ANNUAL REPORT 2010-11 · Western Australian feature film has been selected In Competition at Sundance. Mad Bastards also screened at the US Karlovy Vary International Film Festival

1ScreenWest Annual Report 2010-11

SCREENWESTANNUAL REPORT

2010-11

2 ScreenWest Annual Report 2010-11

STATEMENT OF COMPLIANCE

Hon John Day MLAMinister for Planning; Culture and the Arts; Science and Innovation

In accordance with section 63 of the Financial Management Act 2006, we hereby submit for your information and presentation to Parliament the Report of ScreenWest (Inc.) for the financial year ending 30 June 2011.

The Report has been prepared in accordance with the provisions of the Financial Management Act 2006.

Yours sincerely

Erica Smyth ChAIrSCrEENWEST

24 August 2011


1.0 OvErvIEW OF ThE AgENCy .................................................................................... 51.1 Executive Summary ..........................................................................................................51.2 Operational Structure .......................................................................................................81.3 Performance Management Framework .........................................................................14 1.3.1 Outcome Based Management Framework ......................................................14 1.3.2 Changes to Outcome Based Management Framework ...................................15 1.3.3 Shared Responsibilities with Other Agencies ...................................................15

2.0 AgENCy PErFOrMANCE ....................................................................................... 16 2.1 Report on ScreenWest’s Funding Program .....................................................................16 2.1.1 Funding Application Assessment Members..................................................... 16 2.1.2 Funding Program Allocations 2010-11 ............................................................16 2.1.3 Funding Program Key Outcomes and Highlights 2010-11 ...............................17 3.0 SIgNIFICANT ISSuES IMPACTINg SCrEENWEST .................................................. 24

4.0 DISCLOSurES AND LEgAL COMPLIANCE .............................................................. 254.1 Financial Statements ......................................................................................................254.2 Additional Key Performance Indicators Information ......................................................56 4.2.1 Certified Performance Indicators 2010-11 .......................................................56 4.2.2 Additional Indicators .......................................................................................584.3 Ministerial Directives ......................................................................................................594.4 Other Financial Disclosures ............................................................................................60 4.4.1 Pricing Policies of Services Provided ................................................................60

4.4.2 Capital Works ..................................................................................................60 4.4.3 Employment and Industrial Relations ..............................................................604.5 Governance Disclosures .................................................................................................61 4.5.1 Interests of Senior Officers...............................................................................614.6 Other Legal Requirements ..............................................................................................62 4.6.1 Expenditure on Advertising, Market Research, Polling and Direct Mail ..........62 4.6.2 Disability Access and Inclusion Plan Outcomes ...............................................62

4.6.3 Compliance with Public Sector Standards and Ethical Codes ..........................64 4.6.4 Recordkeeping Plans........................................................................................644.7 Government Policy Requirements ..................................................................................65

4.7.1 Substantive Equality ........................................................................................654.7.2 Occupational Safety, Health and Injury Management ....................................65

APPENDIX 1: ASSESSMENT MEETINgS AND MEMbErS 2010-11 ................................. 68APPENDIX 2: PrODuCTIONS WITh SCrEENWEST FuNDINg 2010-11 .............................. 73APPENDIX 3: FuNDINg APPrOvALS 2010-11.................................................................. 82

CONTENTS


Acronyms

ABC Australian Broadcasting CorporationAFTRS Australian Film Television and Radio SchoolAIDC Australian International Documentary Conference AWG Australian Writers’ GuildACS Australian Cinematographers SocietyADG Australian Directors GuildASE Australian Screen Editors GuildASP Association of Screen Professionals IncDCA Department of Culture and the ArtsFTI Film and Television Institute (WA)MDA Media Development Authority SBS Special Broadcasting ServiceSPAA Screen Producers Association of AustraliaUS United States WA Western Australia(n)WAnimate Western Australian Animation AssociationXML X|Media|Lab

ScreenWest Annual Report 2010-11 4


It was a year of critical success and challenges for the Western Australian screen industry. WA productions screened nationally and internationally to acclaim, however, overall production levels were down on previous years.

For ScreenWest, it was a year of review, analysis and critical thinking with a new five-year strategic plan developed. More than 150 stakeholders - including producers, industry practitioners, digital creatives, service providers, broadcasters and Government partners - took part in an extensive consultation process.

The ScreenWest Strategic Plan 2011-2016, which came into effect on 1 July 2011, will provide a flexible, high-level yet concise guide to ScreenWest’s operations, providing guidance on how best to support the WA screen industry over the next five years. Integral to the plan is working in partnership with the industry and other stakeholders.

Television screening highlights during the year included the SHOWTIME launch of Tim Winton’s iconic Cloudstreet (Screentime); ABC prime time Indigenous documentary-drama Jandamarra’s War (Wawili Pitjas and Electric Pictures); SBS observational documentary SAS - The Search for Warriors (Prospero Productions); and Straight Shootin’ (Spear Point Productions), a candid and lively Indigenous lifestyle series for NITV where host Mary G and her panel aren’t afraid to call a spade a spade.

Three WA feature films had a national theatrical release in the first half of 2011: Mad Bastards, Wasted on the Young and Blame. Wasted on the Young and Blame were both supported through ScreenWest’s West Coast Visions initiative, a program designed to develop promising local filmmakers; and Mad Bastards was supported under the General Production Fund. A fourth full-length production - Red Dog - was a feature in a number of international festivals in the lead-up to its national theatrical release in August 2011.

• Mad Bastards (Bush Turkey Films) – one of only 13 films selected from 1,073 submissions to compete in the World Cinema Dramatic section at the prestigious Sundance International Film Festival. The first time a Western Australian feature film has been selected In Competition at Sundance. Mad Bastards also screened at the US Karlovy Vary International Film Festival (Czech Republic), Shanghai International Film Festival (China), Galway Film Festival (Ireland) and was the Closing Night Film at the Adelaide Film Festival.

• Red Dog (Woss Group Films) – world premiere In Competition at the Berlin International Film Festival (Germany), Opening Gala film at the London Australian Film Festival (UK), won the Audience Award at the Vail Film Festival (US), and won Best Film at the Showcomotion Young Peoples Film Festival (UK).

1.1 Executive Summary

WA productions on screen

Acronyms

1.0 OvErvIEW OF ThE AgENCy

Award and festival highlights for 2010-11 include:


• Blame (Factor 30 Films and 3Monkey Films) – screened at the Toronto International Film Festival (Canada), Chicago International Film Festival (US), Buenos Aires International Film Festival of Independent Cinema (Argentina), CPH PIX Film Festival (Copenhagen, Denmark), Cinema des Antipodes section at the Cannes Film Festival (France), and the inaugural Australian Film Festival in India.

• Wasted on the Young (WBMC) – screened at the Toronto International Film Festival in the Discovery program (Canada) and SXSW 2011 - South by Southwest Film Festival (US).

• Surviving Mumbai (Electric Pictures) – nominated for two Emmy Awards (US), Outstanding Historical Program, Long Form and Outstanding Individual Achievement in a Craft, Research.

• Bridge Between Two Worlds (Artemis International) – awarded a Special Commendation at the United Nations of Australia Media Peace Awards in the Special Category of Increasing Awareness and Understanding of Children’s Rights and Issues.

• Every Family’s Nightmare (Prospero Productions) – Highly Commended in the TV Investigative Documentary category at the AIB Awards (Association for International Broadcasting).

• Kuru: The Science and the Sorcery (Siamese) – won Best Documentary Science, Technology & the Environment Award at the 2010 ATOM Awards (Australian Teachers of Media).

Production levels 2010-11

In 2010-11, ScreenWest production investment funding of $3.75million helped achieve screen productions valued at an estimated $28.42million. This is down from $52.58million in 2009-10.

This difference reflects the difficult financial environment the industry is operating in, with productions taking longer than previously to get all funding parties to commit. The high value of the Australian dollar is also having an impact on international co-productions and sales.

Whilst the production level was below previous years, it is not safe to draw any conclusion about trends from movements in a single year. A more useful picture can be obtained by considering two or three years together. The three-year screen production average from 2008-09 to 2010-11 is estimated at $41.05million. The average for the three years prior (2005-06 to 2007-08) was $34.2million.

There are a number of major producers and investors interested in filming in Western Australia in 2011-12 and ScreenWest is continuing its efforts to secure funding for these projects.

We would like to thank members of the WA screen industry for all their efforts during the year. The development of the strategic plan was a very comprehensive task and many stakeholders were called upon to assist in its formulation, which we hope will form a strong basis for the future development of the screen industry in Western Australia. Our sincere thanks also go to the many partners we worked with during the year – the industry associations, in particular SPAA, AWG, ADG, ACS, ASE, ASP and the WA Professional Film Crew, along with Lotterywest, Screen Australia, ABC, SBS and the Media Development Authority in Singapore, to name a few.

A very special thank you and happy birthday to the Film & Television Institute (FTI) who in December this year will celebrate their 40th birthday.

Our sincere thanks


Erica Smyth ChAIr SCrEENWEST

Ian Booth ChIEF EXECuTIvE SCrEENWEST

We would also like to thank and acknowledge the significant contribution of outgoing Board member Michelle White and ScreenWest Director Production Investment Harry Bardwell.

During Michelle’s three years on the Board, her media experience and her work with Indigenous organisations was invaluable. During Harry’s almost six years at ScreenWest, he made a significant and lasting impact on both the agency and the local screen industry. During his tenure Harry was instrumental in developing strong relationships with broadcasters and developing and implementing a series of new funding programs that helped grow the local production industry. We wish them both well with their future endeavours.

In closing, ScreenWest and the Board would like to acknowledge the Minister for Culture and the Arts, Hon John Day and thank him for his strong and continued support of the Western Australian screen industry.


