, d/w: David Ratner,

ep: Janine Hosking, Paul Watters

74.000

Lost Diamonds Daniel J Riches & L Richies t/a

Jarndoo Media

p: Luke Riches, d: Daniel Riches, w: Luke Riches, Daniel Riches, ep: Dan Brown, Jacqueline Willinge

31.250

Madhattan Constantine Productions Pty Ltd p/d/w: Carolyn Constantine,

ep: Carolyn Johnson

58.381

Outsiders Whooshka Media Pty Ltd p: Adrian Brown, Mish Armstrong,

d: Adrian Brown

77,490

Pacmen Scribble Films Pty Ltd p/d/w: Luke Walker 81,214

Paper Trails Generator Pictures Pty Ltd p: Katia Nizic, Britt Arthur, w: Sari Braithwaite,

ep: Sue Maslin

29,394

Rip Current Heroes Jason Bradley Markland t/a Markland

Media

p/d/w: Jason Markland 59,547

Rise Above Damien Rider sole Trader t/a Rider

Active

p: Damien Rider, Jason Markland, d/w: Damien Rider

72,090

Rockabul Rockabul Pty Ltd p: Brooke Silcox, Christian Falch,

d: Travis Beard, ep: Leslie Knott, Bill Gould, Clementine Malpas

94,560

Rone Lester Francois t/a Studio Bento p: Erinn Stevenson, d/w: Lester Francois 25,000

The Run Films and Casting Temple Pty Ltd p: Anupam Sharma, Deepti Sachdeva,

d/w: Anupam Sharma, ep: Penny Robins

67,647

Saving Seagrass Ramu Productions Pty Ltd p: Jodie Bell, d: Bessy-May Taylor,

w: Gary Hamaguchi

25,000

Shalom Bollywood: The Untold Story of Indian Cinema Identity Films and Productions Pty Ltd

p/d/w: Danny Ben-Moshe 100,000

Shark Dreaming Chili Films Pty Ltd p: Penelope McDonald, d/w: Ashley Gibb 99,281

She Who Must Be Obeyed Since1788 Productions Pty Ltd p: Tanith Glynn-Maloney, d/w: Erica Glynn 86,784

Shipwreck Psycho Prospero Productions Pty Ltd p/ep: Ed Punchard, Julia Redwood,

d: Eliot Buchan

99,281

A Stargazer’s Guide to the Cosmos Joined Up Films Pty Ltd p: Roger Power, d: Jordan Edmeades, Nick Clarke Powell, ep: Daniel Brown, Jacqueline Willinge, Anthony Willinge

86,784

Storm in a Teacup Artemis Media p: Nia Pericles, Celia Tait, d/w: Nia Pericles,

ep: Celia Tait

99,813

The Staging Post Light Sound Art Film Pty Ltd p/d: Jolyon Hoff 76,573

A Thin Black Line Frog Hollow VR Pty Ltd p: Katy Morrison, d/w: Douglas Watkin 38,333

Transblack No Coincidence Media Pty Ltd p: Mitchell Stanley, d/w: Charmaine Ingram 36,620

Truth Be Told: Lest We Forget Since1788 Productions Pty Ltd p: Tanith Glynn-Maloney, d: Erica Glynn, w: Tanith Glynn-Maloney, Erica Glynn 100,000

The Twist Broken Yellow Pty Ltd p/ep: Navid Bahadori, d: Brendan J Doyle 57,208

The Unmissables Film Camp Pty Ltd p/d: Samantha Dinning, Philippa Campey,

d/w: Madeleine Martiniello

25,000

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INDIGENOUS

Indigenous Documentary Development

Title Production company Producer (p), director (d), writer (w),

executive producer (ep)

Amount

Backing Bourke Pursekey Productions Pty Ltd p: Michaela Perske,

d/w: Larissa Behrendt

25,000

Medical Mob WildBear Entertainment Pty Ltd p: Veronica Fury, Dena Curtis,

d/w: Dena Curtis

15,000

The Centralian Red Tails CAAMA Productions Pty Ltd p: Tom Zubrycki, Penelope McDonald,

Nick Lee, w: Viviana Petyarre

15,000

TransBlack No Coincidence Media Pty Ltd p: Mitchell Stanley, d/w: Charmaine

Ingram

15,000

WINMAR Essential Media and Entertainment Pty

Ltd

d/w: Larissa Behrendt, ep: David Alrich 28,600

Total Indigenous Documentary Development 98,600

Indigenous Documentary Production

Title Production company Producer (p), director (d), writer (w),

executive producer (ep)

Amount

Black Divaz Pursekey Productions Pty Ltd p: Michaela Perske, Gillian Moody, d/w:

Adrian Russell Wills

170,000

She Who Must Be Obeyed Since1788 Productions Pty Ltd p: Tanith Glynn-Maloney, d/w: Erica

Glynn

180,000

Total Indigenous Documentary Production 350,000

Indigenous Documentary Initiative - State of Alarm

Title Production company Producer (p), director (d), writer (w),

executive producer (ep)

Amount

The Aboriginal Carbon Fund Lyndsay Urquhart p: Lyndsay Urquhart, Alison Page,

d/w: Lyndsay Urquhart

8,000

Fly In f*ck Off Daniel King d/w: Daniel King 8,000

Guardians of the Country Ramu Productions Pty Ltd p: Jodie Bell, d: Bessy-May Taylor,

w: Gary Hamaguchi

8,000

No Fracking Way CAAMA Productions Pty Ltd p: Viviana Petyarre,

d/w: Levina Letchford

8,000

Point of No Return Jarndoo Media p/w: Luke Riches, d: Daniel Riches,

ep: Dan Brown

8,000

Saving Seagrass Ramu Productions Pty Ltd p: Jodie Bell, d: Bessy-May Taylor,

w: Gary Hamaguchi

130,000

Shark Dreaming Ashley Raymond Gibb t/a Side Tracked TV

Multimedia Productions

d/w: Ashley Gibb 8,000

Voyage of the Southern Sun MGS Group Pty Ltd t/a Spectre Films Presents p/ep: Michael Smith AKA James Busby, d/w: Robert Murphy

72,797

The Wanderers Life of Jess Productions Pty Ltd p: Jessica Holsman, Laura Clelland,

Sandra Makaresz, Elle Croxford, d: Laura Clelland, w: Laura Clelland, Elle Croxford, Sandra Makaresz, Jessica Holsman

25,125

Warburdar Bununu - Water Shield Van Vuuren Bros Pty Ltd d: Connor Van Vuuren, w: Christiaan Van

Vuuren, Adele Vuko

41,000

What Could Go Wrong? LateNite Films Pty Ltd p: Chris Hocking, d/w: Michael Shanks 53,400

Who Killed Belinda Peisley? Evershine Pty Ltd p/d/w/ep: Helen Barrow 96,000

The Woman and the Car Felix Media Pty Ltd p: Bridget Ikin, d: Kate Blackmore 55,015

Total Producer Equity Program 3,355,207

TOTAL DOCUMENTARY 15,589,442

89

Shark Dreaming Chili Films Pty Ltd p: Penelope McDonald, d/w: Ashley Gibb 140,000

Silent Killer of the Great Barrier Reef Whitelight Film And Video Productions Pty Ltd p/w: Ian Ludwick, d: Douglas Watkin, ep:Tony Gordon

1,200

Warburdar Bununu - Water Shield (working title) Brown Cab Productions Pty Ltd t/a Brown Cabs

p: John Harvey, d/w: Jason De Santolo 140,000

Total Indigenous Documentary Initiative - State of Alarm 459,200

Indigenous Short Drama Initiative - Shock Treatment

Title Production company Producer (p), director (d), writer (w),

executive producer (ep)

Amount

Shock Treatment - Don’t Feed the Animals Joshua Sambono t/a Bright Llama Productions

w: Joshua Sambono 1,000

Shock Treatment - FOE Liam Phillips w: Liam Phillips 1,000

Shock Treatment - Got ya... Got ya... Now I’m Gonna Kill Ya Simone Saunders w: Simone Darwina Saunders 1,000

Shock Treatment - Killer Native Bjorn Stewart d/w: Bjorn Stewart 1,000

Shock Treatment - The Shore Perun Bonser w: Perun Bonser 1,000

Shock Treatment - Vale Light Rob Braslin w: Rob Braslin 1,000

Total Indigenous Short Drama Initiative - Shock Treatment 6,000

Indigenous Feature Development

Title Production company Producer (p), director (d), writer (w),

executive producer (ep)

Amount

Carnage Tamarind Tree Pictures Pty Ltd p: David Jowsey, d/w: Steven McGregor 14,000

Ginderella Kalori Productions Pty Ltd p: Gillian Moody, d/w: Adrian Wills,

ep: David Jowsey

29,000

The Winter Men Adrian Wills d/w: Adrian Wills 16,000

Yarrabah Yarrabah Films Pty Ltd p: Ian Ludwick, Tim Sanders,

w: Kodie Bedford, Ross Grayson Bell

38,000

Total Indigenous Feature Development 97,000

Indigenous TV Drama Development

Title Duration Production company Producer (p), director (d), writer (w),

executive producer (ep)

Amount

Black Bitch 6 x 60 Blackfella Films Pty Ltd p: Darren Dale, Miranda Dear, d: Rachel

Perkins, w: Jada Alberts, Andrew Knight 35,000

Fighting Game (working title) 5 x 12 FremantleMedia Australia

Pty Ltd

p: Shay Spencer, d/w: Darlene Johnson, ep: Jo Porter 16,908

Lustration 8 x 56 TwoPointZero Productions

Pty Ltd

p/w: Ryan Griffen 15,000

Preppers 6 x 30 Porchlight Films Pty Ltd p: Liz Watts, Sylvia Warmer,

w: Nakkiah Lui, Gabriel Dowrick

35,000

The Sydney Project (working title) 4 x 60 Blackfella Films Pty Ltd p: Darren Dale, Miranda Dear, d: Rachel Perkins, w: Kim Scott 30,552

Yellow Water 13 x 12 Tamarind Tree Pictures

Pty Ltd

p: Danielle MacLean, Anna Grieve, w: Danielle MacLean, Steven McGregor 35,000

Total Indigenous TV Drama Development 167,460

Indigenous TV Drama Production

Title Duration Production company Producer (p), director (d), writer (w),

executive producer (ep)

Amount

Shock Treatment (working title) 5 x 15 Noble Savage Pictures

Pty Ltd

p: Majhid Heath, d: Bjorn Stewart, Perun Bonser, Kodie Bedford

499,997

Total Indigenous TV Drama Production 499,997

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Indigenous Practitioner Support

Indigenous Internships

Participant Applicant Amount

Darlene Johnson The Heights - Attachment 8,000

Dena Curtis See Saw Productions Pty Ltd - Attachment 10,000

Elliana Lawford GTTC Production Pty Ltd - Top End Wedding - Attachment 12,500

Heath Baxter GTTC Production Pty Ltd - Top End Wedding - Attachment 12,500

Jub Clerc Mystery Road Series - Attachment 5,000

Rachael Chisholm GTTC Production Pty Ltd - Top End Wedding - Attachment 12,500

Sean Bahr-Kelly GTTC Production Pty Ltd - Top End Wedding - Attachment 12,500

Shakara Walley Matchbox Pictures Pty Ltd - Internship Producer Program 10,000

Total Indigenous Internships 83,000

Indigenous Online Production

Title Production company Producer (p), director (d), writer (w),

executive producer (ep)

Amount

Anchoring Mob Shakara Rose Walley p/w: Shakara Walley, d: Kelli Cross 200,000

Bush Tucker Bunjee at the Gold Coast JETZAK Pty Ltd - Development p: E.J. Garrett, d: Ben Southwell, w: Ben Southwell, Gabriel Willie

10,000

The Chance Affair (variation) Noble Savage Pictures Pty Ltd p: Majhid Heath, d/w: Steven Oliver 4,000

Kutcha’s Koorioke Carpool Brown Cab Productions Pty Ltd p: John Harvey, Danielle MacLean,

Anna Grieve, d/w: John Harvey

200,000

Straight Out of the Straits Lone Star Company Pty Ltd p: Sylvia Tabua, Aaron Fa’aoso, d:

Shanice Tabua, Jimi Bani, w: Jimi Bani, Sylvia Tabua, ep: Aaron Fa’aoso

74,000

Total Indigenous Online Production 488,000

Indigenous Sector Development

Marketing Support - Indigenous

Project Applicant Amount

After the Apology Pursekey Productions Pty Ltd 20,000

Sweet Country Sweet Country Films Pty Ltd 180,000

Total Marketing Support - Indigenous 200,000

Event Partnership - Indigenous

Project Event Amount

First Nations Showcase Sydney Film Festival 25,000

Pitcha’s After Dark Cairns Indigenous Art Fair 10,000

Total Event Partnership - Indigenous 35,000

Screen Business - Indigenous

Project Applicant Amount

Bunya Business Growth BUNYA Productions Pty Ltd 150,000

Inkey - Screen Business Inkey Media Pty Ltd 90,000

NCM Business Strategy No Coincidence Media 90,000

Noble Savage Pictures Multi-year Capacity Building Proposal Noble Savage Pictures Pty Ltd 90,000