ScreenWest is an incorporated association under the Associations Incorporation Act 1987 and is governed by the Constitution of Screen West (Inc.).

The Hon John Day, MLA, Minister for Culture and the Arts.

Our Vision• ScreenWest will foster growth in cultural distinctiveness, innovation and increased sustainability in the

Western Australian screen industry.

• ScreenWest will work with talented screen practitioners, facilitating knowledge exchange and advancement of their craft and business skills.

• ScreenWest will develop national and international market opportunities for our industry by fostering relationships and partnerships.

MissionScreenWest funds the development and production of quality innovative screen productions in Western Australia, primarily, but not exclusively, in the areas of:

• Drama production• Factual production, especially documentaries• Indigenous production• Innovative digital production.

It is assumed that animation is included in each of these areas.

ScreenWest works with other industry partners to advance the business/leadership acumen and craft skills of Western Australian screen industry members, so they can remain valuable and competitive to a global standard of excellence.

1.2 Operational Structure

Enabling Legislation

Responsible Minister

Organisational Structure


1. Funding Program – designs, implements and administers funding initiatives to support and develop Western Australian screen industry practitioners and productions, and build a sustainable screen industry in Western Australia.

2. Executive and Corporate Services – responsible for strategic and operational planning; corporate governance and compliance with Government policies; provision of HR, finance and ICT services; and reporting to major stakeholders, e.g. Minister for Culture and the Arts, ScreenWest Board and Lotterywest. 3. Communications – promotes ScreenWest and the WA screen industry to increase its profile and achievements; fosters the WA community’s engagement with screen content and the local screen industry; and liaises with and keeps key stakeholders informed.

Organisational Chart

ScreenWest delivers its services through the following operational divisions:

Minister for Culture and the Arts

Department of Culture and the Arts

ScreenWest Board Finance & Audit Sub-Committee

Chief Executive

Level 9

Executive Assistant

Level 3

Director Production Investment

Level 8

Production Operations

Manager Level 6

Development Manager

Level 6

Funding Team Leader

Level 5

Indigenous Project Officer Level 5

Digital Project Manager

Level 6

Funding Administration

Officer Level 2


Officer Level 2


Officer Level 2

Manager Corporate Services

Level 6

Business Affairs Officer Level 5

Financial Administration

Officer Level 3

Communications Manager

Level 7

Industry & Corporate Affairs

Officer Level 3

Communications Officer Level 2

Administration Officer Level 1


Board members are appointed by the Minister for Culture and the Arts for a three-year period. Members are appointed according to their expertise and experience in areas relevant to ScreenWest’s activities. Director General of the Department of Culture and the Arts, Ms Allanah Lucas is an ex-officio member of the Board, with approval delegation from the Minister for decisions of the ScreenWest Board to provide financial assistance to the film industry in Western Australia in excess of $50,000.

Erica Smyth, Chair Appointed Chair January 2006; Term expires 31 December 2012

After a successful career as a geologist and senior executive in the mining and petroleum industry, Ms Smyth’s current focus is as a board director. She is a Fellow of the Australian Institute of Company Directors and is currently Chair of ScreenWest, Toro Energy Ltd, Scitech and the Diabetes Research Foundation WA. She is a Board Director for various organisations, including the Australian Nuclear Science and Technology Organisation and the Royal Flying Doctor Service - Western Operations. Catherine Ferrari Appointed January 2005; Term expires 31 December 2012

Ms Ferrari is General Manager, Communications - Water Corporation. She was formerly Chief Executive of the WA Symphony Orchestra and was formerly State Director of CPA Australia. Ms Ferrari is a Director of the West Australian Opera and WaterAid Australia and also a Trustee of the Legal Contribution Trust.

Robyn Kershaw Appointed December 2005; Term expires 31 December 2011

Ms Kershaw is an independent producer whose credits include the feature films Bran Nue Dae and Looking For Alibrandi and the AWGIE award winning television series Bondi Banquet and Effie Just Quietly. As the former Head of Drama and Narrative Comedy at the ABC she commissioned and executive produced over 100 hours of programming, including the hit comedy series, Kath and Kim (series I, II and III), International Emmy nominated MDA (series I and II), Fireflies (telemovie and series), the telemovies Secret Bridesmaids’ Business, Loot and the miniseries Marking Time and Shark Net. Andrew LewisAppointed December 2005; Term expires 31 December 2011

Mr Lewis is a director and writer with extensive experience in film, television and theatre. He has directed episodes of the television series Sleepover Club, Streetsmartz, Parallax, Something in the Air, Home and Away, Ocean Star, Snobs, Going Home, Breakers and Pacific Drive and numerous short films. He has also produced, directed and written documentary and magazine programs for the ABC.

Alan LindsayAppointed January 2006; Term expires 31 December 2012

Mr Lindsay is managing director of digital content production companies Vue DC Pty and Vue Pty Ltd (which trade as Vue Group, operating in WA and Victoria) and 50% partner of the Australian Centre for Digital Innovation (WA). A producer, writer and director with 40 years experience, Mr Lindsay has a long list of quality television productions to his credit including documentary, drama, comedy and animation. Since establishing in 2010 a new facility in Bunbury

ScreenWest Board


(a private/public initiative with the WA Government and the City of Bunbury), Mr Lindsay and co-owner Helen Clucas have embraced transmedia Vue Group shaping a creative studio that works in visual effects, animation, live action and design for cinema, television, public exhibition, multiplatform broadcast and events.

Board Members Reappointed/Appointed in 2010-11

Stephen LangsfordAppointed January 2008. Reappointed February 2011; Term expires 31 December 2013

Mr Langsford is a Western Australian businessman and entrepreneur having founded successful businesses in a number of high growth sectors, including information technology, new media and entertainment. He has a finance and business management background and enjoys working in start-up and high growth environments. Mr Langsford is Founder and Executive Chairman of Quickflix Limited, Australia’s leading online movie rental subscription company, which listed on the Australian Stock Exchange (ASX:QFX).

Aidan O’BryanAppointed January 2008. Reappointed February 2011; Term expires 31 December 2013

Chief Creative Officer of WBMC, Mr O’Bryan is an experienced television producer and media innovator. Mr O’Bryan established WBMC as a collaborative, creative production company focussed on the production of high quality film and television and digital production at the forefront of innovation. His production credits include feature film Wasted on the Young, rockumentary Something in the Water, television series My Generation and ABC digital media project ReFace.

Ningali Lawford-WolfAppointed February 2011; Term expires 31 December 2013 Ms Lawford-Wolf is a Walmajarri, Wankatjungka and Gooniyandi woman from the Fitzroy Valley area in the Kimberley Region. A renowned theatre and screen actor, she is also involved in developing understanding between Indigenous and non-Indigenous people. Peter roweAppointed February 2011; Term expires 31 December 2013 Director, Gryphon Management Australia, Mr Rowe has 25 years’ experience in corporate communications, issues management and strategic advice with extensive negotiation experience in a broad range of areas.

Board Members Retired

Michelle WhiteAppointed January 2008; Term expired 31 December 2010

A former journalist, Ms White has worked on a variety of ABC programs, including Series Producer of Message Stick, TV News Perth, The 7.30 Report, Australian Story and Blackout. Her radio credits include Awaye! on Radio National and WA representative for The Morning Show on Triple J. Ms White is a passionate supporter of the arts and has held senior management roles at Yirra Yaakin Aboriginal Corporation and Noongar Media Enterprise (100.9fm Noongar Radio). She is currently employed as Aboriginal Arts & Cultural Development Manager, Country Arts Network WA.


Ex-Officio Member of the Board Allanah Lucas, Director General, Department of Culture and the Arts

Ms Lucas has worked in the Australian and United Kingdom arts sectors for more than 25 years as a professional CEO and arts administrator, performing arts producer, presenter and practitioner, researcher, consultant and tutor.

Since joining the Culture and Arts Portfolio in 2000 as Director of ArtsWA, she has held the positions of Acting Chief Executive Officer of the WA Museum (2004) and Executive Director of the Culture and Arts Development directorate (2005). She was appointed Director General in 2008.

Finance and Audit Committee

The Finance and Audit Committee assists the ScreenWest Board to discharge its responsibility to exercise due care, diligence and skill in relation to ScreenWest’s reporting of financial information, internal audit process and risk management programs.

The 2010-11 Finance and Audit Committee are Board members:• Catherine Ferrari (Chair)• Stephen Langsford• Alan Lindsay• Peter Rowe (joined February 2011)

Senior Officers

Ian Booth LLB, Chief Executive

Mr Booth commenced as Chief Executive of ScreenWest in May 2007. Prior to this, he had his own solicitor’s practice specialising in film and television law. He established production company Sassafras Films, co-producing the adult drama series Marx and Venus and other projects. Previously he worked at the ABC in Melbourne as Business Affairs Manager for Drama and Comedy, working on projects such as Kath & Kim, MDA, The Glasshouse, Enough Rope, The Shark Net, and Marking Time.

Harry Bardwell, Director Production Investment

Mr Bardwell’s extensive industry background includes many years of independent producing and public broadcasting. He has held senior production and management positions with ABC TV, SBS, Carlton Productions (UK) and Hutchison Telecoms. He is credited as Producer, Commissioning Editor or Executive Producer on over 400 Australian productions and co-productions.

Mr Bardwell left ScreenWest after six years on 1 July 2011.