Tahlee Productions Business Planning Proposal Tahlee Productions Pty Ltd 20,000

Tamarind Tree Pictures Business Development Tamarind Tree Pictures 90,000

Typecast Business and Project Development Typecast Entertainment 20,000

Total Screen Business - Indigenous 550,000

91

Indigenous Travel Support

Festivals and Awards

Applicant Event Amount

Bain Stewart Cannes Marche Du Film 2018 5,650

Bernard Namok, Danielle MacLean ImagineNative Film and Arts Festival 6,000

Bjorn Stewart ImagineNative Film and Arts Festival 3,000

Catriona McKenzie 37°South Market 2,500

Darren Dale Content London 2017 5,983

David Tranter, Warwick Thornton Content London 2017 12,000

Edoardo Crismani 50th Annual AWGIE Awards 2,719

Gillian Moody Queer Screen 25th Sydney Mardi Gras International Film Festival 2,000

Giovanni De Santolo 53rd Karlovy Vary International Film Festival 6,000

Ian Ludwick 37°South Market 2,930

Jodie Bell ImagineNative Film and Arts Festival 3,000

John Harvey ImagineNative Film and Arts Festival 3,400

Kimberley West ImagineNative Film and Arts Festival 3,000

Kodie Bedford ImagineNative Film and Arts Festival 3,000

Majhid Heath VidCon 1,750

Majhid Heath ImagineNative Film and Arts Festival 3,200

Nakkiah Lui Series Mania 6,000

Perun Bonser ImagineNative Film and Arts Festival 3,680

Steven Oliver VidCon 1,750

Total Indigenous Festivals and Awards 77,562

Indigenous - Special Industry Assistance

Description Amount

Indigenous Developing the Developer Workshop 6,866

Indigenous Department 25th Anniversary of Indigenous Screen Stories

2,380

Indigenous Recording Project 44,749

Indigenous Strategic Reference Group 101,850

Shock Treatment Workshop 8,751

State of Alarm Workshop 49,699

Total Indigenous - Special Industry Assistance 214,295

TOTAL INDIGENOUS 3,326,114

APPENDIX 3

Screen Australia 2017/18

92

BUSINESS & AUDIENCE

Australian Festivals, Special Events & Conferences

Event Applicant Amount

2018 AIDC Australian International Documentary Conference Limited 75,000

7th AACTA Awards Australian Film Institute 391,666

Adelaide Film Festival 2017 Adelaide Film Festival 65,000

Antenna Documentary Film Festival 2017 Screen Culture Association Inc 15,000

Canberra International Film Festival 2017 Canberra International Film Festival 2017 17,000

Experimental Make Sense: International Triennial of Media Art Experimenta Media Arts Inc 50,000

Flickerfest 2018 National Tour Flickerfest Pty Ltd 50,000

Flickerfest 27th International Festival Flickerfest Short Film Festival 35,000

Little Big Shots: Australia’s International Film Festival for Kids Petite Grand Kaboom Ltd 10,000

Melbourne Cinematheque 2018 Melbourne Cinémathèque Inc 22,000

MIAF 2018 Melbourne International Animation Melbourne Animation Posse 23,500

MIFF 2018 and Accelerator Program Filmfest Limited 95,000

MIFF 37°South Market Filmfest Limited 37,000

Monster Fest 2018 Monster Pictures Enterprises Pty Ltd 15,000

The Other Film Festival 2018 Arts Access Society Inc 15,000

Screen Culture NT 2018 Northern Territory of Australia 30,000

ScreenWest Screen Culture 2018 Screenwest (Australia) Limited 50,000

St Kilda Film Festival 2018 Port Phillip City Council 30,000

Sydney Film Festival and Travelling Film Sydney Film Festival 145,000

Tropfest 26 Tropfest Australia Limited 35,000

Total Australian Festivals, Special Events & Conferences 1,206,166

P&A Plus

Title Applicant Amount

Ali’s Wedding Madman Entertainment Pty Ltd 20,000

The BBQ Label Distribution Pty Ltd 10,000

Brother’s Nest Label Distribution Pty Ltd 50,000

China Love Demand Film Pty Ltd 20,000

Sweet Country Transmission Films Pty Ltd 117,000

Swinging Safari Becker Film Group Pty Ltd 200,000

Three Summers Transmission Films Pty Ltd 30,000

Total P&A Plus 537,000

International Marketing - Festivals & Awards

Event Project Type Applicant Amount

2018 SXSW Conference and Festivals Brother’s Nest (Feature) Jason Byrne Productions Pty Ltd 15,000

2018 SXSW Conference and Festivals Asian Girls (Short) Christine Chung 4,452

2018 SXSW Conference and Festivals Awake: Episode One (TV Drama) Start VR Pty Ltd 5,550

2018 SXSW Conference and Festivals Upgrade (Feature) Goalpost Pictures Australia Pty Ltd 5,000

2018 SXSW Conference and Festivals Rone (Documentary) Lester Jerome Francois t/a Studio

Bento

6,000

38th Annual Emmys® for News & Documentary Awards Only the Dead (Documentary) Wolfhound Pictures Pty Ltd 10,000

93

74th Venice Film Festival The Knife Salesman (Short) James Kristian Helmer 9,000

90th Academy Awards® The Eleven O’Clock (Short) The Finch Company Pty Ltd 10,000

Berlin International Film Festival Other People’s Problems (TV Drama) Seymour Films Pty Ltd 5,872

Berlin International Film Festival Gurrumul (Documentary) 6 Seasons Productions Pty Ltd 12,782

Berlin International Film Festival Tangles and Knots (Short) Paper Moose Pty Ltd 5,813

Berlin International Film Festival Paper Crane (Interactive) Takumi Kawakami 6,667

Berlin International Film Festival Lost & Found (Short) Wabi Sabi Studios Pty Ltd 6,000

Berlin International Film Festival f*cking Adelaide (TV Drama) Closer Productions Pty Ltd 5,623

Berlin International Film Festival Picnic at Hanging Rock (TV Drama) FremantleMedia Australia Pty Ltd 15,000

Berlin International Film Festival A Field Guide to Being a 12 Year Old Girl (Short) Tilly Cobham-Hervey 1,450

Busan International Film Festival Pulse (Feature) Stephanie Cruz-Martin 8,000

Cannes Film Festival Dots (Short) Eryk Lenartowicz 6,000

Cannes Film Festival All These Creatures (Short) Simpatico Films Pty Ltd 10,000

Cinemart - Rotterdam International Film Festival 2018 I’m Not Comfortable in This Family (Interactive)

Left-Handed Productions Pty Ltd 3,000

Clermont-Ferrand International Short Film Festival Re-vue (Short) Dirk de Bruyn 3,500

Hot Docs 2018 I Used to be Normal - A Boyband Fangirl

Story (Documentary)

Thaumatrope Pty Ltd trading as Over Here Productions 7,000

Prix Jeunesse International 2018 First Day (TV Drama) Epic Films Pty Ltd 5,000

Sitges International Fantastic Film Festival Rabbit (Feature) Projector Films Pty Ltd 12,857

Sitges International Fantastic Film Festival Sheborg (Feature) Daniel R Armstrong 4,475

Sitges International Fantastic Film Festival Last Tree Standing (Short) ZPM Film Pty Ltd 5,000

Sitges International Fantastic Film Festival Creeper (Short) Andrew Kenneth Macdonald 6,000

Sundance Film Festival Mr Inbetween (TV Drama) Mr. Inbetween Pty Ltd 18,250

Sundance Film Festival Claire McCarthy Project (Feature) Denaire Motion Pictures 3,000

Sundance Film Festival Summation of Force (Interactive) Jumpgate VR 10,000

Telluride Film Festival Tomorrow, and tomorrow, and tomorrow

(Short)

Sunday Emerson Gullifer 4,588

Toronto International Film Festival 1% (Feature) Ticket to Ride Pty Ltd 15,000

Toronto International Film Festival The Butterfly Tree (Feature) Midwinter Films Pty Ltd 15,000

Toronto International Film Festival Cocaine Prison (Documentary) UNF Pty Ltd 14,004

Toronto International Film Festival Breath (Feature) Breath Films Pty Ltd 15,730

Toronto International Film Festival - Kids Everyone, on the Bus! Transforming the Industry Through Inclusive Filmmaking

(Short)

Bus Stop Films Ltd 4,500

Tribeca Film Festival Island of the Hungry Ghosts

(Documentary)

Alex Kelly 13,000

Venezia 74. Mostra Internazionale d’Arte Cinematografica Sweet Country (Feature) Bunya Productions Pty Ltd 25,000

Venice International Film Festival West of Sunshine (Feature) Exile Productions Pty Ltd 20,000

Venice International Film Festival Strange Colours (Feature) Laurie Lodkina Wall Pty Ltd 15,345

Total International Marketing - Festivals & Awards 368,408

APPENDIX 3

Screen Australia 2017/18

94

International Marketing - Markets

Event Production Company Amount

Berlinale Talents Lucy Gaffy 3,000

Berlinale Talents Amie Louisa Batalibasi 3,000

Berlinale Talents Pia Camille Borg 2,500

Cannes Film Market Aquarius Films Pty Ltd 6,000

Cannes Film Market Maker Investment Partners Pty Ltd 6,000

Cannes Film Market Thumper Pictures Pty Ltd 6,000

Cannes Film Market Causeway Films HQ Pty Ltd 6,000

Cannes Film Market No Coincidence Media Pty Ltd 6,000

Cannes Film Market We are Arcadia Pty Ltd t/a Arcadia 6,000

Cannes Film Market Bunya Productions Pty Ltd 5,985

Cannes Film Market Australian Film Pty Ltd t/a Screeenlaunch 6,000

Content London Porchlight Films Pty Ltd 5,000

Content London Elise McCredie 4,722

Content London Christopher Corbett 3,000

Content London Elizabeth Doran 5,000

Content London Jane Allen 5,000

Content London Kojo Productions Pty Ltd 5,000

Content London Subtext Pictures Pty Ltd 5,000

Content London Goalpost Pictures 5,000

Content London Bob Pictures Pty Ltd 1,000

Content London Vanessa Alexander Pty Ltd 2,090

Content London Jungle FTV Pty Ltd 5,000

Content London Roadshow Productions Pty Ltd t/a Roadshow Rough Diamond 5,000

Content London More Sauce 3,500

Cross Video Days Sean O’Reilly 6,000

EFM Epic Films Pty Ltd 5,000

EFM Projector Films Pty Ltd 5,000

EFM Majhid Heath 5,000

EFM Deadhouse Films Pty Ltd 5,000

EFM Midwinter Films Pty Ltd 5,000

EFM Pursekey Productions Pty Ltd 5,000

EFM Isaac Wall 5,000

Hot Docs Anna Mariko Broinowski 4,863

Hot Docs Pursekey Productions Pty Ltd 4,200

Hot Docs Media Stockade Two Pty Ltd 5,000

Hot Docs Jeff Michael Daniels t/a Common Room Productions 5,000

Hot Docs Daniel Louis Joyce 5,000

Hot Docs Pia Borg 3,000

MIP Digital Short Form Series Pitch Natalie Erika James 4,800

MIPTV Common Language Films Pty Ltd 5,000

Strategic Partners Stephen McCallum Pty Ltd 5,000

Talent USA Channel Plarb Pty Ltd 5,000

95

Talent USA Common Language Films Pty Ltd 5,000

Talent USA Stephen McCallum Pty Ltd 5,000

Talent USA Channel Plarb Pty Ltd 5,000

Talent USA Billie May Armstrong-Pleffer 5,000

Talent USA Miley Tunnecliffe 5,000

Talent USA Kacie Anning 5,000

Talent USA Dylan River Glynn McDonald 5,000

Talent USA Alice Englert 5,000

Talent USA Catherine Smyth-McMullen 5,000

Talent USA Ryan van Dijk 5,000

TIFF Talent Lab Sara Kern 4,500

World Congress of Science and Factual Producers Daniel Joyce 4,500

World Congress of Science and Factual Producers Essential Media and Entertainment Pty Ltd 4,500

World Congress of Science and Factual Producers Genepool Productions Pty Ltd 4,500

World Congress of Science and Factual Producers WildPacific Media Pty Ltd 4,500

World Congress of Science and Factual Producers WildBear Entertainment Pty Ltd 4,500

World Congress of Science and Factual Producers DNX Pty Ltd 4,500

Total International Marketing - Markets 280,160

Industry Partnerships

Title Applicant Amount

2018 World Congress of Science and Factual Producers World Congress of Science and Factual Producers Ltd 50,000

ABC ‘Your Time’ TV Cadetships Australian Broadcasting Corporation 50,000

Accelerator TV POD ACT Screen Industry Association Limited 27,250

Cli-fi: Big Ideas for the Small Screen Jungle FTV Pty Ltd 12,000

International Women’s Day Screening Regal Cinema 2,000

Mentor LA Australians in Film 50,000

The Australians in Film Foundation Awards and Benefit Dinner Australians in Film 38,000

TropNest Tropfest Australia Limited 50,000

WA Online Workshop Screenwest (Australia) Ltd 15,000

Total Industry Partnerships 294,250

Enterprise Ideas

Title Applicant Amount

Behind Closed Doors Curious Works 238,500

CAAMA Enterprise Business Planning CAAMA Productions Pty Ltd 20,000

Evolution Northern Rivers Screenworks Inc 255,345

Guesswork Global Development and Distribution Strategy Guesswork Television Pty Ltd 350,000

Made Up Stories Australia Made Up Stories Pty Ltd 350,000

Regional Screen Activation Program Film Outreach Australia Pty Ltd 100,000

VR Artist Residency Start VR Pty Ltd 170,000

Total Enterprise Ideas 1,483,845

APPENDIX 3

Screen Australia 2017/18

96

Enterprise People

Title Applicant Amount

Ben Crisp placement Epic Films Pty Ltd 140,000

Briege Whitehead placement RVP Investments WA Pty Ltd 100,000

Charlotte McConaghy placement Wyld FGA Pty Ltd t/a Clandestine Television 140,000

Daniel Schultz placement Ludo Studio Pty Ltd 100,000

Jodie Bell placement Ramu Productions Pty Ltd 140,000

Kristy Fuller placement 1440 Productions Pty Ltd 46,500

Martine Delaney placement Roar Film Pty Ltd 65,000

Matthew C Vaughan - CineStory TV / Digital Retreat Matthew C. Vaughan 3,800

Melissa Sawyer placement Blacklab Entertainment 140,000

Paul Moran placement Blue Rocket Productions Pty Ltd 127,000

Paul Oliver placement Film Camp Pty Ltd 5,000

Rachele Wiggins placement Deadhouse Films Pty Ltd 140,000

Samantha Dinning placement Film Camp Pty Ltd 140,000

Tim Marshall placement RaMar Productions 7,980

Tosca Looby placement Eye Spy Productions Pty Ltd t/a Northern Pictures 138,500

Total Enterprise People 1,433,780

State & Industry Partnership - Key Guild

Title Applicant Amount

AWG Core Program Yr 1 of 3 Australian Writers’ Guild Ltd 60,000

ADG Triennial Yr 1 of 3 Australian Directors Guild Ltd 60,000

SPA Triennial Funding Yr 1 of 3 Screen Producers Australia 114,000

Total State & Industry Partnership - Key Guild 234,000

Marketing - Special Industry Assistance

Activity Amount

International Market Activity 430,733

International Festival Visitor Program 41,013

Strategic Projects - Domestic 46,662

Strategic Projects - International 221,326

Audits 28,003

DFAT 20,914

Total Marketing - Special Industry Assistance 788,651

TOTAL BUSINESS & AUDIENCE 6,626,260

97

This is a select list of Screen Australia-supported documentaries, features, shorts and television drama that have received accolades at key film festivals and events both locally and overseas.

The list includes projects that have received investment at development, production or post-production stages from Screen Australia or its predecessor agencies. Awards won by projects receiving Screen Australia marketing support only are included where funding was provided related to the film festival or event where these awards were won.

Documentaries - Features

After the Apology Australian Directors Guild Best Direction of a Documentary Feature Film - Larissa Behrendt

The Backtrack Boys Sydney Film Festival Audience Award for Best Documentary Top Five

Blue Australian Academy of Cinema

and Television Arts

Best Cinematography in a Documentary

Casting JonBenet Australian Academy of Cinema

and Television Arts

Best Feature Length Documentary

Ghosthunter Sydney Film Festival Documentary Australia Foundation Award

‘I Used to be Normal’: A Boyband Fangirl Story Sydney Film Festival Audience Award for Best Documentary Top Five

Jill Bilco*ck: Dancing the Invisible Adelaide Film Festival

Sydney Film Festival

Audience Award - Best Documentary

Audience Award for Best Documentary Top Five

Oyster Sydney Film Festival Audience Award for Best Documentary Top Five

Teach a Man to Fish Sydney Film Festival Audience Award for Best Documentary Top Five

Whiteley Australian Academy of Cinema

and Television Arts

Best Direction in a Documentary

Best Editing in a Documentary

Best Sound in a Documentary

Best Original Music Score in a Documentary

Documentaries - Series

Streets of Your Town - Episode 2 AWGIE Awards Documentary - Public Broadcast or Exhibition

The Surgery Ship Australian Directors Guild Best Direction of a Documentary Series - Alex Barry

War on Waste series 1 Australian Academy of Cinema and Television Arts Best Documentary Television Program

Documentaries - Shorts

A Field Guide to Being a 12-Year-Old Girl

Berlin International Film Festival Crystal Bear - Best Short Film by the Youth Jury, Generation KPlus

Documentaries - Telemovies

Deep Water AWGIE Awards Television - Telemovie or Miniseries

Appendix 4

Awards

APPENDIX 4

Screen Australia 2017/18

98

Features

Ali’s Wedding Melbourne International Film Festival

CinefestOZ

Australian Academy Cinema Television Arts

The Age Critics Award

CinefestOZ Film Prize

Best Original Screenplay

Breath Australian Directors Guild Best Direction of a Feature Film - Simon Baker

Hounds of Love Australian Academy of Cinema

and Television Arts

Best Lead Actress

Lion AWGIE Awards

Australian Academy of Cinema and Television Arts

Feature Film - Adaption

Best Film Presented by Foxtel

Best Direction

Best Lead Actor

Best Supporting Actor

Best Supporting Actress

Best Adapted Screenplay

Best Cinematography

Best Editing

Best Sound

Best Original Score

Best Production Design

Best Costume Design

Sweet Country Venice International Film Festival

Toronto International Film Festival

Adelaide International Film Festival

Asia Pacific Screen Awards

Sydney Film Festival

Special Jury Prize

Platform Prize

Audience Award - Best Feature

Best Feature Film

The Sydney-UNESCO City of Film Award - Warwick Thornton

Shorts

Coat of Arms St Kilda Film Festival Best Achievement in Cinematography - Warwick Thornton

Best Achievement in Indigenous Filmmaking

Fancy Boy - Three Wishes AWGIE Awards Comedy - Sketch or Light Entertainment

Fysh St Kilda Film Festival Best Original Score - Michael Yezerski

Let’s See How Fast This Baby Will Go Melbourne International Film Festival Swinburne Award and Emerging Australian Filmmaker

Lost Property Office Melbourne International Film Festival

Australian Academy of Cinema and Television Arts

St Kilda Film Festival

Special Jury Mention

Best Short Animation

Best Animation

Best Short Film

Melon Grab Flickerfest John Barry Award for Best Cinematography

in an Australian Short Film

Television - Series/Mini-series

Blue Murder: Killer Cop Australian Academy of Cinema and Television Arts Best Costume Design in Television

Cleverman series 1 Australian Academy of Cinema

and Television Arts

Best Hair and Makeup

Little Lunch series 2 International Emmy® Kids Awards

Australian Academy of Cinema and Television Arts

Kids: TV Movie/Mini-Series - Nomination

Best Children’s Television Series

Mustangs FC series 1 Australian Directors Guild Esben Storm Award For Best Direction of A Children’s TV or SVOD

Drama - Fiona Banks

Rosehaven series 1 AWGIE Awards Comedy - Situation or Narrative Best Performance in a Television

Comedy

99

Seven Types of Ambiguity AWGIE Awards

Australian Academy of Cinema and Television Arts

Television - Series or Miniseries

Best Lead Actor in a Television Drama

Best Direction in a Television Drama or Comedy

Best Screenplay in Television

Best Cinematography in Television

Best Editing in Television

Sunshine Australian Academy of Cinema

and Television Arts

Australian Directors Guild

Best Telefeature or Mini Series

Best Direction of a TV or SVOD Mini Series - Daina Reid

This is Desmondo Ray! Australian Directors Guild Best Direction of an Animated Project - Steve Baker

Wake in Fright Australian Academy of Cinema

and Television Arts

Best Sound in Television Best Original Music Score in Television

Wanted series 1 International Emmy® Awards Drama Series - Nomination

Online

RackaRacka: Live Australian Academy of Cinema

and Television Arts

Best Online Video or Series

Small Town Hackers Australian Directors Guild Best Direction for an Online Comedy Project - Henry Inglis

APPENDIX 4

Screen Australia 2017/18

100

Producer Offset Certification

Certificates issued in 2017/18

Provisional Final

Number Number Offset value ($m)

Features 80 50 67.08

Non-feature documentaries 49 61 18.65

TV and other 46 51 68.58

Total 175 162 154.31

Certificates issued in 2016/17

Provisional Final

Number Number Offset value ($m)

Features 58 54 143.01

Non-feature documentaries 60 49 13.35

TV and other 50 33 43.48

Total 168 136 199.84

Co-production Approvals

Nine provisional approvals were granted by Screen Australia during 2017/18. (Not all projects which receive provisional approval enter production)

Title Format Co-production partner

100 Days to Victory Documentary Canada

Animals Feature Ireland

The Deep season 3 Television Canada

Drain the Oceans Documentary United Kingdom

Drop Dead Weird season 2 Television Ireland

Legend of Sun and Moon Feature China

Lost in Australia Feature China

Slam Feature France

The Whistleblower Feature China

Five final approvals were issued, as follows:

Title Format Co-production partner

Beat Bugs Television Canada

Cleverman season 2 Television New Zealand

The Deep season 2 Television Canada

Drop Dead Weird Television Ireland

Spookers Documentary New Zealand

Appendix 5

Producer Offset and Co-production statistics

101

Riot

102

GPO Box 707 CANBERRA ACT 2601 19 National Circuit BARTON ACT Phone (02) 6203 7300 Fax (02) 6203 7777

INDEPENDENT AUDITOR’S REPORT

To the Minister for the Arts

Opinion

In my opinion, the financial statements of Screen Australia for the year ended 30 June 2018:

(a) comply with Australian Accounting Standards - Reduced Disclosure Requirements and the Public Governance, Performance and Accountability (Financial Reporting) Rule 2015; and

(b) present fairly the financial position of Screen Australia as at 30 June 2018 and its financial performance and cash flows for the year then ended.

The financial statements of Screen Australia, which I have audited, comprise the following statements as at 30 June 2018 and for the year then ended:

 Statement by the Accountable Authority, Chief Executive and Chief Financial Officer;  Statement of Comprehensive Income;  Statement of Financial Position;  Statement of Changes in Equity;  Cash Flow Statement; and  Notes to the financial statements, comprising a Summary of Significant Accounting Policies and

other explanatory information.

Basis for Opinion

I conducted my audit in accordance with the Australian National Audit Office Auditing Standards, which incorporate the Australian Auditing Standards. My responsibilities under those standards are further described in the Auditor’s Responsibilities for the Audit of the Financial Statements section of my report. I am independent of Screen Australia in accordance with the relevant ethical requirements for financial statement audits conducted by the Auditor-General and his delegates. These include the relevant independence requirements of the Accounting Professional and Ethical Standards Board’s APES 110 Code of Ethics for Professional Accountants (the Code) to the extent that they are not in conflict with the Auditor-General Act 1997. I have also fulfilled my other responsibilities in accordance with the Code. I believe that the audit evidence I have obtained is sufficient and appropriate to provide a basis for my opinion.

Director’s Responsibility for the Financial Statements

As the Accountable Authority of Screen Australia the Directors are responsible under the Public Governance, Performance and Accountability Act 2013 for the preparation and fair presentation of annual financial statements that comply with Australian Accounting Standards - Reduced Disclosure Requirements and the rules made under that Act. The Directors are also responsible for such internal control as is necessary to enable the preparation and fair presentation of financial statements that are free from material misstatement, whether due to fraud or error.

In preparing the financial statements, the Directors are responsible for assessing Screen Australia’s ability to continue as a going concern, taking into account whether the entity’s operations will cease as a result of an administrative restructure or for any other reason. The Directors are also responsible for disclosing matters related to going concern as applicable and using the going concern basis of accounting unless the assessment indicates that it is not appropriate.

Auditor’s Responsibilities for the Audit of the Financial Statements

My objective is to obtain reasonable assurance about whether the financial statements as a whole are

103

free from material misstatement, whether due to fraud or error, and to issue an auditor’s report that includes my opinion. Reasonable assurance is a high level of assurance, but is not a guarantee that an audit conducted in accordance with the Australian National Audit Office Auditing Standards will always detect a material misstatement when it exists. Misstatements can arise from fraud or error and are considered material if, individually or in the aggregate, they could reasonably be expected to influence the economic decisions of users taken on the basis of the financial statements.