Administered Legislation

Nil

Other Key Legislation Impacting on ScreenWest’s Activities

In the performance of its functions, ScreenWest complies with the following relevant written laws:

Auditor General Act 2006

Criminal Code, Crimes and Misconduct Commissions Act 2001

Disability Services Act 1993

Equal Opportunity Act 1984

Financial Management Act 2006

Freedom of Information Act 1992

Industrial Relations Act 1979

Minimum Conditions of Employment Act 1993

Occupational Safety and Health Act 1984

Public Interest Disclosure Act 2003

Public Sector Management Act 1994

Salaries and Allowances Act 1975

State Records Act 2000

State Supply Commission Act 1991

Superannuation Guarantee (Administration) Act 1992 (Cth)

Workers’ Compensation and Injury Management Act 1981


1.3.1 Outcome Based Management Framework

Broad government goals and outcomes are supported by ScreenWest by delivering a specific service to achieve a specific outcome. The following table illustrates the relationship between the agency and the government goal it contributes to.

The key efficiency indicator monitors the relationship between the service delivered and the resources used to produce the service. The key effectiveness indicators measure the extent of impact of the delivery of services on the achievement of desired outcomes.

1.3 Performance Management Framework

Service: Screen Production Industry Support

Agency Level Outcome Delivery of strategic support and funding to advance the development of the screen production industry in Western Australia.

Government Desired Outcome A creative, sustainable and accessible culture and arts sector.

Government Goal – Outcomes Based Service Delivery Greater focus on achieving results in key service delivery areas for the benefit of all Western Australians.

Key Efficiency Indicators Average cost per grant application processed.

Key Effectiveness Indicators Proportion of funding applicants satisfied with key elements of ScreenWest’s funding.

Proportion of Western Australians that perceive culture and arts sector (including the Screen Industry) events to be accessible.

Perceived value of culture and the arts (including the Screen Industry) to the Western Australian community.


1.3.2 Changes to Outcome Based Management Framework The Model Statutory Authority’s Outcome Based Management Framework did not change during 2010-11.

1.3.3 Shared Responsibilities with Other Agencies ScreenWest is solely responsible for delivering the service of screen production industry support. However, the Government Desired Outcome and some of the Key Effectiveness Indicators, as specified at 1.3.1, are contributed to by the work of the Department of Culture and the Arts and its portfolio agencies - the Art Gallery of Western Australia, State Library of Western Australia, Perth Theatre Trust and the Western Australian Museum.


ScreenWest’s funding and support programs are designed to:

• Foster the development and production of quality, marketable film, television and digital projects; Expand the creative and professional development of Western Australia’s film and television key creatives and crew, and digital specialists; and

• Promote Western Australian screen culture.

In 2010-11 the Funding Program focused on six core areas: Production; Development; Production company and practitioner support; Indigenous; Digital; and Screen Culture. Funding initiatives were provided in each area, with each fund having specific objectives, guidelines and eligibility criteria. Several special initiatives that cross over areas were also implemented.

In addition, the agency also provided funding to the Film & Television Institute (FTI) to manage and deliver a range of initiatives that support the emerging screen sector.

2.1.1 Funding Application Assessment Members

Throughout the year, ScreenWest convened assessment meetings to make recommendations or decisions on funding applications. The assessment meetings included ScreenWest representatives and industry professionals who are leaders in their field. The assessment meetings enhance the decision making process and ensure good governance of ScreenWest funding.

For a full list of assessment meetings and members see Appendix 1.

2.1.2 Funding Program Allocations 2010-11

In 2010-11, $8.6million was allocated in grants and investment funds through the Funding Program, and a further $108,000 was expended on supporting key industry conferences. Notably, 54 per cent of funding was allocated to production, and project development increased to 10 per cent of the funding allocated.

For a list of all funding grant approvals in 2010-11, please see Appendix 3.

2.1 Report on ScreenWest’s Funding Program

2.0 AgENCy PErFOrMANCE


2.1.3 Funding Program Key Outcomes and Highlights 2010-11

During 2010-11, a wide range of activities in the core program areas took place. Key highlights and outcomes of the year are summarised below.

Project Development

A key development goal is to ensure the WA screen industry has ample opportunities to connect with the market and that projects are being developed to an international standard. To help achieve this goal, ScreenWest secured international and national guests for project and skills development programs throughout the year. Guests included: Sue Murray, Simon van der Borgh, Jonathon Rawlinson, Elissa Down, Sue Masters, Tim Pye, Amanda Higgs, Ted Robinson, Tim Ferguson, Brett Sleigh and Paul Chitlik.

Feature and Tele-Navigator Development Programs 2010

The Feature and Tele-Navigator development programs were revised and enhanced in 2010-11. Both programs were run successfully and continue to develop ‘key creative’1 skills in WA and connect the industry with market representatives.

Six creative teams took part in the Tele-Navigator Consultation Week and progressed through the three phases of the program. Two projects were awarded $15,000 in development investment funding: Oh, Danny Boy (writer Helen Mulroney) and Vernon James (writer Jules Duncan, producer Tenille Kennedy).

Six teams participated in the Feature Navigator Consultation Week. The two Feature Navigator projects selected for development investment were: Playthings (writer Ceinwen Langley, producer Kate Separovich, director Wade K. Savage); and The Red Bride (writer Richard Hyde, producer Jocelyn Quioc, producer David Revill, director Chris Richards-Scully).

1 For statistical purposes ScreenWest’s definition of ‘key creative’ is defined as a Producer, Director or Writer.

____________1 For statistical purposes ScreenWest’s definition of ‘Key Creative’ is defined as a Producer, Director or Writer.

1 For statistical purposes ScreenWest’s definition of ‘Key Creative’ is defined as a Producer, Director or Writer.

2.1 Report on ScreenWest’s Funding Program

Project Development

Production

Emerging Initiatives & FTI

Indigenous Program

Digital

Production Company & Practitioner Development

Screen Culture & Industry Development

8%

6%

10%

11% 10%

1%

54%

Funding Program Expenditure 2010-11


To be eligible for production funding, all projects (other than short films and digital projects) must have been made for national television transmission or general theatrical release.

For a full list of productions that entered Principal Photography in 2010-11, please see Appendix 2.

WA Crew Incentive Employment Fund

In July 2010, the WA Crew Incentive Employment Fund was activated. This fund is intended to encourage local producers to employ WA practitioners. In its inaugural year, the fund provided a financial incentive to seven completed WA productions that engaged qualifying WA resident crew.

The overall impact of the fund was a noticeable increase in the number of WA key creatives employed. This has had a roll on effect with those key creatives gaining more experience and therefore becoming more attractive to potential employers than in previous years. West Coast VisionsScreenWest has continued to have a great outcome with its West Coast Visions (WCV) initiative. WCV is designed to uncover, inspire and develop up and coming filmmakers. This year two WCV projects funded in previous years - Blame and Wasted on the Young – had a national cinema release, national and international film festival success and achieved international sales.

In 2010-11, the successful West Coast Visions project was apocalyptic thriller These Final Hours from 8th In Line Productions (producer Liz Kearney and writer/director Zak Hilditch).

Matched ABC Primetime Fund

In partnership with the ABC, in December 2010 ScreenWest announced a new $1.6million initiative aimed at developing original ideas for a series of factual programs to be produced out of Western Australia, and to air on ABC1 and ABC2 in primetime. The programs will be stories that celebrate the unique WA environment and/or larger than life characters that will resonate with family audiences.

Seven local production companies attended a three-day workshop with ABC Factual to develop factual entertainment concepts. Following on from the workshop and upon submission of revised proposals, four projects were selected, which were in the final stages of development at the close of the financial year.

Special Initiatives West Coast Kids

In 2009-10, ScreenWest negotiated with the ABC and Australian Children’s Television Foundation (ACTF) to develop and produce a 13 x 15 minute children’s sitcom series.

The successful project Mal.com from Animazing Productions went into production at the ABC Perth studios in March 2011. The four lead children’s roles are played by young local actors and the crew was predominantly Western Australian. Mal.com will be broadcast on ABC3 during 2011-12.

Production Funding

Indigenous Community Stories were recorded.

During the year, 24 ScreenWest funded productions entered Principal Photography, including six documentary series, six documentaries, two children’s television series, one feature film, an Indigenous lifestyle panel series, one animation short series and seven short films. In addition, one digital project was completed and nine archival


During the year FTI managed LINK and HYPERLINK - two production initiatives for emerging filmmakers - on ScreenWest’s behalf. FTI provided a wide range of courses and services to support the emerging sector. ScreenWest also partnered with FTI to deliver the Deadly Yarns and Indigenous Community Stories progams.

LINK aims to develop creative teams, filmmaking skills, and the financial and project management skills required of early career independent filmmakers within professional industry standards. Four LINK productions were provided with up to $30,000 each in 2010-11.

HYPERLINK assists WA creative writer/producer/director teams to develop their production, storytelling, financial and project management skills to professional industry standards. One production was awarded $70,000 in production funding.

See Appendix 2 for production details of the LINK and HYPERLINK short films.

Emerging Initiatives and FTI Funding

Indigenous Program The ScreenWest Indigenous Screen Strategy 2010-2015 was released in October 2010. The Strategy focuses on storytelling, technical and business skills development, providing opportunities for Indigenous companies to produce programs, and for Indigenous key creatives and crew to work in the mainstream screen sector. Key outcomes of the Indigenous program during 2010-11 include:

• Production of Indigenous programs Waabiny Times Series 2 and Straight Shootin’ for NITV and Homeward Bound for ABC.

• The fifth series of Deadly Yarns, (a ScreenWest, ABC and FTI skills development initiative for first time and emerging Indigenous writers, directors and producers) produced four short films, employing six WA Indigenous key creatives. (See Appendix 2 for production details.) The shorts aired on ABC1 as part of the Message Stick program and several have already been selected for film festivals.

Since its inception, a total of 24 Deadly Yarns shorts have been made and the sixth series is currently in production.

• With funding support from Lotterywest and in partnership with FTI, the Indigenous Community Stories (ICS) initiative continued. ICS records WA’s Indigenous heritage, cultural and historical stories using the latest digital technology and a professional film crew.