As part of an audit in accordance with the Australian National Audit Office Auditing Standards, I exercise professional judgement and maintain professional scepticism throughout the audit. I also:

 identify and assess the risks of material misstatement of the financial statements, whether due to fraud or error, design and perform audit procedures responsive to those risks, and obtain audit evidence that is sufficient and appropriate to provide a basis for my opinion. The risk of not detecting a material misstatement resulting from fraud is higher than for one resulting from error, as fraud may involve collusion, forgery, intentional omissions, misrepresentations, or the override of internal control;

 obtain an understanding of internal control relevant to the audit in order to design audit procedures that are appropriate in the circ*mstances, but not for the purpose of expressing an opinion on the effectiveness of the entity’s internal control;  evaluate the appropriateness of accounting policies used and the reasonableness of accounting

estimates and related disclosures made by the Accountable Authority;  conclude on the appropriateness of the Accountable Authority’s use of the going concern basis of accounting and, based on the audit evidence obtained, whether a material uncertainty exists related to events or conditions that may cast significant doubt on the entity’s ability to continue as a going

concern. If I conclude that a material uncertainty exists, I am required to draw attention in my auditor’s report to the related disclosures in the financial statements or, if such disclosures are inadequate, to modify my opinion. My conclusions are based on the audit evidence obtained up to the date of my auditor’s report. However, future events or conditions may cause the entity to cease to continue as a going concern; and  evaluate the overall presentation, structure and content of the financial statements, including the

disclosures, and whether the financial statements represent the underlying transactions and events in a manner that achieves fair presentation.

I communicate with those charged with governance regarding, among other matters, the planned scope and timing of the audit and significant audit findings, including any significant deficiencies in internal control that I identify during my audit.

Australian National Audit Office

Kristian Gage Executive Director

Delegate of the Auditor-General

Canberra

27 August 2018

FINANCIAL STATEMENTS

Screen Australia 2017/18

104

Screen Australia Financial Statements for the year ended 30 June 2018

Statement by the accountable authority, Chief Executive, and Chief Financial Officer

In our opinion, the attached financial statements for the year ended 30 June 2018 comply with subsection 42(2) of the Public Governance, Performance and Accountability Act 2013 (PGPA Act), and are based on properly maintained financial records as per subsection 41(2) of the PGPA Act.

In our opinion, at the date of this statement, there are reasonable grounds to believe that Screen Australia will be able to pay its debts as and when they fall due.

This statement is made in accordance with a resolution of the directors.

Nicholas Moore Graeme Mason Richard Nankivell

Chair Chief Executive Officer Chief Financial Officer

27 August 2018 27 August 2018 27 August 2018

105

Notes

2018 $’000

2017 $’000

Original Budget $’000

NET COST OF SERVICES

Expenses

Employee benefits 1.1A 12,090 11,663 12,860

Suppliers 1.1B 6,458 6,789 7,466

Grants 1.1C 32,591 35,504 31,760

Depreciation and amortisation 2.2A 897 750 900

Finance costs 1.1D 4 4 4

Write-down and impairment of assets 1.1E 40,632 40,527 36,850

Total expenses 92,672 95,237 89,840

Own-source income

Own-source revenue

Sale of goods and rendering of services 1.2A 226 228 160

Interest 1.2B 2,161 2,327 2,175

Other revenue 1.2C 6,012 6,316 5,000

Total own-source revenue 8,399 8,871 7,335

Gains

Asset Sales 1.2D 2 - -

Reversal of write-downs and impairment 1.2E 2,450 1,966 657

Total gains 2,452 1,966 657

Total own-source income 10,851 10,837 7,992

Net cost of services (81,821) (84,400) (81,848)

Revenue from Government 1.2F 81,848 84,437 81,848

Surplus 27 37 -

OTHER COMPREHENSIVE INCOME

Total other comprehensive income - - -

Screen Australia Statement of Comprehensive Income for the year ended 30 June 2018

The above statement should be read in conjunction with the accompanying notes.

FINANCIAL STATEMENTS

Screen Australia 2017/18

106

Notes

2018 $’000

2017 $’000 Original Budget $’000

ASSETS

Financial assets

Cash and cash equivalents 2.1A 20,211 21,164 20,119

Trade and other receivables 2.1B 1,353 1,130 1,406

Other investments 2.1C 52,622 55,499 55,686

Total financial assets 74,186 77,793 77,211

Non-financial assets

Leasehold improvements 2.2A 1,923 2,008 1,623

Plant and equipment 2.2A 1,158 1,079 1,559

Computer software 2.2A 536 716 428

Other non-financial assets 2.2C 610 479 857

Total non-financial assets 4,227 4,282 4,467

Total assets 78,413 82,075 81,678

LIABILITIES

Payables

Suppliers 2.3A 1,185 442 440

Other payables 2.3B 2,418 2,433 1,631

Total payables 3,603 2,875 2,071

Employee provisions 3.1A 2,059 2,174 2,522

Other provisions 2.4A 55,008 59,310 59,406

Total provisions 57,067 61,484 61,928

Total liabilities 60,670 64,359 63,999

Net assets 17,743 17,716 17,679

EQUITY

Contributed equity 9,505 9,505 9,505

Reserves 45 45 45

Retained surplus 8,193 8,166 8,129

Total equity 17,743 17,716 17,679

Screen Australia Statement of Financial Position as at 30 June 2018

The above statement should be read in conjunction with the accompanying notes.

107

2018 $’000

2017 $’000

Original Budget $’000

CONTRIBUTED EQUITY

Opening balance

Balance carried forward from previous period 9,505 9,505 9,505

Closing balance as at 30 June 9,505 9,505 9,505

RETAINED EARNINGS

Opening balance -

Balance carried forward from previous period 8,166 8,129 8,129

Adjusted opening balance 8,166 8,129 8,129

Comprehensive income

Surplus for the period 27 37 -

Total comprehensive income 27 37 -

Closing balance as at 30 June 8,193 8,166 8,129

ASSET REVALUATION RESERVE

Opening balance

Balance carried forward from previous period 45 45 45

Adjusted opening balance 45 45 45

Closing balance as at 30 June 45 45 45

TOTAL EQUITY

Opening balance

Balance carried forward from previous period 17,716 17,679 17,679

Adjusted opening balance 17,716 17,679 17,679

Comprehensive income

Surplus for the period 27 37 -

Total comprehensive income 27 37 -

Closing balance as at 30 June 17,743 17,716 17,679

Screen Australia Statement of Changes in Equity for the year ended 30 June 2018

The above statement should be read in conjunction with the accompanying notes.

FINANCIAL STATEMENTS

Screen Australia 2017/18

108

Notes

2018 $’000

2017 $’000

Budget $’000

OPERATING ACTIVITIES

Cash received

Appropriations 11,394 13,983 11,394

Receipts from Government 70,454 70,454 70,454

Sale of goods and rendering of services 248 250 166

Interest 2,197 2,327 2,175

Royalties on film investments 5,624 6,425 5,000

Net GST received 7,502 7,668 8,000

Other 696 1,381 -

Total cash received 98,115 102,488 97,189

Cash used

Employees 12,111 11,835 12,818

Suppliers 7,220 7,142 8,213

Grants 41,705 41,583 34,936

Other 3,844 3,775 4,129

Total cash used 64,880 64,335 60,096

Net cash from operating activities 33,235 38,153 37,093

INVESTING ACTIVITIES

Cash received

Proceeds from sales of property, plant and equipment 4 1 -

Repayment of loans & investments 1,461 650 657

Proceeds from sales of financial instruments 182,291 206,235 210,000

Total cash received 183,756 206,886 210,657

Cash used

Purchase of property, plant and equipment 714 944 900

Purchase of financial instruments 179,415 205,601 210,000

Investments - film industry assistance 37,278 36,199 36,150

Loans - film industry assistance 537 1,250 700

Total cash used 217,944 243,994 247,750

Net cash (used by) investing activities (34,188) (37,108) (37,093)

Net (decrease)/increase in cash held (953) 1,045 -

Cash and cash equivalents at the beginning of the reporting period 21,164 20,119 20,119

Cash and cash equivalents at the end of the reporting period 2.1A 20,211 21,164 20,119

Screen Australia Cash Flow Statement for the year ended 30 June 2018

The above statement should be read in conjunction with the accompanying notes.

109

STATEMENT OF COMPREHENSIVE INCOME

EXPENDITURE

Employee benefits

Screen Australia’s average full-time staffing level for the year was lower than originally budgeted.

Suppliers

Screen Australia continually reviews its operations to minimise operating costs. Some operational projects and activities were rescheduled to the 2018/19 year to assist funding a number of high-quality and time-critical projects in the June 2018 Drama production round.

Grants / Write-down and impairment of assets

Screen Australia received additional revenue throughout the year and made savings in operational expenditure. This allowed Screen Australia to fund additional screen projects (grants and investments).

INCOME

Sale of goods and rendering of services

Screen Australia received additional revenue from Producer Offset application fees and its disbursem*nt administration service.

Other revenue

Screen Australia received additional recoupment revenue and corporate sponsorship than originally budgeted and a refund of overcharged utility charges.

Reversal of write-downs and impairment

Screen Australia was repaid more equity investments and loans than originally budgeted.

STATEMENT OF FINANCIAL POSITION

ASSETS

Cash & cash equivalents/Other investments

Screen Australia ensures that it has funds available to meet project drawdowns as they fall due. The level of cashand investments (and frequency of investment roll-overs) is dependant upon the rate at which screen projects meet their payment milestones.

Property, plant and equipment and intangibles

Whilst the overall value of property, plant and equipment assets was in line with budget, the individual breakdown between the classifications varied due to changes in planned capital expenditure.

Other non-financial assets

The level of prepaid expenditure for goods and services was lower than anticipated.

LIABILITIES

Suppliers

Screen Australia makes project milestone payments on a weekly basis. The level of suppliers is higher than anticipated as a large Screen Australia project milestone payment was processed in 2017/18 but not paid until 2 July 2018.

Other payables

Screen Australia is holding a higher than expected level of pre-paid revenue for co-funded projects . This will be recognised as revenue in future years when projects are approved.

Screen Australia Budget Variances Commentary

Employee provisions

Screen Australia actively manages staff leave entitlements to minimise employee provisions. The original budget included an overstated LSL liability that had accumulated since Screen Australia’s inception and this was corrected as at 30 June 2017.

Other provisions

Screen Australia makes direct funding payments when applicants meet agreed funding milestones. The level of provision is dependent upon the rate at which projects meet these milestones.

CASH FLOW STATEMENT

Sale of goods and rendering of services

Screen Australia received additional revenue from Producer Offset application fees and its disbursem*nt administration service.

Royalties from screen investments

Screen Australia received additional recoupment revenue than additionally budgeted. This includes GST and a large payment received in 2017/18 for revenue recognised in 2016/17.

Net GST received

The GST receivable was budgeted based on prior year actual revenue and expenditure. The amount of GST received depends on the amount of expenditure paid during the year and the GST status of the supplier.

Other

Screen Australia received additional corporate sponsorship than originally budgeted as well as a refund of overcharged utility charges.

Employee benefits

Screen Australia’s average full-time staffing level for the year was lower than originally budgeted.

Suppliers

Screen Australia continually reviews its operations to minimise operating costs. Some operational projects and activities were not undertaken or rescheduled and this allowed additional funds to be allocated for the June 2018 Drama production round.

Grants / Investments - screen industry assistance

The split between grant and investment funding is dependent on the total amount being funded. Grants are recognised for amounts of $500K or less and investments are recognised for amounts above this figure. The split between investments / grants provided during any given year is dependant on the project applications received during the year.

Repayment of loans and investments

Screen Australia was repaid more equity investments and loans than originally budgeted.

Proceeds from sales of financial instruments / Purchase of financial instruments

During the year, Screen Australia placed term deposits for a longer term than budgeted. This resulted in a reduction to the proceeds from sales of financial instruments and an equivalent reduction to the purchase of financial instruments.

FINANCIAL STATEMENTS

Screen Australia 2017/18

110

OVERVIEW

The Basis of Preparation

The financial statements are general purpose financial statements and are required by section 42 of the Public Governance, Performance and Accountability Act 2013.

The financial statements have been prepared in accordance with:

a) Public Governance, Performance and Accountability (Financial Reporting) Rule 2015 (FRR) for reporting periods ending on or after 1 July 2015, and

b) Australian Accounting Standards and Interpretations - Reduced Disclosure Requirements issued by the Australian Accounting Standards Board (AASB) that apply for the reporting period.

The financial statements have been prepared on an accrual basis and in accordance with the historical cost convention, except for certain assets and liabilities at fair value. Unless stated, no allowance is made for the effect of changing prices on the results or the financial position. The financial statements are presented in Australian dollars.

New Accounting Standards

All new/revised/amended standards and/or interpretations that were issued prior to the sign-off date and are applicable to the current reporting period did not have a material effect on Screen Australia’s financial statements.

Taxation

Screen Australia is exempt from all forms of taxation except Fringe Benefits Tax (FBT) and the Goods and Services Tax (GST).

Events After the Reporting Period

There was no significant event after the reporting period and before the signing of these statements that had the potential to significantly affect the ongoing structure and financial activities of Screen Australia.

OVERVIEW

NOTE 1: FINANCIAL PERFORMANCE

1.1: Expenses

1.2: Own-Source Revenue and Gains

NOTE 2: FINANCIAL POSITION

2.1: Financial Assets

2.2: Non-Financial Assets

2.3: Payables

2.4: Other Provisions

NOTE 3 : PEOPLE AND RELATIONSHIPS

3.1: Employee Provisions

3.2: Key Management Personnel Remuneration

3.3: Related Party Disclosures

NOTE 4: MANAGING UNCERTAINTIES

4.1: Financial Instruments

4.2: Fair Value Measurement

NOTE 5: OTHER INFORMATION

5.1: Assets Held in Trust

Screen Australia Notes to and Forming Part of the Financial Statements for the year ended 30 June 2018

111

NOTE 1: FINANCIAL PERFORMANCE

This section analyses the financial performance of Screen Australia for the year ended 30 June 2018. 0 June 2017.

1.1 Expenses

2018 $’000

2017 $’000

1.1A: Employee Benefits

Wages and salaries 9,423 9,290

Superannuation

Defined contribution plans 1,339 1,339

Defined benefit plans 148 237

Leave and other entitlements 973 797

Separation and redundancies 147 -

Total employee benefits 12,090 11,663

Accounting Policy Accounting policies for employee related expenses are contained in the People and Relationships section.

1.1B: Suppliers

Goods and services supplied or rendered

Consultants 239 591

Assessor fees 246 257

Contractors 673 648

Travel 772 782

Screenings and hospitality 620 701

Office and communications 1,250 1,276

Other property and utilities 271 361

Other 1,297 1,040

Total goods and services supplied or rendered 5,368 5,656

Goods supplied 330 383

Services rendered 5,038 5,273

Total goods and services supplied or rendered 5,368 5,656

Other suppliers

Operating lease rentals in connection with

Minimum lease payments 1,022 1,022

Workers compensation expenses 68 111

Total other suppliers 1,090 1,133

Total suppliers 6,458 6,789

Leasing commitments Screen Australia in its capacity as lessee has operating leases for its Ultimo and South Melbourne Offices. They are effectively non-cancellable.

Commitments for minimum lease payments in relation to non-cancellable operating leases are payable as follows:

Within 1 year 1,500 1,447

FINANCIAL STATEMENTS

Screen Australia 2017/18

112

2018 $’000

2017 $’000

Between 1 and 5 years 6,052 5,997

More than 5 years 524 2,079

Total operating lease commitments 8,076 9,523

Accounting Policy Operating lease payments are expensed on a straight-line basis which is representative of the pattern of benefits derived from the leased assets.

1.1C: Grants

Australian Government entities (related parties) 360 13

State and Territory Governments 87 22

Non Government organisations 32,144 35,469

Total grants 32,591 35,504

Accounting Policy Screen Australia provides grants to screen content developers and producers for the purposes of fostering and developing an Australian screen industry. An expense and provision is recognised by Screen Australia upon issuing a letter of approval to the applicant.

1.1D: Finance Costs

Other interest payments 4 4

Total finance costs 4 4

Accounting Policy All borrowing costs are expensed as incurred.

1.1E: Write-Down and Impairment of Assets

Impairment of investments and loans 40,385 40,341

Impairment on trade receivables 247 186

Total write-down and impairment of assets 40,632 40,527

Accounting Policy Due to the financial risk profile of screen investments and loans, Screen Australia has historically made substantial losses on its screen investments and loans and for this reason, their fair value on initial recognition is considered to be nil. The loan and equity investment are subsequently measured at fair value and the movements in the fair value, if any, are recognised in the Statement of Comprehensive Income.

Accounting Judgements and Estimates Screen Australia recognises a provision for the full amount of its investments and loans upon issuing a letter of approval to the applicant. As the contractual milestones have not been met in full, there is a risk the recipients will not meet the requirements for payment, resulting in Screen Australia overstating its impairment expenditure.

1.2 Own-Source Revenue and Gains

Own-source revenue

1.2A: Sale of Goods and Rendering of Services

Rendering of services 226 228

Total sale of goods and rendering of services 226 228

113

2018 $’000

2017 $’000

Accounting Policy Revenue from the sale of goods is recognised when: a) the risks and rewards of ownership have been transferred to the buyer; b) Screen Australia retains no managerial involvement or effective control over the goods; and

c) the revenue and transaction costs incurred can be reliably measured.

Receivables for goods and services, which have 30 day terms, are recognised at the nominal amounts due less any impairment allowance account. Collectability of debts is reviewed at end of the reporting period. Allowances are made when collectability of the debt is no longer probable.

1.2B Interest

Deposits 2,161 2,327

Total interest 2,161 2,327

Accounting Policy Interest revenue is recognised using the effective interest method.

1.2C: Other Revenue

Royalties - Equity screen production investments 5,221 6,085

Other 791 231

Total other revenue 6,012 6,316

Accounting Policy Royalties and Other Revenue Screen Australia receives revenue from its equity investments and other sources. The revenue is recognised when it is received or when the right to receive payment is established.

Gains

1.2D: Sale of Assets

Sale of assets

Other PPE assets 2 -

Total sale of assets 2 -

Accounting Policy Sale of Assets Gains from disposal of assets are recognised when control of the asset has passed to the buyer.

1.2E: Reversal of Write-Downs and Impairment

Reversal of impairment losses 2,450 1,966

Total reversals of previous asset write-downs and impairments 2,450 1,966

FINANCIAL STATEMENTS

Screen Australia 2017/18

114

2018 $’000

2017 $’000

1.2F: Revenue from Government

Department of Communications and the Arts - Grant Funding 70,454 70,454

Department of Communications and the Arts - Supply and Appropriation Acts 11,394 13,983

Total revenue from Government 81,848 84,437

Accounting Policy Revenue from Government Screen Australia has a grant funding agreement with the Department of Communications and the Arts. Grant amounts received during the year (adjusted for any formal additions and reductions) are recognised as revenue from Government when Screen Australia gains control of the funding.

Funding received from the Department of Communications and the Arts through the Supply and Appropriation Acts (appropriated to the Department of Communications and the Arts as a corporate Commonwealth entity payment item for payment to Screen Australia) is recognised as revenue from Government by Screen Australia.

NOTE 2: FINANCIAL POSITION

This section analyses Screen Australia’s assets used to conduct its operations and the operating liabilities incurred as a result. Employee related information is disclosed in the People and Relationships section.

2.1 Financial Assets

2018 $’000

2017 $’000

2.1A: Cash and Cash Equivalents

Cash on hand or on deposit 20,211 21,164

Total cash and cash equivalents 20,211 21,164

2.1B: Trade and Other Receivables

Goods and services receivables

Goods and services 769 543

Total goods and services receivables 769 543

Other receivables

Statutory receivables 850 602

Loans 17 -

Other 323 358

Total other receivables 1,190 960

Total trade and other receivables (gross) 1,959 1,503

Less impairment allowance (606) (373)

Total trade and other receivables (net) 1,353 1,130

Credit terms for goods and services were within 30 days (2017: 30 days).

Pre-production loans were made during the year. No security is required as the loan is deducted from the organisations production funding. No Interest is charged on these loans.

Accounting Policy Trade receivables, loans and other receivables that have fixed or determinable payments and that are not quoted in an active market are classified as ‘receivables’. Loans and receivables are measured at amortised cost using the effective interest method less impairment.

115

Reconciliation of the Impairment Allowance

Movements in relation to 2018

Goods and Services $’000

Total $’000

As at 1 July 2017 Amounts written off Increase recognised in net cost of services

373 (14) 247

373 (14) 247

Total as at 30 June 2018 606 606

Movements in relation to 2017

As at 1 July 2016 Increase recognised in net cost of services

187 186

187 186

Total as at 30 June 2017 373 373

Accounting Policy Financial assets are assessed for impairment at the end of each reporting period.

2018 $’000

2017 $’000

2.1C: Other Investments

Term Deposits 52,622 55,499

Total other investments 52,622 55,499

Accounting Policy Screen Australia holds term deposits and has the intent and ability to hold these investments to their fixed term maturity date. Term deposits are recorded at amortised cost using the effective interest method less impairment, with revenue recognised on an effective yield basis.

2.2 Non-Financial Assets

2.2A: Reconciliation of the Opening and Closing Balances of Property, Plant and Equipment and Intangibles

Leasehold

Improvements1 $’000

Plant and Equipment $’000

Computer Software2 $’000

Total $’000

As at 1 July 2017

Gross book value 3,355 2,382 1,793 7,530

Accumulated depreciation, amortisation and impairment (1,347) (1,303) (1,077) (3,727)

Total as at 1 July 2017 2,008 1,079 716 3,803

Additions

Purchase 257 450 6 713

Depreciation and amortisation (342) (369) (186) (897)

Disposals

Other - (2) - (2)

Total as at 30 June 2018 1,923 1,158 536 3,617

Total as at 30 June 2018 represented by

Gross book value 3,612 2,321 1,799 7,732

Accumulated depreciation, amortisation and impairment (1,689) (1,163) (1,263) (4,115)

Total as at 30 June 2018 1,923 1,158 536 3,617

1. The leasehold improvements assets are for Screen Australia’s Ultimo ($1,811,078) and South Melbourne ($111,415) offices. 2. The carrying amount of computer software includes purchased software only. No indicators of impairment found for property, plant and equipment and intangible assets. Apart from assets with a nil value, no property, plant and equipment and intangibles are expected to be sold or disposed of within the next 12 months.

FINANCIAL STATEMENTS

Screen Australia 2017/18

116

Accounting Policy Assets are recorded at cost on acquisition except as stated below. The cost of acquisition includes the fair value of assets transferred in exchange and liabilities undertaken. Financial assets are initially measured at their fair value plus transaction costs where appropriate.

Assets acquired at no cost, or for nominal consideration, are initially recognised as assets and income at their fair value at the date of acquisition, unless acquired as a consequence of restructuring of administrative arrangements. In the latter case, assets are initially recognised as contributions by owners at the amounts at which they were recognised in the transferor’s accounts immediately prior to the restructuring.

Asset Recognition Threshold Purchases of property, plant and equipment are recognised initially at cost in the statement of financial position, except for purchases costing less than $2,000, which are expensed in the year of acquisition (other than where they form part of a group of similar items which are significant in total).

The initial cost of an asset includes an estimate of the cost of dismantling and removing the item and restoring the site on which it is located. This is particularly relevant to ‘make good’ provisions in property leases taken up by Screen Australia where there exists an obligation to reinstate the site to an agreed condition. These costs are included in the value of Screen Australia’s leasehold improvements with a corresponding provision for the ‘make good’ recognised.

Revaluations Following initial recognition at cost, property, plant and equipment are carried at fair value less subsequent accumulated depreciation and accumulated impairment losses. Valuations are conducted with sufficient frequency to ensure that the carrying amount of assets did not differ materially from the assets’ fair values as at the reporting date. The regularity of independent valuations depended uponthe volatility of movements in market values for the relevant assets.

Revaluation adjustments are made on a class basis. Any revaluation increment is credited to equity under the heading of asset revaluation reserve except to the extent that it reversed a previous revaluation decrement of the same asset class that was previously recognised in the surplus/ deficit. Revaluation decrements for a class of assets are recognised directly in the surplus/deficit except to the extent that they reversed a previous revaluation increment for that class.

Any accumulated depreciation as at the revaluation date is eliminated against the gross carrying amount of the asset and the asset restated to the revalued amount.

Depreciation Depreciable property, plant and equipment assets are written-off to their estimated residual values over their estimated useful lives to Screen Australia using, in all cases, the straight-line method of depreciation.

Depreciation rates (useful lives), residual values and methods are reviewed at each reporting date and necessary adjustments are recognised in the current and future reporting periods, as appropriate.

Depreciation rates applying to each class of depreciable asset are based on the following useful lives:

2018 2017

Leasehold improvements Lease term Lease term

Plant and equipment 2 to indefinite years 2 to indefinite years

Impairment All assets were assessed for impairment at 30 June 2018. Where indications of impairment exist, the asset’s recoverable amount is estimated and an impairment adjustment made if the asset’s recoverable amount is less than its carrying amount.

The recoverable amount of an asset is the higher of its fair value less costs of disposal and its value in use. Value in use is the present value of the future cash flows expected to be derived from the asset. Where the future economic benefit of an asset is not primarily dependent on the asset’s ability to generate future cash flows, and the asset would be replaced if Screen Australia were deprived of the asset, its value in use is taken to be its depreciated replacement cost.

Derecognition An item of property, plant and equipment is derecognised upon disposal or when no further future economic benefits are expected from its use or disposal.

Computer Software Screen Australia’s intangibles comprise of purchased software for internal use. These assets are carried at cost less accumulated amortisation and accumulated impairment losses.