The initiative aims to record 100 stories so they can be viewed by future generations as well as creating invaluable records of Australia’s national cultural identity. In 2010-11, nine ICS recordings took place, bringing the total to 20 stories recorded.

• Thirteen WA Indigenous creative filmmakers were employed on productions other than short films.

• Support was provided to WA Indigenous practitioners to access skills development, networking and market opportunities, including:

− Three Indigenous mentorships provided; director and a post producer supervisor/editor on a series production and a digital mentorship.

− Attendance at key conferences such as Australian International Documentary Conference, X|Media|Lab Perth, WAnimate Pixar Workshop, AFTRS Documentary Course.

− Travel assistance to attend national and international events where the Indigenous practitioner/production was nominated for an award or a key participant, including the AFI Awards, Sundance Film Festival and Message Sticks Indigenous Film Festival.


Digital ProgramScreenWest increased its focus on digital development and production during the year with the appointment in July 2010 of a Digital Project Manager (part-time) and the implementation of several new digital funding initiatives.

The 2010-11 period saw a growth of the local digital media sector and cross fertilisation with complementary industries, such as arts and games development. This was facilitated through a range of skills development and networking opportunities including, production and development funding to support digital projects, from iapps, augmented reality and web series through to interactive documentary. Specifically including:

• X|Media|Lab Perth

• Digital Think Tank in collaboration with the City of Perth

• Master class with Chris Winter, ABC Innovation Manager, New Services

• Two full-day digital workshops: From Concept to Pitch

• Seminar with Jennifer Wilson, The Project Factory

• Let’s Make Games Workshop.

X|Media|Lab Perth

ScreenWest was instrumental in bringing X|Media|Lab (XML), the internationally acclaimed digital media think-tank and creative workshop to Perth in April 2011.

Addressing the theme Storytelling in a Digital Age, were 17 international world class authorities in digital media who attended as speakers and mentors including:

• Rosie Allimonos – Multiplatform Commissioner, BBC Drama, Film & Acquisitions (London).

• Nicoletta Iacobacci – Head of Multiplatform, European Broadcasting Union (Geneva).

• Poonacha Machaiah – CEO at Shekhar Kapur Digital Media, the new company of the Academy Award winning Director of Elizabeth and Elizabeth: The Golden Age (Bangalore).

• Emma Kaye – One of the world’s top 50 women in mobile entertainment; and Africa’s leading interactive media entrepreneur (Cape Town).

• Marshall Vandruff – Interactive Storyteller and Artist who works with MAD Magazine, Warner Brothers, Rockstar, Blizzard Entertainment, Hanna-Barbera, Nickelodeon and many more as well as with over 40 advertising agencies (Laguna Beach).

• Peter Shiao – Founder and CEO Orb Media Group, a high-profile entertainment company based in Los Angeles and Beijing.

• Esther Lim – Digital Marketing Leader, Transmedia Producer, Social Media Strategist and Game Analyst - CEO and Founder of boutique firm The Estuary (San Francisco).

− Participation in national workshops including: Screen Australia’s Indigenous Department Redfern Now drama series script development workshop (1) and Flash Black Short Drama script development (1); AFTRS Pitch It!@Message Sticks (3); AFTRS Indigenous Adaptation (3).


Feedback on the Lab teams was very positive and encouraging. Brendan Harkin, Director and Founder X|Media|Lab stated: “Both Nicoletta Iacobacci and Esther Lim, who were evaluators on the MIP Content 360* panel in Cannes and both Mentors, separately and together, made a point of telling me that the quality of the projects they saw in Perth was superior to those they saw in Cannes: higher quality, better prepared, and more promising.” As a part of XML Perth, ScreenWest and DCA provided three $20,000 X|Media|Lab Development Awards for Lab projects that included a WA producer and a WA artist/arts organisation. The Award recipients, selected by the mentors, were: Bone Diggers by Danielle Giles, Inkubator Pty Ltd, working with the WA Museum; Harvest by Rob McGlynn, Crow Media, working with Arif and Audrey Satar; and Ubby’s Underdogs, by Gareth Lockett working with Magabala Books.

iArts2

A joint initiative of ScreenWest, ABC and the DCA, iArts2 resulted in Sound Chamber: a sound art project involving a downloadable application, website and a physical installation of a large, inflatable dome where audiences use their body movement to interact with sounds provided by online users. Recordings in the dome were then distributed using social media.

The inaugural exhibition of Sound Chamber was held at Scitech and a short documentary on the project was broadcast on ABC’s Art Nation.

MDA - ScreenWest Cross Media Development Initiative

The Media Development Authority (MDA)-ScreenWest Cross Media Development Initiative has enabled new co-production relationships to develop between Singapore and WA companies, built upon the global distribution opportunities that digital platforms present.

In 2010-11 two projects were selected under this initiative to receive US$30,000 each in development funding. This funding will be shared between the Singaporean and Western Australian co-development partners.

The successful projects were:

• The Adventures of Bradley – an informative and exciting interactive preschool animation series exploring traditional folk tales from around the world, to be produced by WA company RKPix with Singaporean partners August Media Holdings.

• WA company WBMC teamed up with the Singapore-based Interactive SG to devise Preseason, a completely integrated documentary and interactive experience that goes behind the scenes as professional athletes work to prepare for a new season of their chosen sport. The project offers devotees a unique insight into what it takes to succeed at an elite sporting level, as well as train alongside their heroes.

Digital Stepping Stones

The SBS Digital Factual Initiative has resulted in the commissioning of an interactive documentary for SBS online, now in production. An additional documentary project was also identified for development with SBS and development is currently underway as a part of the X|Media|Lab Development Award.

X|Media|Lab Perth consisted of two parts:

• A full-day Conference attended by 350 people, including screen practitioners, games developers, technologists and digital media professionals.

• A two-day Lab at which 16 teams were selected from 90 applications to take part. The teams worked one-on-


Practitioner and Production Company Support A focus of ScreenWest is to work closely with the industry to support the development and growth of WA production companies and provide career pathways for WA practitioners. A range of funding initiatives were offered in this area.

Attachments, Placements and Mentorships

In 2010-11 ScreenWest, in partnership with the many companies and industry professionals involved, supported:

• One International Internship – Screen Australia and ScreenWest co-funded a six-month international producer development internship with Los Angeles production company, Krasnoff/Foster Entertainment (The Soloist; When in Rome; Sleepless in Seattle; Ghost Rider; Tin Cup; Short Circuit, The Shield, The King of Queens, Community). The internship was highly competitive, with 24-year-old emerging producer Mike Searle the successful candidate.

• Four Professional Attachments – a skills development program for emerging and mid-career practitioners whereby they are ‘attached’ to a professional crew member on a production, thereby gaining practical on-the-job training. Attachments were undertaken in drama direction, boom operation, scriptwriting and production assistance.

• Four Professional Placements – Placements provide professional development opportunities to emerging and mid-career practitioners for a period of up to six months with a company. Placements were taken up in the roles of Producer, Editor, Distribution and Marketing. A placement enabled emerging WA producer Kate Separovich to attend the Cannes Film Festival with Australian sales agent Odin’s Eye.

• Twelve Mentorships – mid-career practitioners are mentored by a skilled professional in a specific role. These included Executive Producer, Producer, Script Editor, Production Accountant, and Digital Production. In addition, three Mentorships were funded through ScreenWest’s Indigenous program.

In addition to the above programs, 13 Attachments positions were provided by production companies as a contractual requirement of their Production Investment Agreement (PIA) with ScreenWest. The PIA Attachments were in the roles of Director, Production Secretary, Script Writing (2), Production Coordinator (3), Camera Assistant, Post Production Coordinator, Production Assistant (2) and Production Staff Coordinator (2).

Travel Assistance

ScreenWest invested significant funds in assisting industry practitioners to attend leading national and international conferences and markets, and to attend short courses and training. In total, nearly $400,000 was spent on 71 travel assistance grants and 42 short courses and training grants.

Business Development Fund

The second round of the Business Development Fund was held in 2010-11. This fund provides support of up to $80,000 over two years to production companies and affiliated independent screen industry businesses that have identified within a business plan opportunities to develop and expand their business. Three companies were recipients of the fund this year.


Screen Culture and Industry ConferencesAudience and Industry Engagement Program

ScreenWest committed $80,000 through its Audience and Industry Engagement Program (AIEP) program to seven activities, in addition to a $50,000 per annum triennial agreement (2010-2012) with the Revelation Perth International Film Festival.

The funded activities varied in type, content screened, target audience and location with a number of regional and remote towns serviced through touring programs. Each activity is contracted to screen a minimum of one WA film and the involvement of and engagement with the WA screen industry is a priority.

Industry Conferences

ScreenWest provided sponsorship support to the following key national conferences:

• AIDC Conference

• SPAA Conference

• AWG Australian Writers Conference

• X|Media|Lab.

WA Screen Awards

The 24th Western Australian Screen Awards (WASA) celebrated excellence in film and television production. In total, 17 Awards were presented in emerging categories, four industry awards, and the Bill Warnock Scriptwriting Award.

The Industry award winners were:• Lotterywest Award for Outstanding Contribution to the Industry: Jill Perryman

• Lotterywest Award for Outstanding Achievement by a Practitioner: Ric Curtin, Sound Designer

• Lotterywest Award for Outstanding Achievement in Factual Production: Kuru: The Science and The Sorcery (Siamese)

• Lotterywest Award for Outstanding Achievement in Drama: Little Sparrows (Bolderpictures).

The ScreenWest funded Bill Warnock Award went to Damien Spiccia.

The Bendigo Bank Young Filmmaker of the Year Award (presented to a filmmaker aged 25 years or younger) was won by Mat de Koning.