Software is amortised on a straight-line basis over its anticipated useful life. The useful lives of the entity’s software are 3 to 5 years. (2017: 3 to 5 years).

All software assets were assessed for indications of impairment as at 30 June 2018.

Revaluations of non-financial assets All revaluations were conducted in accordance with the revaluation policy stated at Note 4.2.

117

2.2B: Loans and Equity Investments

Reconciliation of the opening and closing balances of loans and equity investments

Equity

Investments $’000

Loans $’000

Total $’000

As at 1 July 2017

Gross book value 535,914 10,836 546,750

Accumulated impairment (535,914) (10,836) (546,750)

Total as at 1 July 2017 - - -

Screen projects funded during the year 38,894 520 39,414

Impairment (38,894) (520) (39,414)

Total as at 30 June 2018 - - -

Total as at 30 June 2018 represented by

Gross book value 574,808 11,356 586,164

Accumulated impairment (574,808) (11,356) (586,164)

Total as at 30 June 2018 - - -

Accounting Policy Screen Australia provides financial assistance to screen developers and producers for the purposes of fostering and developing an Australian screen industry. This financial assistance is provided in the form of investments and loans in respect of individual development and production projects. Investments give Screen Australia an equity interest in the copyright and the right to participate in any income from the project.

Accounting Judgements and Estimates The loan and equity investment in the screen production is initially recognised at fair value based on the expected cash flow from this investment. Due to the financial risk profile of screen investments and loans, Screen Australia has historically made substantial losses on its screen investments and loans and for this reason, their fair value on initial recognition is considered to be nil. The loan and equity investment are subsequently measured at fair value and the movements in the fair value, if any, are recognised in the Statement of Comprehensive Income.

FINANCIAL STATEMENTS

Screen Australia 2017/18

118

2.3B: Other Payables

Salaries and wages 80 82

Superannuation 12 12

Lease incentive 1,461 1,740

Other 865 599

Total other payables 2,418 2,433

2.4 Other Provisions

2.4A: Other Provisions

Unpaid funding obligation $’000

Provision for restoration $’000

Total $’000

As at 1 July 2017 59,164 146 59,310

Additional provisions made 83,171 - 83,171

Amounts used (77,282) - (77,282)

Amounts reversed (10,195) - (10,195)

Unwinding of discount or change in discount rate - 4 4

Total as at 30 June 2018 54,858 150 55,008

Accounting Policy Unpaid funding obligation On approval and notification to the applicant of each funding proposal, a provision is recognised at the fair value of the amount of consideration to be given by Screen Australia. Once the funds are disbursed to the screen content developers and producers the provision is reduced.

Provision for restoration Screen Australia currently has 2 (2017: 2) agreements for the leasing of premises which have provisions requiring Screen Australia to restore the premises to their original condition at the conclusion of the lease. Screen Australia has made a provision to reflect the present value of this obligation.

Accounting Judgements and Estimates Screen Australia recognises a provision for the full amount listed in its approved funding decision upon issuing a letter of approval to the applicant. As the milestones have not been met in full, there is a risk the recipients will not meet the requirements for payment, resulting in Screen Australia overstating its liabilities. However, as the majority of approved funding decisions have historically been paid in full, it is highly probable all unpaid contracts as at 30 June 2018 will be paid in full.

NOTE 3: PEOPLE AND RELATIONSHIPS

This section describes a range of employment and post-employment benefits provided to our people and our relationships with other key people.

3.1 Employee Provisions

2018 $’000

2017 $’000

2.2C: Other Non-Financial Assets

Prepayments 610 479

Total other non-financial assets 610 479

No indicators of impairment were found for other non-financial assets as at 30 June 2018.

2.3 Payables

2.3A: Suppliers

Trade creditors and accruals 1,058 268

Operating lease rentals 127 174

Trade suppliers 1,185 442

Settlement was usually made within 30 days

119

Accounting Policy Liabilities for short-term employee benefits and termination benefits expected within 12 months of the end of reporting period are measured at their nominal amounts.

Other long-term employee benefits are measured as net total of the present value of the defined benefit obligation at the end of the reporting period minus the fair value at the end of the reporting period of plan assets (if any) out of which the obligations are to be settled directly.

Leave The liability for employee benefits includes provision for annual leave and long service leave.

The leave liabilities are calculated on the basis of employees’ remuneration at the estimated salary rates that will be applied at the time the leave is taken, including the entity’s employer superannuation contribution rates to the extent that the leave is likely to be taken during service rather than paid out on termination.

The liability for long service leave has been determined by using the Department of Finance short hand method as at 30 June 2018, as outlined in the Commonwealth Entity Financial Statements Guide. The estimate of the present value of the liability takes into account attrition rates and pay increases through promotion and inflation.

Separation and Redundancy Provision is made for separation and redundancy benefit payments. Screen Australia recognises a provision for termination when it has developed a detailed formal plan for the terminations and has informed those employees affected that it will carry out the terminations.

Superannuation The entity’s staff are members of the Commonwealth Superannuation Scheme (CSS), the Public Sector Superannuation Scheme (PSS), or the PSS accumulation plan (PSSap), or other superannuation funds held outside the Australian Government.

The CSS and PSS are defined benefit schemes for the Australian Government. The PSSap is a defined contribution scheme.

The liability for defined benefits is recognised in the financial statements of the Australian Government and is settled by the Australian Government in due course. This liability is reported in the Department of Finance’s administered schedules and notes.

Screen Australia makes employer contributions to the employees’ defined benefit superannuation scheme at rates determined by an actuary to be sufficient to meet the current cost to the Government. Screen Australia accounts for the contributions as if they were contributions to defined contribution plans.

3.2 Key Management Personnel Remuneration

Key management personnel are those persons having authority and responsibility for planning, directing and controlling the activities of Screen Australia, directly or indirectly, including any director (whether executive or otherwise). Screen Australia has determined the key management personnel to be the Chief Executive, Executive Management and Screen Australia’s Board. Key management personnel remuneration is reported in the table below:

2018 $’000

2017 $’000

Short-term employee benefits 2,020 2,026

Post-employment benefits 264 276

Other long-term employee benefits 22 51

Total key management personnel remuneration expenses1 2,306 2,353

The total number of key management personnel that are included in the above table are 17 (2017: 18).

1 The above key management personnel remuneration excludes the remuneration and other benefits of the Portfolio Minister. The Portfolio Minister’s remuneration and other benefits are set by the Remuneration Tribunal and are not paid by Screen Australia.

3.3 Related Party Disclosures

Related party relationships Screen Australia is an Australian Government controlled entity. Related parties to Screen Australia are the Portfolio Minister, Key Management Personnel, and other Australian Government entities.

Transactions with related parties Given the breadth of Government activities, related parties may transact with the Government sector in the same capacity as ordinary citizens. Such transactions include the refund of taxes, receipt of a paid parental leave, joint initiatives or Government funding. These transactions have not been separately disclosed in this note.

2018 $’000

2017 $’000

3.1A: Employee Provisions

Leave 2,059 2,174

Total employee provisions 2,059 2,174

FINANCIAL STATEMENTS

Screen Australia 2017/18

120

The following transactions with related parties occurred during 2018

In the ordinary course of business, Screen Australia made the following transactions with Flammable Children Productions Pty Ltd. Al Clark is a director of this company. • Payment of $28,749 for production investment in Flammable Children

In the ordinary course of business, Screen Australia made the following transaction with the National Association of Cinema Operators Australasia. Michael Hawkins is the Executive Director of this company. • Payment of $10,000 toward 2017 Australian International Movie Convention

In the ordinary course of business, Screen Australia made the following transactions with Doctor Doctor Holdings Pty Ltd for the following screen project in which Claudia Karvan acted as Producer and creator. • Payment of $20,000 production investment for Doctor Doctor series 1

In the ordinary course of business, Screen Australia made the following transactions with DRDR2 Series Pty Ltd for the following screen project in which Claudia Karvan acted as Producer and creator. • Approval and payment of $500,000 production investment for Doctor Doctor series 2

In the ordinary course of business, Screen Australia made the following transactions with Easy Tiger Productions Pty Ltd for the following screen project in which Claudia Karvan acted as Producer and creator. • Approval of $93,415 production investment for Doctor Doctor series 3

In the ordinary course of business, Screen Australia made the following transactions with Bent Productions SPV Pty Ltd. Joanna Werner is a director of this company. • Payment of $1,000,000 production investment for Bent (aka Riot) • Approval and payment of additional $100,000 production investment for Bent (aka Riot)

In the ordinary course of business, Screen Australia made the following transactions with Dance Academy The Come Back Pty Ltd. Joanna Werner is a director of this company. • Payment of $25,000 production investment for Dance Academy The Comeback

In the ordinary course of business, Screen Australia made the following transactions with Werner Film Productions Pty Ltd. Joanna Werner is a director of this company. • Payment of $5,000 development funding for Fearless

The following transactions with related parties occurred during 2017

In the ordinary course of business, Screen Australia made the following transaction with Sydney Opera House Trust. Nicholas Moore is a director and chair of this company. • Payment of $45,000 towards the 2017 All About Women Festival

In the ordinary course of business, Screen Australia made the following transactions with Flammable Children Production Pty Ltd. Al Clark is a director of this company. • Payment of $1,887,871 for production investment in the film Flammable Children

In the ordinary course of business, Screen Australia made the following transactions with Werner Film Productions Pty Ltd. Joanna Werner is a director of this company. • Approval of $1,000,000 production investment for the television series Bent (aka Riot ) • Payment of $27,000 development funding for the project The Summer We Ruled the World

In the ordinary course of business, Screen Australia made the following transactions with GPTV Holdings Pty Ltd. Rosemary Blight is a director of this company. • Payment of $800,000 production investment for the television series Cleverman season 2

In the ordinary course of business, Screen Australia made the following transaction with Brisbane Marketing Pty Ltd for the Brisbane Asia Pacific Film Festival. Michael Hawkins is the Chairman of the Brisbane Asia Pacific Film Festival. • Payment of $60,000 towards the Brisbane Asia Pacific Film Festival

In the ordinary course of business, Screen Australia made the following transactions with Dance Academy The Come Back Pty Ltd. Joanna Werner is a director of this company. • Approval and payment of $14,000 production investment for the film Dance Academy The Comeback

In the ordinary course of business, Screen Australia made the following transaction with the National Association of Cinema Operators Australasia. Michael Hawkins is the Executive Director of this company. • Payment of $10,000 towards the Australian International Movie Convention

In the ordinary course of business, Screen Australia made the following transactions with Essential Media & Entertainment for the following screen project in which Claudia Karvan acted as Producer and creator. • Payment of $80,000 production investment for the television series Doctor Doctor series 1

In the ordinary course of business, Screen Australia made the following transaction with Elise McCredie for the following screen project in which Claudia Karvan acted as Producer. • Payment of $33,425 development funding for the project Overflow

In the ordinary course of business, Screen Australia made the following transactions with Revolver Films Pty Ltd for the following screen project in which Claudia Karvan acted as Executive Producer. • Approval and payment of $40,000 development funding for the project White Rabbit

In the ordinary course of business, Screen Australia made the following transactions with Essential Media & Entertainment for the following screen project in which Claudia Karvan acted as Producer. • Payment of $3,500 development funding for the project Cootamundra Girls

121

NOTE 4: MANAGING UNCERTAINTIES

This section analyses how Screen Australia manages financial risks within its operating environment.

4.1 Financial Instruments

2018 $’000

2017 $’000

4.1A: Categories of Financial Instruments

Financial Assets

Held to maturity investments 52,622 55,499

Cash and cash equivalents 20,211 21,164

Trade and other receivables 503 528

Total financial assets 73,336 77,191

Financial Liabilities 1,058 268

Trade creditors 1,058 268

Total financial liabilities

Accounting Policy Financial assets Screen Australia classifies its financial assets in the following categories: a) cash and cash equivalents; b) held-to-maturity investments; c) trade and other receivables.

The classification depends on the nature and purpose of the financial assets and is determined at the time of initial recognition. Financial assets are recognised and derecognised upon trade date.

Impairment of Financial Assets Financial assets are assessed for impairment at the end of each reporting period.

Financial assets held at amortised cost - if there is objective evidence that an impairment loss has been incurred for loans and receivables or held to maturity investments held at amortised cost, the amount of the loss is measured as the difference between the asset’s carrying amount and the present value of estimated future cash flows discounted at the asset’s original effective interest rate. The carrying amount is reduced by way of an allowance account. The loss is recognised in the Statement of Comprehensive Income.

Available for sale financial assets - if there is objective evidence that an impairment loss on an available-for-sale financial asset has been incurred, the amount of the difference between its cost, less principal repayments and amortisation, and its current fair value, less any impairment loss previously recognised in expenses, is transferred from equity to the Statement of Comprehensive Income.

Financial assets held at cost - if there is objective evidence that an impairment loss has been incurred, the amount of the impairment loss is the difference between the carrying amount of the asset and the present value of the estimated future cash flows discounted at the current market rate for similar assets.

Financial liabilities Financial liabilities are initially measured at fair value, net of transaction costs. These liabilities are subsequently measured at amortised cost using the effective interest method, with interest expense recognised on an effective interest basis.

Supplier and other payables are recognised at amortised cost. Liabilities are recognised to the extent that the goods or services have been received (and irrespective of having been invoiced).

FINANCIAL STATEMENTS

Screen Australia 2017/18

122

2018 $’000

2017 $’000

4.1B: Net Gains or Losses on Financial Assets

Held-to-maturity investments

Interest revenue 2,092 2,228

Cash and cash equivalents

Interest revenue 69 99

Receivables

Impairment (233) (186)

Net gains on financial assets 1,928 2,141

4.2 Fair Value Measurement

2018 $’000

2017 $’000

4.2A: Fair Value Measurement

Fair value measurements at the end of the reporting period

Non-financial assets

Leasehold improvements 1,923 2,008

Plant and equipment 1,158 1,079

Total non-financial assets 3,081 3,087

Accounting Policy Following initial recognition at cost, property, plant and equipment are carried at fair value less subsequent accumulated depreciation and accumulated impairment losses. Valuations are conducted with sufficient frequency to ensure that the carrying amounts of assets do not differ materially from the assets’ fair values as at the reporting date. The regularity of independent valuations depends upon the volatility of movements in market values for the relevant assets.

Screen Australia does not consider any of the assets held as at 30 June 2018 to be in a volatile market or have a material movement in the fair value. The current policy is to revalue significant assets every 3-5 years. All other assets including significant assets between valuations are valued on the basis of management judgement which will take into account cost estimates, assessment of service capacity and obsolescence.

Screen Australia’s Sydney office leasehold improvement ($1,811,078) was independently revalued on 30 June 2017 by Preston Rowe Paterson NSW Pty Ltd.

NOTE 5: OTHER INFORMATION

5.1 Assets Held in Trust

5.1A: Assets Held in Trust

Screen Australia operates a disbursem*nt administration service for Australian screen projects which collects revenue from sales agents and distributors on behalf of the producer. The revenue is disbursed to investors and other payees in accordance with the recoupment schedule in the project’s Production Investment Agreement and the Disbursem*nt Administration Service Agreement. Screen Australia has ceased offering this service to the industry and now disburses legacy titles only. The service will fully terminate when the last legacy title reverts to the producer, which is expected to occur seven years after its release.

2018 $’000

2017 $’000

Opening Balance 1,259 2,028

Receipts 7,325 9,336

Payments (7,905) (10,105)

Closing Balance 679 1,259

Total monetary assets held in trust 679 1,259

All monies are held in trust bank accounts in accordance with the agreements.

123

Abbreviations and acronyms

AACTA A ustralian Academy of Cinema and Television Arts ABC A ustralian Broadcasting Corporation

ABS A ustralian Bureau of Statistics

ACO A ustralian Chamber Orchestra

ACTF A ustralian Children’s Television Foundation ADG A ustralian Directors Guild

AFC A ustralian Film Commission

AFI A ustralian Film Institute

AFTRS A ustralian Film Television and Radio School AIDC A ustralian International Documentary Conference ANAO A ustralian National Audit Office

AWG A ustralian Writers’ Guild

AWGIE A ustralian Writers’ Guild Award BBC B ritish Broadcasting Corporation

CAAMA C entral Australian Aboriginal Media Association CP C orporate Plan

DFAT D epartment of Foreign Affairs and Trade

EFM E uropean Film Market

FOI Act F reedom of Information Act 1982 I.C.E. I nformation Cultural Exchange

IP i ntellectual property

KPI k ey performance indicator

LGBTQI L esbian, Gay, Bisexual, Transgender, Queer and/or Intersex MEAA M edia, Entertainment & Arts Alliance

MPDAA M otion Picture Distributors Association of Australia MIFF M elbourne International Film Festival

NITV N ational Indigenous Television

P&A P romotion & Advertising

PBS Po rtfolio Budget Statement

PEP Pr oducer Equity Program

PGPA Act P ublic Governance, Performance and Accountability Act 2013 POCU P roducer Offset and Co-production Unit

QAPE Q ualifying Australian Production Expenditure ROW r est of world

SBS S pecial Broadcasting Service

SDIN S creen Diversity and Inclusion Network

SPA S creen Producers Australia

SVOD su bscription video-on-demand

SXSW S outh by Southwest Film Festival

TIFF T oronto International Film Festival

whimn W ith Her in Mind network

ABBREVIATIONS &ACRONYMS

124

REQUIREMENT PAGE

(a) details of the legislation establishing the body 69

(b) objects, functions and purpose:

4 (i) a summary of the objects and functions of the entity as set out in the legislation

(ii) the purposes of the entity as included in the entity’s corporate plan for the period

(c) the names of the persons holding the position of responsible Minister or responsible Ministers during the period, and the titles of those responsible Ministers 54

(d) any directions given to the entity by a Minister under an Act or instrument during the period 66

(e) any government policy orders that applied in relation to the entity during the period under section 22 of the Act N/A

(f) if, during the period, the entity has not complied with a direction or order referred to in paragraph (d) or (e)—particulars of the non-compliance; N/A

(g) the annual performance statements for the entity for the period in accordance with paragraph 39(1)(b) of the Act and section 16F of this rule 59

(h) a statement of any significant issue reported to the responsible Minister under paragraph 19(1)(e) of the Act that relates to non-compliance with the finance law in relation to the entity N/A

(i) if a statement is included under paragraph (h) of this section—an outline of the action that has been taken to remedy the non-compliance N/A

(j) information on the accountable authority, or each member of the accountable authority, of the entity during the period, including:

(i) the name of the accountable authority or member; and

(ii) the qualifications of the accountable authority or member; and 5-6

(iii) the experience of the accountable authority or member; and

(iv) for a member—the number of meetings of the accountable authority attended by the member during the period; and 56

(v) for a member—whether the member is an executive member or non-executive member

(k) an outline of the organisational structure of the entity (including any subsidiaries of the entity) 13

(l) an outline of the location (whether or not in Australia) of major activities or facilities of the entity Inside cover

(m) information in relation to the main corporate governance practices used by the entity during the period 54

(n) the decision-making process undertaken by the accountable authority for making a decision if:

(i) the decision is to approve the entity paying for a good or service from another Commonwealth entity or a company, or providing a grant to another Commonwealth entity or a company; and N/A

(ii) the entity, and the other Commonwealth entity or the company, are related entities; and

(iii) the value of the transaction, or if there is more than one transaction, the aggregate value of those transactions, is more than $10000 (inclusive of GST)

(o) if the annual report includes information under paragraph (n):

(i) if there is only one transaction—the value of the transaction; and N/A

(ii) if there is more than one transaction—the number of transactions and the aggregate of value of the transactions;

(p) any significant activities and changes that affected the operations or structure of the entity during the period; N/A

(q) particulars of judicial decisions or decisions of administrative tribunals made during the period that have had, or may have, a significant effect on the operations of the entity 66

(r) particulars of any report on the entity given during the period by:

(i) the Auditor-General, other than a report under section 43 of the Act (which deals with the Auditor-General’s audit of the annual financial statements for Commonwealth entities); or N/A

Table of annual reporting requirements

125

(ii) a Committee of either House, or of both Houses, of the Parliament; or 66

(iii) the Commonwealth Ombudsman; or N/A

iv) the Office of the Australian Information Commissioner N/A

(s) if the accountable authority has been unable to obtain information from a subsidiary of the entity that is required to be included in the annual report—an explanation of the information that was not obtained and the effect of not having the information on the annual report N/A

(t) details of any indemnity that applied during the period to the accountable authority, any member of the accountable authority or officer of the entity against a liability (including premiums paid, or agreed to be paid, for insurance against the authority, member or officer’s liability for legal costs) 66