Other Screening Opportunities

During the year ScreenWest supported 21 events that involved the screening or launch of a WA production or was an activity to promote the industry. Premiere events included Cloudstreet, which was attended by the Premier Colin Barnett, Wasted on the Young, Blame, Leaky Boat and Kuru: the Science and the Sorcery. Launch events for Mad Bastards were held in Wyndham, Broome and Perth, and launches for Jandamarra’s War were held in Fitzroy Crossing, Broome and Perth.

ScreenWest also provided recommendations and screener copies to organisers of events, for example:

- City of Gosnells screened Bridge Between Two Worlds for their Harmony Week celebrations

- WA Government office in London screened Lockie Leonard for G’Day UK celebrations.


Current and emerging issues and trends

• The Australian dollar is at an all-time high, which makes Australia less attractive to international partners and diminishes the value in Australian dollars of international sales. In addition, the industry is operating in a difficult financial environment with productions now taking longer to get all funding parties to commit.

• In 2010-11, investments by ScreenWest helped achieve screen production in Western Australia valued at an estimated $28.42million (down from $52.58million in 2009-10). The three-year screen production average from 2008-09 to 2010-11 is $41.05million per year. There are a number of major producers and investors interested in filming in Western Australia in 2011-12 and ScreenWest is continuing its efforts to secure funding for these projects.

• The screen industry is continuously and rapidly evolving in terms of digital production, distribution channels and audience needs. This requires ScreenWest’s funding and support programs to be regularly reviewed to address changing needs.

• Lack of infrastructure, be it people or physical assets, could become a major impediment to the WA screen industry’s growth. The development and implementation of a Strategic Asset Plan will establish current and future industry needs.

• ScreenWest is committed to Indigenous filmmaking and the implementation of the ScreenWest Indigenous Screen Strategy 2010-2015 will address the specific needs and requirements of this burgeoning sector.

• Establishing the organisation as a statutory authority has been identified as a key priority. This will clarify and strengthen ScreenWest’s position within Government and the WA community.

• The Federal Government is currently undertaking the Convergence Review, a review of all the legislation underpinning the screen industry. At this stage the outcomes and how they may affect the WA screen industry are unclear. ScreenWest will be closely monitoring the review in 2011-12.

3.0 SIgNIFICANT ISSuES IMPACTINg SCrEENWEST


3.0 SIgNIFICANT ISSuES IMPACTINg SCrEENWEST

Tony Loiacono Chief Finance Officer 24 August 2011 Erica Smyth Chairman of Accountable Authority 24 August 2011

Catherine Ferrari Member of Accountable Authority 24 August 2011

4.1 Financial Statements

The accompanying financial statements of ScreenWest (Inc.) have been prepared in compliance with the provisions of the Financial Management Act 2006 from proper accounts and records to present fairly the financial transactions for the financial year ending 30 June 2011 and the financial position as at 30 June 2011.

At the date of signing we are not aware of any circumstances, which would render any particulars included in the financial statements as misleading or inaccurate.

SCrEENWEST (INC.)

CErTIFICATION OF FINANCIAL STATEMENTS

FOr ThE yEAr ENDED 30 JuNE 2011

4.0 DISCLOSurES AND LEgAL COMPLIANCE




ScreenWest (Inc.)Statement of Comprehensive IncomeFor the year ended 30 June 2011

Note 2011 2010$000 $000

COST OF SErvICES

Expenses Employee benefits expense 5 1,515 1,364Supplies and services 6 441 366Depreciation and amortisation expense 7 2 3Accommodation expenses 8 123 119Grants and loans expense 9 8,595 9,558Other expenses 10 197 233Total cost of services 10,873 11,643

Income

Revenue Returns on funding activities 11 264 329Interest revenue 12 581 411Lapsed commitments 13 811 840Other revenue 14 239 164Total Revenue 1,895 1,744

Total income other than income from State Government 1,895 1,744NET COST OF SErvICES 8,978 9,899

Income from State Government 15Service grant 2,502 3,702Lotterywest grant 5,228 5,030Resources received free of charge 1,105 907Total income from State Government 8,835 9,639(DEFICIT) FOr ThE PErIOD (143) (260)TOTAL COMPrEhENSIvE INCOME FOr ThE PErIOD (143) (260)

See also note 34 ‘Schedule of Income and Expenses by Service’.

The Statement of Comprehensive Income should be read in conjunction with the accompanying notes.


ScreenWest (Inc.)Statement of Financial PositionAs at 30 June 2011

Note 2011 2010$000 $000

ASSETSCurrent AssetsCash and cash equivalents 24 9,976 9,380Receivables 16 202 166Other current assets 17 2 2Total Current Assets 10,180 9,548

Non-Current AssetsAmounts receivable for services 18 30 28Furniture and equipment 19 5 7Total Non-Current Assets 35 35TOTAL ASSETS 10,215 9,583

LIAbILITIESCurrent LiabilitiesPayables 21 87 662Loans and grants payable 22 8,330 5,859Total Current Liabilities 8,417 6,521

Non-Current LiabilitiesLoans and grants payable 22 63 1,184Total Non-Current Liabilities 63 1,184TOTAL LIAbILITIES 8,480 7,705NET ASSETS 1,735 1,878

EQuITy 23Contributed equity 150 150Accumulated surplus 1,585 1,728TOTAL EQuITy 1,735 1,878

The Statement of Financial Position should be read in conjunction with the accompanying notes.


ScreenWest (Inc.)Statement of Changes in EquityFor the year ended 30 June 2011

Contributed Accumulated TotalNote equity surplus equity

$000 $000 $000

Balance at 1 July 2009 23 144 1,988 2,132Total comprehensive income for the year (260) (260)Transactions with owners in their capacity as owners:

Capital grant 6 6Total 6 (260) (254)Balance at 30 June 2010 150 1,728 1,878

Balance at 1 July 2010 150 1,728 1,878Total comprehensive income for the year (143) (143)Total 0 (143) (143)Balance at 30 June 2011 150 1,585 1,735

The Statement of Changes in Equity should be read in conjunction with the accompanying notes.


ScreenWest (Inc.)Statement of Cash FlowsFor the year ended 30 June 2011

Note 2011 2010$000 $000

CASh FLOWS FrOM STATE gOvErNMENTService grant 2,500 3,721Lotterywest grant 5,228 5,030Net cash provided by State Government 7,728 8,751

Utilised as follows:CASh FLOWS FrOM OPErATINg ACTIvITIESPaymentsEmployee benefits (910) (10)Supplies and services (410) (328)Accommodation (177) (82)Grants and loans (6,434) (6,941)GST payments on purchases (658) (725)GST payments to taxation authority (323) (568)Other payments (236) (170)

ReceiptsReturns on funding activities 241 312Interest received 574 346GST receipts on sales 562 543GST receipts from taxation authority 404 759Other receipts 235 629Net cash (used in) operating activities 24 (7,132) (6,235)Net increase in cash and cash equivalents 596 2,516Cash and cash equivalents at the beginning of period 9,380 6,864CASh AND CASh EQuIvALENTS AT ThE END OF PErIOD 24 9,976 9,380

The Statement of Cash Flows should be read in conjunction with the accompanying notes.


ScreenWest (Inc.)Notes to the Financial StatementsFor the year ended 30 June 2011

Note 1. Australian Accounting Standards

GeneralScreenWest (Inc.)’s financial statements for the year ended 30 June 2011 have been prepared in accordance with Australian Accounting Standards. The term ‘Australian Accounting Standards’ refers to Standards and Interpretations issued by the Australian Accounting Standard Board (AASB).

ScreenWest (Inc.) has adopted any applicable, new and revised Australian Accounting Standards from their operative dates.

Early adoption of standardsScreenWest (Inc.) cannot early adopt an Australian Accounting Standard unless specifically permitted by Treasurer’s Instruction (TI) 1101 Application of Australian Accounting Standards and Other Pronouncements. No Australian Accounting Standards that have been issued or amended [but not operative] have been early adopted by ScreenWest (Inc.) for the annual reporting period ended 30 June 2011.

Note 2. Summary of significant accounting policies

(a) General statementThe financial statements constitute general purpose financial statements that have been prepared in accordance with Australian Accounting Standards, the Framework, Statements of Accounting Concepts and other authoritative pronouncements of the Australian Accounting Standards Board as applied by the Treasurer’s Instructions. Several of these are modified by the Treasurer’s Instructions to vary application, disclosure, format and wording.

The Financial Management Act and the Treasurer’s Instructions are legislative provisions governing the preparation of financial statements and take precedence over the Australian Accounting Standards, the Framework, Statements of Accounting Concepts and other authoritative pronouncements of the Australian Accounting Standards Board.

Where modification is required and has a material or significant financial effect upon the reported results, details of that modification and the resulting financial effect are disclosed in the notes to the financial statements.

(b) Basis of preparationThe financial statements have been prepared on the accrual basis of accounting using the historical cost convention.

The accounting policies adopted in the preparation of the financial statements have been consistently applied throughout all periods presented unless otherwise stated.


The financial statements are presented in Australian dollars and all values are rounded to the nearest thousand dollars ($’000).

Note 3 ‘Judgements made by management in applying accounting policies’ discloses judgements that have been made in the process of applying ScreenWest (Inc.)’s accounting policies resulting in the most significant effects on amounts recognised in the financial statements.

(c) Reporting entityThe reporting entity comprises ScreenWest (Inc.), it has no related bodies.