ANNUAL REPORTING REQUIREMENTS

Screen Australia 2017/18

126

Index

AACTA Awards 16

Abbott, Felicity 38

abbreviations 124

ABC 2, 14, 15, 16, 21, 25, 32, 35, 40

ABC Arts 32

ABC Comedy 27

ABC iview 14, 20, 32

ABC ME 25

ABC3 41

Academy Awards® 22, 45

n ominations 45

acronyms 124

Addison, Alice 20

Ali’s Wedding 28, 42

All These Creatures 14, 42

Allingham, Charlotte 15

Amazon Prime Video US 14, 20

Animal Logic 8, 25, 50

Annual Performance Statement 2017/18 59

annual reporting requirements table 125-6

Aquaman 45

Art Bites 32

Asia Pacific Screen Awards 2, 14, 42

assessors 70

Audit Committee 54-5

audit, external 55

independent auditor’s report 102-3

audit, internal 55

Aunty Donna 27

Australian Chamber Orchestra (ACO) 2, 14, 30

Australian Communications and Media Authority 46

Australian International Documentary Conference (AIDC) 32

Australian International Screen Forum 45

Australian National Audit Office (ANAO) 53

P ublic Sector Governance publications 54

awards and prizes 2, 14, 16, 42, 43, 45, 97-9

The Babadook 28

Baby Driver 45

Baker, Simon 22

BBC 20

Berlin International Film Festival 2, 16, 20

Berlin Syndrome 28

Big Little Lies 41, 45

Bite Club 21

Black Divaz 36

Blacklab Entertainment 41

Blair, Wayne 15

Blinky Bill: The Movie 25

Blue Murder: Killer Cop 2, 21

Bluey 25

Board 3, 54

a nnual report 54

a ppointment 54

a ttendance 56

C harter 54, 56

C ode of Conduct 54, 58

c onflicts of interest 54

me etings 54, 56

m embership 5-6, 54

r emuneration and allowances 54

r esponsibilities 56

r ole 54, 56

te rms 54

Body Hack 2, 32

Bondi Harvest 27

Breaking Bad 22

Brealey, Michael 10

Breath 2, 22, 25, 45

Brownlow, Megan 5

Bunya Productions 35

The Bureau of Magical Things 25

Business & Audience Department 43

Cameron, Fiona 9

Canada Media Fund 15

127

Cannes Film Festival 14, 16, 42

Caplan, Sally 10

Cargo 2

The Castle 8

Cater, Lizzie 38

Causeway Films 18

Celebrating Australian Stories 27, 47

Chair 5, 54

l etter 2-3

Chen, Corrie 26

Chief Executive Officer (CEO) 10, 54

n ote from 8-9

Chief Operating Officer 9, 10

children’s content 2, 17, 25, 39, 46

f eature films 25

f unding 18

r ecoupment 28

t elevision 25, 28

Christian, Beatrix 20

Clark, Al 3, 5, 54

Cleverman 15, 16

Clothier, Sue 46

Code of Conduct to Assist the Prevention of Sexual Harassment 3, 9, 39

Co-production program 14, 32

c ountry, by 51

o fficial 32, 51

s tatistics 100

Cole, Beck 15

The Coming Back Out Ball 32

Commonwealth Ombudsman 66

Communications Unit 47

k ey achievements 47

Content London 2017 42, 45

contingency liability statement 66

corporate plan 61-4

Crocodile Dundee 8, 9

Curious Works 19

‘ ‘Behind Closed Doors’’ initiative 41

B reakthrough Program 40

Dafoe, Willem 30

Dance Academy series 1 & 2 28

Davis, Judy 35

Department of Communications and the Arts 46

Department of Finance

G overnance Arrangements for Australian Government

Bodies (2005) 54

Deputy Chair 5

Developing the Developer 18, 40

Development Department 18, 19

development guideline changes 19

Discovery Networks International 32

diversity and inclusion 19, 40

Doctor Doctor series 2 2, 14, 20

documentaries 2, 28, 30-2

a llocation of funding to 29

D ocumentary Unit’s Commissioned Program funding 32

o fficial co-production 32

s ales 2, 28

S tate of Alarm documentary initiative 34

Dormer, Natalie 20

Dots 42

Drama Report 14, 46

The Dressmaker 28

Dunkirk 45

Duong, Mary 38

ecologically sustainable development (ESD) reporting 67

Egan, Billie 38

The Eleven O’Clock 45

Employable Me 9

Enterprise Ideas program 41

Enterprise People 41

environmental performance reporting 67

environmental protection and biodiversity statement 67

Essential Media 32

feature films 2, 14, 22

a wards 2, 14, 16, 42, 43

c hildren’s content 25

f unding 16, 23, 38, 43

r ecoupment 28

Fifield, Senator the Hon Mitch 54

Film Victoria 26

financial overview 53

financial statements 104-22

First Australians 16

First Nations: A Celebration 14

Flickerfest International Short Film Festival 16

Flying Bark Productions 25

1440 Productions 41

Foxtel 2, 14, 20, 21

INDEX

Screen Australia 2017/18

128

Frankland, Richard 16

fraud control 55

Fraud Control Framework (2014) 55

freedom of information 66

FremantleMedia Australia 20

Fuller, Kristy 41

funding 28

c hildren’s content 18

d evelopment 18, 23, 26

do cumentaries 29, 32

E nterprise recipients 41

f eature films 16, 23, 38, 43

G ender Matters 38

I ndigenous screen business 34

Game of Thrones 20

G’Day USA 45

Gender Matters program 3, 9, 18, 38-9

A ttachments for Women program 38, 39, 40

B rilliant Stories 14, 18, 38

I nclusive Attachment Scheme 39, 40

K PI 38

t arget 38

Generate Fund 19

Generator Pictures 26

Glynn, Erica 16

Go Karts 18, 25

Gone Girl 41, 45

Google 27

governance 54-5

Grace Beside Me 2, 25, 34

grants 28, 71-96

Griffen, Ryan 16

Griffiths, Rachel 14, 38

The Guardian 14, 32

Gurrumul 30

H20: Just Add Water 25

Hardball 25

Hawke: The Larrikin & The Leader 2

Hawkins, Michael 5

Heart&Soul 41

highlights 14

Hill, Vanessa 27

Hilton, Jamie 22

Homecoming Queens 14, 21, 26, 40

Hot Docs Canadian International Documentary Festival 30

I, Tonya 45

The InBESTigators 25

inclusive attachments 40

income 28

indemnity 66

Indigenous Department 8, 9, 14, 40

D evelopment Associates 34

I ndigenous screen business funding 34

i nitiatives 34

S tate of Alarm documentary initiative 34

t imeline 16

2 5th anniversary 15, 33, 34, 47

Information Cultural Exchange (I.C.E.) 19

S creen Cultures Program 2017-2018 40

insurance premiums 66

International Emmy® nominations 25, 41, 45

international market 2, 28, 45

investments 28, 71-96

James, Natalie Erika 38

Jasper Jones 35

Johnson, Mark 22, 45

Jonathan M Shiff Productions 25

judicial decisions and reviews 66

Justine Clarke’s Ta Da! 25

Karvan, Claudia 6, 54

key performance indicators (KPIs) 60-1

e ngage, educate and inspire 60

G ender Matters 38

l ead and collaborate 60

Kiki and Kitty 40

King, Richard 6, 54

The Kingdom: How Fungi Made Our World 32

Ladies in Black 38

Lambs of God 40

Law, Michelle 26

Lawson, Josh 45

Ledger, Heath 45

Lee, Gerard 22

legal framework 54

legislation, enabling 69

Lenartowicz, Eryk 42

L-Fresh The Lion 27

129

LGBTQI voices, support for 32, 36, 40

Lindsay, Joan 20

Lion 28

Little J & Big Cuz series 2, 25, 36

Little Lunch 25

Little Monsters 45

loans 71-96

Lockie Leonard series 2 28

Logie nominations 32

Love Bites 32

Lui, Nakkiah 15

McFarlane, Robert 30

McGahan, Tim 41

McGregor, Steven 15, 42

Machliss, Paul 45

McKenzie, Catriona 15, 16

MacKinnon, Susan 32

Mad Max 8

Madden, Madeleine 20

Made Up Stories 41

Mailman, Deborah 15

Mako: The Island of Secrets 28

Mako Mermaids 25

Marketplace team 28

markets and festivals 42-3

Marry Me Marry My Family 2

Mason, Graeme 8-9, 10, 19, 42

Masters, Sue 26

Matchbox Pictures 26, 34

Matched Marketplace program 23

Matterson, Jodi 41

Maya 2: The Honey Games 25

Media, Entertainment & Arts Alliance (MEAA)

E quity Foundation 19, 40

media relations 47

Melbourne International Film Festival 30

Minister for Communications and the Arts 54, 56

Ministerial Directions 66

Miss First Nation drag pageant 36

Miss Fisher’s Murder Mysteries series 1 & 2 28

mission 4

Moody, Gillian 36

Moore, Nicholas 2-3, 5, 54

Morton-Thomas, Trisha 15

Mountain 2, 8, 14, 30

Mustangs FC 25

Mystery Road 2, 14, 16, 20, 34, 35

Nalbandian, Zarah 50

Nankivell, Richard 11

National Indigenous Television (NITV) 2, 11, 15, 25, 36, 40

Netflix 2, 25

The New Legends of Monkey 2, 25

News Corp - With Her in Mind network (whimn) 14, 32

Newton’s Law 40

Nizic, Katia 26

No Way to Forget 16

Nolan, Christopher 45

Northern Pictures 46

Nowhere Boys season 4 25

Oddball 28

official co-productions 51

Offspring 8

Olive Bridge Entertainment 25

Olivia Newton-John: Hopelessly Devoted to You 2, 21

100% Wolf 18, 25

Online and On Demand 2017 report 8, 46

online platforms 2, 27

Online Production 26

operations 52-67

organisational structure 13

original dramas 21

The Other Guy 21, 40

Ozturk, Renan 30

Page-Lochard, Hunter 15

Palm Beach 18

Papandrea, Bruna 41, 45

Parliament House 27, 47

Partnered Programs 40

Pathways & Protocols: a filmmaker’s guide to working with Indigenous

people, culture and concepts 16

Pedersen, Aaron 15, 35

Peedom, Jennifer 14, 30, 31

performance indicators 59-64

a nalysis 64

co rporate plan 61-4

Perkins, Rachel 15, 16, 35

Perske, Michaela 36

Peter Rabbit 8-9, 14, 25, 50

Phillips, Tim 10

INDEX

Screen Australia 2017/18

130

Picnic at Hanging Rock 2, 9, 14, 20, 21, 28, 38, 40

Platform Prize 2

Porter, Jo 20, 21

Predestination 41

Premium Fund 19

privacy 66

Producer Offset 8, 14, 46, 49-50

a vailability 50

F inal Certificates 46, 50

Q ualifying Australian Production Expenditure (QAPE) 50

s tatistics 100

production applications 39

Production Department 17-51

ap provals 17

d evelopment funding 18

Public Governance Performance and Accountability Act 2013 54, 55, 56, 58

public interest disclosures 66

Public Service Act 1999 54

Pulse 21

Purcell, Leah 15

Qualifying Australian Production Expenditure (QAPE) 50

Queer Screen Mardi Gras Film Festival 36

Rain Man 22

Reeson, Chloë 26

Reilly, Eliza 38

Reilly, Hannah 38

Relic 18, 38

revenue 28

Ride Like a Girl 14, 18, 38, 40

Riot 21

risk management 55

Road 16

Robbie, Margot 45

Rodrigues, Jayden 27

Romper Stomper 2, 21

The Ropes 40

Safe Harbour 21, 40

Sampson, Todd 2, 32

Samson & Delilah 16, 42

Sando 21

Sawyer, Melissa 41

SBS 2, 15, 16, 21, 26, 36, 40

SBS On Demand 14, 26

SBS Viceland 32

Schultz, Daniel 41

Screen Australia

A BC Fresh Blood initiative 27

a udits 55

C ode of Conduct and Values 54

C orporate Plan 56

f raud control 55

f unctions 69

g overnance 54-5

m ission 4

o rganisational structure 13

P & A P lus program 42

p artnerships 14, 40

pu rpose 59

r evenue 28

r isk management 55

v ision 4

Screen Australia Act 2008 54, 56, 58, 69

Screen Currency research project 9

Screen Diversity and Inclusion Network (SDIN) 40

Screen Intel Unit 46

Screen News 47

Screen Story Development (drama) funding guidelines 19

script consultants 70

Seale, Derin 45

The Secret Daughter 2

See Pictures 25

See-Saw Films 34

Seeing Ourselves 16, 40

Sen, Ivan 15, 16, 35

senior management 10-11

7 Guardians of the Tomb 28

Seven network 2, 21

Sheilas 14, 38

Sherpa 30

Shooting Cats 32

short film awards 14, 16, 42

Skin in the Game: The Producer Offset 10 Years On 46

Skinnyfish Music 30

Skip Ahead program 3, 27

Skit Box 27

Smallacombe, Penny 11

social media 47

Solo 30

131

Special Jury prize 2, 14, 16, 42, 43

Spookers 32

Stan 21

statutory reports 66

Stone, Yael 20

Storm Boy 25

Story Development program 23, 26

The Strange Chores 25, 38

Struggle Street 2

Sullivan, Lily 20

Sundance Film Festival 16

Sunshine 21, 40

Superwog 3, 8, 27

Sweet Country 2, 8, 9, 14, 15, 28, 42

Swinging Safari 25, 28, 42

Sydney Film Festival 14, 30

Sydney Gay and Lesbian Mardi Gras 32

Sydney Opera House 30

Taing, Jenny 6, 54

talent camp 40

Tapsell, Miranda 15, 34

television 2

a udiences 2, 14, 20

c hildren’s content 25

d iversity 2, 40

d ramas 20, 35

I ndigenous representation 15, 40

r ecoupment 28

Ten network 2, 21, 32

Thor: Ragnarak 45

Thornton, Warwick 14, 15, 16, 42

Todd Sampson’s Body Hack 2.0 32

Tognetti, Richard 30

Top End Wedding 34

Top of the Lake series 1 28

Toronto International Film Festival 2, 14, 22, 42

Tourism Australia 9

Tranter, David 15, 42

Tribeca Film Festival 20

Tropfest 2

Underbelly Files: Chopper 2, 14, 20

The Unlisted 25

Venice Film Festival 2, 14, 42

VICE Australia 14, 32

Video on Demand platforms 2

vision 4

Wake in Fright 2, 21

Wanted 28, 45

War on Waste 2

Ward, Rachel 18

The Warriors 36

Weaving, Samara 20

website 47, 54

Wentworth 28, 36

Werner, Joanna 6

Williams, Anthea 18

Williams, Charles 14, 42

Williams, Paul Damien 30

Wills, Adrian Russell 36

Winchester 41

Winderbaum, Brad 45

Winton, Tim 22

work health and safety 66

The Wrong Girl 2

Yellow Fella 16

YouTube 3, 8, 27, 47

Yunupingu, Dr G 30

Zemiro, Julia 27

IMAGE INDEX

The BBQ 52

Black Divaz 36

Breath 22, 23

Cargo 12

Celebrating Australian Stories 27

Dani Boi 47

Doctor Doctor series 2 7

Employable Me 70

Get Grubby TV 53

Grace Beside Me 24

Gurrumul 29

Homecoming Queens 26

Kiki and Kitty 59

INDEX

Screen Australia 2017/18

132

Mountain 30, 31

Mystery Road 3, 35

The New Legends of Monkey 25

Olivia Newton-John: Hopelessly Devoted to You 57

The Other Guy 40

Palm Beach 18

Peter Rabbit 9, 49

Picnic at Hanging Rock 20, 21

Ride Like a Girl 38

Riot 101

Romper Stomper 55

Safe Harbour 37

The Secret Daughter series 2 68

Sheilas 19

Special Jury prize 42, 43

Sunshine 65

Sweet Country 33

Thor: Ragnarak 44

Thornton, Warwick 43

Top End Wedding 34

Twenty Five 15

Underbelly Files: Chopper 4

Upgrade 50

Wake in Fright 48

Winchester 17

All Annual Report enquiries should be addressed to: Communications Department Screen Australia Level 7, 45 Jones Street Ultimo NSW 2007 Toll free: 1800 213 099 Phone: 02 8113 5800 Email: publications@screenaustralia.gov.au

Auditors: Australian National Audit Office

Annual Report Production by the Communications Department

Indexed by Puddingburn

Printed in Australia by Imagination Graphics Pty Ltd

Published by Screen Australia October 2018 ISSN 1837-2740 © Screen Australia 2018

The text in this Annual Report is released subject to a Creative Commons BY licence (Licence). This means, in summary, that you may reproduce, transmit and distribute the text, provided that you do not do so for commercial purposes, and provided that you attribute the text as extracted from Screen Australia’s Annual Report 2017/18. You must not alter, transform or build upon the text in this Annual Report. Your rights under the Licence are in addition to any fair dealing rights which you have under the Copyright Act 1968 (Cwlth).

For further terms of the Licence, please see http://creativecommons.org/licenses/ by-nc-nd/3.0/au/. You are not licensed to reproduce, transmit or distribute any still photographs contained in this Annual Report without the prior written permission of Screen Australia.

TV ratings data Metropolitan and National market data is copyright to OzTAM. The data may not be reproduced, published or communicated (electronically or in hard copy) in whole or part without the prior consent of OzTAM.

Regional market data is copyright to RegionalTAM. The data may not be reproduced, published or communicated (electronically or in hard copy) in whole or part without the prior consent of RegionalTAM.

This Annual Report is available to download as a PDF from www.screenaustralia.gov.au

Front cover image from Sweet Country. Back cover image from Picnic at Hanging Rock.

Screen Australia operates within Australia, with its head office located in Sydney at 45 Jones Street, Ultimo, and an office in Melbourne at 290 Coventry Street, South Melbourne.

Screen Australia | Annual Report 2017/18

Screen Australia

Annual Report 2017/18