(d) Contributed equityAASB Interpretation 1038 Contributions by Owners Made to Wholly-Owned Public Sector Entities requires transfers in the nature of equity contributions, other than as a result of a restructure of administrative arrangements, to be designated by the Government (the owner) as contributions by owners (at the time of, or prior to transfer) before such transfers can be recognised as equity contributions. Capital grants have been designated as contributions by owners by TI 955 Contributions by Owners made to Wholly Owned Public Sector Entities and have been credited directly to Contributed Equity. The transfer of net assets to/from other agencies, other than as a result of restructure of administrative arrangements, are designated as contributions by owners where the transfers are non-discretionary and non-reciprocal. (e) IncomeRevenue recognitionRevenue is recognised and measured at the fair value of consideration received or receivable. The following specific recognition criteria must also be met before revenue is recognised for the major business activities as follows:

Sale of goodsRevenue is recognised from the sale of goods and disposal of other assets when the significant risks and rewards of ownership transfer to the purchaser and can be measured reliably.

Provision of servicesRevenue is recognised on delivery of the service to the client or by reference to the stage of completion of the transaction.

Interest Revenue is recognised as the interest accrues.

Service grantsService Grants are recognised as revenues at fair value in the period in which ScreenWest (Inc.) gains control of the granted funds. ScreenWest (Inc.) gains control of the grant funds at the time those funds are deposited into the bank account or credited to the ‘Amounts receivable for services’ (holding account) held at Treasury.


Grants, donations, gifts and other non-reciprocal contributionsRevenue is recognised at fair value when ScreenWest (Inc.) obtains control over the assets comprising the contributions, usually when cash is received.

Other non-reciprocal contributions that are not contributions by owners are recognised at their fair value. Contributions of services are only recognised when a fair value can be reliably determined and the services would be purchased if not donated.

GainsRealised or unrealised gains are usually recognised on a net basis. These include gains arising on the disposal of non-current assets and some revaluations of non-current assets.

(f) Furniture and equipmentCapitalisation/expensing of assetsItems of furniture and equipment costing $5,000 or more are recognised as assets and the cost of utilising assets is expensed (depreciated) over their useful lives. Items of furniture and equipment costing less than $5,000 are immediately expensed direct to the Statement of Comprehensive Income (other than where they form part of a group of similar expensed items which are significant in total).

Initial recognition and measurementAll items of furniture and equipment are initially recognised at cost.

For items of furniture and equipment acquired at no cost or for nominal cost, the cost is the fair value at the date of acquisition.

Subsequent measurementFurniture and equipment are stated at historical cost less accumulated depreciation and accumulated impairment losses.

DepreciationAll non-current assets having a limited useful life are systematically depreciated over their estimated useful lives in a manner that reflects the consumption of their future economic benefits.

Depreciation is calculated using the straight line method, using rates which are reviewed annually. Estimated useful lives for each class of depreciable asset are:

Furniture and equipment 4 to 10 years

(g) Intangible assetsCapitalisation/Expensing of assetsAcquisitions of intangible assets costing $5,000 or more and internally generated intangible assets costing $50,000 or more are capitalised. The cost of utilising the assets is expensed (amortised) over their useful life. Costs incurred below these thresholds are immediately expensed directly to the Statement of Comprehensive Income. All acquired and internally developed intangible assets are initially recognised at cost. For assets acquired at no cost or for nominal cost, the cost is their fair value at the date of acquisition.


The cost model is applied for subsequent measurement requiring the asset to be carried at cost less any accumulated amortisation and accumulated impairment losses.

Amortisation for intangible assets with finite useful lives is calculated for the period of the expected benefit (estimated useful life) on the straight line basing using rates which are reviewed annually. All intangible assets controlled by ScreenWest (Inc.) have a finite useful life and zero residual value.

The expected useful lives for each class of intangible asset are:

Software (a) 3 to 5 yearsWebsite costs 3 to 5 years

(a) Software that is not integral to the operation of any related hardware.

Computer softwareSoftware that is an integral part of the related hardware is treated as furniture and equipment. Software that is not an integral part of the related hardware is treated as an intangible asset. Software costing less than $5,000 is expensed in the year of acquisition.

Website costsWebsite costs are charged as expenses when they are incurred unless they relate to the acquisition or development of an asset when they may be capitalised and amortised. Generally, costs in relation to feasibility studies during the planning phase of a website, and ongoing costs of maintenance during the operating phase are expensed. Costs incurred in building or enhancing a website, to the extent that they represent probable future economic benefits that can be reliably measured, are capitalised.

(h) Impairment of assetsFurniture, equipment and intangible assets are tested for any indication of impairment at the end of each reporting date. Where there is an indication of impairment, the recoverable amount is estimated. Where the recoverable amount is less than the carrying amount, the asset is considered impaired and written down to the recoverable amount and an impairment loss is recognised. As ScreenWest (Inc.) is a not-for-profit entity, unless an asset has been identified as a surplus asset, the recoverable amount is the higher of an asset’s fair value less costs to sell and depreciated replacement cost.

The risk of impairment is generally limited to circumstances where an asset’s depreciation is materially understated, where the replacement cost is falling or where there is a significant change in useful life. Each relevant class of assets is reviewed annually to verify that the accumulated depreciation/amortisation reflects the level of consumption or expiration of asset’s future economic benefits and to evaluate any impairment risk from falling replacement costs.

Intangible assets with an indefinite useful life and intangible assets not yet available for use are tested for impairment at each reporting period irrespective of whether there is any indication of impairment.


The recoverable amount of assets identified as surplus assets is the higher of fair value less costs to sell and the present value of future cash flows expected to be derived from the asset. Surplus assets carried at fair value have no risk of material impairment where fair value is determined by reference to market-based evidence. Where fair value is determined by reference to depreciated replacement cost, surplus assets are at risk of impairment and the recoverable amount is measured. Surplus assets at cost are tested for indications of impairment at each reporting period.

(i) LeasesScreenWest (Inc.) holds operating leases for a motor vehicle. Lease payments are expensed on a straight line basis over the lease term as this represents the pattern of benefits derived from the leased properties.

(j) Financial instrumentsIn addition to cash, ScreenWest (Inc.) has two categories of financial instrument:

* Receivables; and* Financial liabilities measured at amortised cost.

Financial Instruments have been disaggregated into the following classes:Financial Assets:

* Cash and cash equivalents* Receivables* Amounts receivable for services

Financial Liabilities:* Payables* Loans and grants payable

Initial recognition and measurement of financial instruments is at fair value which normally equates to the transaction cost or the face value. Subsequent measurement is at amortised cost using the effective interest method.

The fair value of short-term receivables and payables is the transaction cost or the face value because there is no interest rate applicable and subsequent measurement is not required as the effect of discounting is not material.

(k) Cash and cash equivalentsFor the purpose of the Statement of Cash Flows, cash and cash equivalent (and restricted cash and cash equivalent) assets comprise cash on hand and short-term deposits with original maturities of three months or less that are readily convertible to a known amount of cash and which are subject to insignificant risk of changes in value, and bank overdrafts.

(l) Accrued salariesAccrued salaries represent the amount due to staff but unpaid at the end of the financial year, as the pay date for the last pay period for that financial year does not coincide with the end of the financial year. Accrued salaries are recognised by the Department of Culture and the Arts. The expense is recognised in the Statement of Comprehensive Income of ScreenWest (Inc.) with a corresponding resource received free of charge.


(m) Amounts receivable for services (holding account)ScreenWest (Inc.) receives funding on an accrual basis that recognises the full annual cash and non-cash cost of services. The grants are paid partly in cash and partly as an asset held in the Department of Culture and the Art’s holding account that is accessible on the emergence of the cash funding requirement to cover leave entitlements and asset replacement.

(n) ReceivablesReceivables are recognised and carried at original invoice amount less an allowance for any uncollectible amounts (i.e. impairment). The collectability of receivables is reviewed on an ongoing basis and any receivables identified as uncollectible are written-off against the allowance account. The allowance for uncollectible amounts (doubtful debts) is raised when there is objective evidence that ScreenWest (Inc.) will not be able to collect the debts. The carrying amount is equivalent to fair value as it is due for settlement within 30 days.

(o) PayablesPayables are recognised when ScreenWest (Inc.) becomes obliged to make future payments as a result of a purchase of assets or services at fair value, as they are generally settled within 30 days.

(p) Resources received free of charge or for nominal costResources received free of charge or for nominal cost that can be reliably measured are recognised as income at fair value. Where the resource received represents a service that ScreenWest (Inc.) would otherwise pay for, a corresponding expense is recognised. Receipts of assets are recognised in the Statement of Financial Position.

Assets or services received from other State Government agencies are separately disclosed under Income from State Government in the Statement of Comprehensive Income.

(q) Comparative figuresComparative figures are, where appropriate, reclassified to be comparable with the figures presented in the current financial year.

(r) Department of Culture and the ArtsThe Department provides staff and other support to agencies in the Culture and the Arts portfolio. The Department receives an appropriation for salary costs, superannuation, fringe benefits tax and minor equipment as part of the PC replacement program. These resources, provided to the ScreenWest (Inc.) Board, but paid for by the Department, have been treated as ‘Resources received free of charge’ in the Statement of Comprehensive Income under the item ‘Income from State Government’.

In addition the Department also provides shared corporate services to ScreenWest (Inc.) which are not recognised in the Statement of Comprehensive Income.

Note 3. Judgements made by management in applying accounting policiesThe preparation of financial statements requires management to make judgements about the application of accounting policies that have a significant effect on the amounts recognised in the financial statements. ScreenWest (Inc.) evaluates these judgements regularly.


Operating lease commitmentsScreenWest (Inc.) has entered into a commercial lease for a motor vehicle and has determined that the lessor retains substantially all the significant risks and rewards of ownership of the property. Accordingly, this lease has been classified as an operating lease.

Note 4. Disclosure of changes in accounting policy and estimates

Voluntary changes in accounting policyScreenWest (Inc.) made no voluntary changes to its Accounting Policy during 2011.

Future impact of Australian Accounting Standards not yet operativeScreenWest (Inc.) cannot early adopt an Australian Accounting Standard unless specifically permitted by TI 1101 Application of Australian Accounting Standards and Other Pronouncements. Consequently, ScreenWest (Inc.) has not applied early any following Australian Accounting Standards that have been issued that may impact ScreenWest (Inc.). Where applicable, ScreenWest (Inc.) plans to apply these Australian Accounting Standards from their application date.

Operative for reporting periods beginning on/after

AASB 2009-11 Amendments to Australian Accounting Standards arising from AASB 9 [AASB 1, 3, 4, 5, 7, 101, 102, 108, 112, 118, 121, 127, 128, 131, 132, 136, 139, 1023 & 1038 and Interpretations 10 & 12].

1 Jan 2013

The amendment to AASB 7 requires modification to the disclosure of categories of financial assets. ScreenWest (Inc.) does not expect any financial impact when the Standard is first applied. The disclosure of categories of financial assets in the notes will change.

AASB 2009-12 Amendments to Australian Accounting Standards [AASBs 5, 8, 108, 110, 112, 119, 133, 137, 139, 1023 & 1031 and Interpretations 2, 3, 16, 1039 & 1052].

1 Jan 2011

This Standard introduces a number of terminology changes. There is no financial impact resulting from the application of this revised standard.

AASB 1053 Application of Tiers of Australian Accounting Standards 1 July 2013

This Standard establishes a differential financial reporting framework consisting of two tiers of reporting requirements for preparing general purpose financial statements.


This Standard does not have any financial impact on ScreenWest (Inc.). However it may affect the disclosures in the financial statements of ScreenWest (Inc.) if the reduced disclosure requirements apply. DTF has not yet determined the application or the potential impact of the new Standard for agencies.

AASB 2010-2 Amendments to Australian Accounting Standards arising from Reduced Disclosure Requirements.

1 July 2013

This Standard makes amendments to many Australian Accounting Standards, including Interpretations, to introduce reduced disclosure requirements into these pronouncements for application by certain types of entities.

This Standard does not have any financial impact on ScreenWest (Inc.). However it may affect the disclosures in the financial statements of ScreenWest (Inc.) if the reduced disclosure requirements apply. DTF has not yet determined the application or the potential impact of these Standards for agencies.

AASB 2011-2 Amendments to Australian Accounting Standards arising from the Trans-Tasman Convergence Project - Reduced Disclosure Requirements [AASB 101 & 1054].

1 July 2011

The Amending Standard removes disclosure requirements from other Standards and incorporates them in a single Standard to achieve convergence between Australian and New Zealand Accounting Standards for reduced disclosure reporting. DTF has not yet determined the application or the potential impact of the amendments to these Standards for agencies.

AASB 2010-5 Amendments to Australian Accounting Standards [AASB 1, 3, 4, 5, 101, 107, 112, 118, 119, 121, 132, 133, 134, 137, 139, 140, 1023 & 1038 and Interpretations 112, 115, 127, 132 & 1042] (October 2010)

1 Jan 2011

This Standard introduces a number of terminology changes as well as minor presentation changes to the Notes to the Financial Statements. There is no financial impact resulting from the application of this revised Standard.


AASB 2010-6 Amendments to Australian Accounting Standards - Disclosures on Transfers of Financial Assets [AASB 1 & AASB 7]

1 July 2011

This Standard makes amendments to Australian Accounting Standards, introducing additional presentation and disclosure requirements for Financial Assets.

The Standard is not expected to have any financial impact on ScreenWest (Inc.). DTF has not yet determined the application or the potential impact of the amendments to these Standards for agencies.

AASB 9 Financial Instruments 1 Jan 2013

This Standard supersedes AASB 139 Financial Instruments: Recognition and Measurements, introducing a number of changes to accounting treatments.

The Standards was reissued on 6 Dec 2010 and the Department is currently determining the impact of the Standard. DTF has not yet determined the application or the potential impact of the Standards for agencies.

AASB 2010-7 Amendments to Australian Accounting Standards arising from AASB 9 (December 2010) [AASB 1, 3, 4, 5, 7, 101, 102, 108, 112, 118, 120, 121, 127, 128, 131, 132, 136, 137, 139, 1023 & 1038 and Interpretations 2, 5, 10, 12, 19 & 127]

1 Jan 2013

This Amending Standard makes consequential adjustments to other Standards as a result of issuing AASB 9 Financial Instruments in December 2010. DTF has not yet determined the application or the potential impact of the Standards for agencies.

AASB 1054 Australian Additional Disclosures 1 July 2011

This Standard, in conjunction with AASB 2011-1 Amendments to Australian Accounting Standards arising from the Trans-Tasman Convergence Project, removes disclosure requirements from other Standards and incorporates them in a single Standard to achieve convergence between Australian and New Zealand Accounting Standards.


AASB 2011-1 Amendments to Australian Accounting Standards arising from the Trans-Tasman Convergence Project [AASB 1, 5, 101, 107, 108, 121, 128, 132,& 134 and Interpretations 2, 112 & 113]

1 July 2011

This Amending Standard, in conjunction with AASB 1054 Australian Additional Disclosures, removes disclosure requirements from other Standards and incorporates them in a single Standard to achieve convergence between Australian and New Zealand Accounting Standards.

Note 5. Employee benefits expense2011 2010$000 $000

Wages and salaries (a) 1,350 1,217Superannuation - defined contribution plans (b) 139 112Other related expenses 26 35

1,515 1,364(a) Includes the value of the fringe benefit to the employee plus the fringe benefits tax component.

(b) Defined contribution plans includes West State, Gold State and GESB Super Scheme (contributions paid)

Employment on-costs such as workers compensation insurance are included at note 10 ‘Other Expenses’.

Note 6. Supplies and services2011 2010$000 $000

Communications 11 13Consultants 58 2Board fees 25 42Travel 63 59Printing and advertising 13 31Lease - equipment and vehicles 38 13Entertainment 45 26Legal fees 81 100Consumables 13 36Insurance 9 12Membership subscriptions 11 11Other 74 21

441 366


Note 7. Depreciation and amortisation expense2011 2010$000 $000

Depreciation Furniture and equipment 2 3Total depreciation and amortisation 2 3

Note 8. Accommodation expenses2011 2010$000 $000

Rent 107 103Other 16 16

123 119

Note 9. Grants and loans expense2011 2010$000 $000

Project Assistance 7,138 7,740Production Company Support 424 428Practitioner Development 540 439Industry & Screen Culture 493 951

8,595 9,558

Note 10. Other expenses 2011 2010$000 $000

Panels and assessment costs 54 55Sponsorship 113 93Employment on-costs 2 23Refund of previous years revenue 5 42Audit fees 21 20Other 2 0

197 233

Note 11. Returns on funding activities2011 2010$000 $000

Funding program 264 329264 329


Note 12. Interest revenue2011 2010$000 $000

Commonwealth operating account 34 48Bankwest term deposits 547 363

581 411

Note 13. Lapsed commitments2011 2010$000 $000

Project Assistance 793 817Production Company Support 2 17Practitioner Development 14 3Industry & Screen Culture 2 3

811 840

Note 14. Other revenue 2011 2010$000 $000

Management fees 43 79Other 196 85

239 164

Note 15. Income from State Government2011 2010$000 $000

Grants received during the year:Service grant (a) 2,502 3,702Lotterywest grant 5,228 5,030

7,730 8,732

Resources received free of charge (b)

Determined on the basis of the following actuals provided by Department of Culture and the Arts:(i) Payroll expenditure 1,103 907(ii) Minor equipment 2 0

1,105 907

8,835 9,639

(a) Service grants fund the net cost of services delivered. Grant revenue comprises a cash component and a receivable (asset). The receivable (holding account held by the Department) comprises the depreciation expense for the year and any agreed increase in leave liability during the year. The grant is provided by the Department of Culture and the Arts.

(b) Assets or services received free of charge or for nominal cost are recognised as revenue at fair value of the assets and/or services that can be reliably measured and which would have been purchased if they were not donated. Contribution of assets or services in the nature of contributions by owners are recognised direct to equity.


Note 16. Receivables2011 2010$000 $000

CurrentReceivables 40 17Interest 156 149GST receivable 6 0

202 166

Note 17. Other current assets2011 2010$000 $000

CurrentPrepayments 2 2Total current 2 2

Note 18. Amounts receivable for services2011 2010$000 $000

Non-current 30 2830 28

Represents the non-cash component of service grants. It is restricted in that it can only be used for asset replacement or payment of leave liability.

Note 19. Furniture and equipment2011 2010$000 $000

Furniture and equipmentAt cost 11 11Accumulated depreciation (6) (4)

5 7

Reconciliations of the carrying amounts of furniture and equipment at the beginning and end of the reporting period are set out below.

2011 2010$000 $000

Furniture and Equipment

Furniture and Equipment

Reconciliations:Carrying amount at start of year 7 10Additions 0 0Depreciation (2) (3)Carrying amount at end of year 5 7


Note 20. Impairment of assets

There were no indications of impairment of furniture and equipment at 30 June 2011.

Note 21. Payables2011 2010$000 $000

CurrentTrade payables 87 653GST payable 0 9

87 662

Note 22. Loans and grants payable2011 2010$000 $000

CurrentProject Assistance 7,881 5,446Production Company Support 343 188Practitioner Development 67 88Industry & Screen Culture 39 137Total current 8,330 5,859

Non-currentProject Assistance 0 950Production Company Support 23 184Industry & Screen Culture 40 50Total non-current 63 1,184

Note 23. Equity

The Government holds the equity interest in ScreenWest (Inc.) on behalf of the community. Equity represents the residual interest in the net assets of ScreenWest (Inc.).

Contributed equity2011 2010$000 $000

Balance at start of period 150 144

Contributions by ownersCapital grant 0 6Total contributions by owners 0 6

Balance at end of period 150 150


Accumulated surplus2011 2010$000 $000

Balance at start of period 1,728 1,988Result for the period (143) (260)Balance at end of period 1,585 1,728

Total Equity at end of period 1,735 1,878

Note 24. Notes to the Statement of Cash Flows

Reconciliation of cashCash at the end of the financial year as shown in the Statement of Cash Flows is reconciled to the related items in the Statement of Financial Position as follows:

2011 2010$000 $000

Commonwealth Bank operating account 133 169Bankwest term deposits 9,843 9,211

9,976 9,380

Reconciliation of net cost of services to net cash flows used in operating activities

2011 2010$000 $000

Net cost of services (8,978) (9,899)

Non-cash items:Depreciation and amortisation expense (note 7) 2 3Resources received free of charge (note 15) 1,105 907

(Increase)/decrease in assets:Current receivables (a) (30) 396Other current assets 0 8

Increase/(decrease) in liabilities:Current payables (a) (566) 564Loans and grants payable 1,350 1,777

Net GST receipts / (payments) (b) (15) 9Change in GST in receivables / payables (c) 0 0Net cash (used in) operating activities (7,132) (6,235)

(a) Note that the Australian Taxation Office (ATO) receivable/payable in respect of GST and the receivable/payable in respect of the sale/purchase of non-current assets are not included in these items as they do not form part of the reconciling items.

(b) This is the net GST paid/received, ie. cash transactions.

(c) This reverses out the GST in receivables and payables.

At the end of the reporting period, ScreenWest (Inc.) had fully drawn down on all financial facilities, details of which are disclosed in the financial statements.


Note 25. Commitments

The commitments below are inclusive of GST where relevant.

Lease commitments2011 2010$000 $000

Commitments in relation to leases contracted for at the end of the reporting period but not recognised in the financial statements are payable as follows:Within 1 year 4 5Later than 1 year and not later than 5 years 0 4

4 9Representing:Non-cancellable operating leases 4 9

4 9

Non-cancellable operating leases2011 2010$000 $000

Commitments for minimum leases payments are payable are as follows:Within 1 year 4 9

4 9

The motor vehicle lease is non-cancellable with payments made monthly in advance.

Grant commitments2011 2010$000 $000

Grant commitments contracted for at the end of the reporting period but not recognised as liabilities, are payable as follows:Within 1 year 533 485Later than 1 year and not later than 5 years 117 671

650 1,156

Note 26. Events occurring after the end of the reporting period

ScreenWest (Inc.) has no subsequent events (other than those whose financial effects have already been brought to account) to report.

Note 27. Explanatory statement

This statement provides details of any significant variations between estimates and actual results for 2011 and between actual results for 2010 and 2011. Significant variations are considered to be those greater than 10% or $100,000.


Significant variances between estimated and actual result for 20112011 2011

Estimate Actual Variation$000 $000 $000

Grants and loans expense 7,884 8,595 711Interest revenue 300 581 281Lapsed commitments 0 811 811Other revenue 154 239 85Service grant 2,002 2,502 500Lotterywest grant 4,806 5,228 422

Grants and loans expense

During the year ScreenWest was successful in securing additional funding. This funding was directed back into the funding program and committed. Monies from lapsed commitments were also directed back into the funding program and committed.

Interest revenue

The variance reflects the difficult financial environment the industry is operating in, with productions taking longer than previously to get all funding parties to commit. Coupled with the increases in interest rates throughout the year this resulted in increased interest revenue.

Lapsed commitments

The variance is a result of an increase in lapsed commitments during the year - primarily associated with a $500,000 General Production Fund and a $120,000 Stepping Stone TV Co-Production Initiative lapse. As ScreenWest is a minority investor production investment decisions made by ScreenWest rely on funding commitments from third parties which are difficult to coordinate and from time to time projects lapse before full finance is achieved. These funds are then committed back into grants and loans expense.

Other revenue

The variation can be attributed to a $40,000 contribution to the 2011 XMedia Lab conference from the Department of Culture & the Arts and a $20,000 contribution to ScreenWest’s LA Producer Internship initiative from Screen Australia.

Service grant

The variation reflects the Department of Culture & the Arts’ $500,000 contribution to the Matched Primetime Fund.

Lotterywest grant

The variance reflects the additional funding received from Lotterywest.


Significant variances between actual results for 2010 and 2011

2011 2010 Variance$000 $000 $000

IncomeReturns on funding activities 264 329 (65)Interest revenue 581 411 170Other revenue 239 164 75

ExpensesEmployee benefits expense 1,515 1,364 151Supplies and services 441 366 75Grants and loans expense 8,595 9,558 (963)Other expenses 197 233 (36)

Returns on funding activitiesReturns from ScreenWest Production Investments were lower in 2011, as ScreenWest prioritised returns to producers to strengthen production companies. Over time this has caused a dip in revenue.

Interest revenueThe variance reflects the difficult financial environment the industry is operating in, with productions taking longer than previously to get all funding parties to commit. Coupled with the increases in interest rates throughout the year this resulted in increased interest revenue.

Other revenueThis variance is due to an increase in third party contributions towards ScreenWest managed initiatives.

Employee benefits expenseThe variance can be attributed to the WA Public Sector wage increase, recruiting two new staff members and an increase in long service leave expenditure.

Supplies and servicesThe variance reflects the expenditure associated with development work carried out on ScreenWest’s database, the drafting of ScreenWest’s new 2011-16 Strategic Plan and the use of temporary staff to assist with workloads.

Grants and loans expenseThe variance reflects the difficult financial environment the industry is operating in, with productions taking longer than previously to get all funding parties to commit.

Other expensesThe variance is primarily associated with a workers’ compensation insurance recoup and other savings.

Note 28. Financial instruments

(a) Financial risk management objectives and policiesFinancial Instruments held by ScreenWest (Inc.) are cash and cash equivalents, receivables, payables and loans and grants payable. ScreenWest (Inc.) has limited exposure to financial risks. ScreenWest (Inc.)’s overall risk management program focuses on managing the risks identified below.


Credit riskCredit risk arises when there is the possibility of ScreenWest (Inc.)’s receivables defaulting on their contractual obligations resulting in financial loss to ScreenWest (Inc.).

The maximum exposure to credit risk at end of the reporting period in relation to each class of recognised financial assets is the gross carrying amount of those assets inclusive of any provisions for impairment as shown in the table at Note 28(c) ‘Financial Instruments Disclosures’ and Note 16 ‘Receivables’.

Credit risk associated with ScreenWest (Inc.)’s financial assets is minimal. For receivables other than government ScreenWest (Inc.) trades only with recognised, creditworthy third parties. ScreenWest (Inc.) has policies in place to ensure that sales of products and services are made to customers with an appropriate credit history. In addition, receivable balances are monitored on an ongoing basis with the result that ScreenWest (Inc.)’s exposure to bad debts is minimal. At the end of the reporting period there were no significant concentrations of credit risk.

Liquidity riskLiquidity risk arises when ScreenWest (Inc.) is unable to meet its financial obligations as they fall due.

ScreenWest (Inc.) is exposed to liquidity risk through its trading in the normal course of business.

ScreenWest (Inc.) has appropriate procedures to manage cash flows including drawdowns of grants by monitoring forecast cash flows to ensure that sufficient funds are available to meet its commitments.

Market riskMarket risk is the risk that changes in market prices such as foreign exchange rates and interest rates will affect ScreenWest (Inc.)’s income or value of its holdings of financial instruments. ScreenWest (Inc.) does not trade in foreign currency and is not materially exposed to other price risks. ScreenWest (Inc.)’s does not have any exposure to market risk for changes in interest rates.

(b) Categories of financial instrumentsIn addition to cash and bank overdraft, the carrying amounts of each of the following categories of financial assets and financial liabilities at the end of the reporting period are:

2011 2010$000 $000

Financial AssetsCash and cash equivalents 9,976 9,380Loans and receivables (a) 226 194

Financial LiabilitiesFinancial liabilities measured at amortised cost 8,480 7,696

(a) The amount of loans and receivables excludes GST recoverable from the ATO (statutory receivable).


(c) F

inan

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it Ri

sk a

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tere

st ra

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The

follo

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disc

lose

s Scr

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est (

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xpos

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to c

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t risk

, int

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t rat

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posu

res a

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e ag

eing

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nanc

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sset

s. S

cree

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t (In

c.)’s

m

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to c

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t risk

at t

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repo

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per

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g of

fina

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sets

that

are

pas

t due

but

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impa

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finan

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ass

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tabl

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base

d on

info

rmati

on p

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to se

nior

man

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f Scr

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est (

Inc.

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s sec

urity

or o

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cem

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to th

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olds

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00$0

00$0

00$0

00$0

00$0

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00

Fina

ncia

l Ass

ets

2011

Cash

and

cas

h eq

uiva

lent

s5.

93%

9,97

69,

843

133

Loan

s and

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les (a

)-

196

196

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vabl

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r se

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133

226

03

00

00

2010

Cash

and

cas

h eq

uiva

lent

s5.

17%

9,38

09,

211

169

Loan

s and

rece

ivab

les (a

)-

166

-16

61

Am

ount

s rec

eiva

ble

for

serv

ices

-28

-28

9,57

49,

211

169

194

01

00

00

(a) T

he a

mou

nt o

f rec

eiva

bles

exc

lude

s GST

reco

vera

ble

from

the

ATO

(sta

tuto

ry re

ceiv

able

).


Liqu

idity

Risk

The

follo

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ble

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ils th

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l mat

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lysis

of fi

nanc

ial l

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lities

. Th

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ble

incl

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and

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l cas

h flo

ws.

An

adju

stm

ent h

as b

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here

mat

eria

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Inte

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)

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e

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rate

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2011

Paya

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ual u

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s of fi

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lities

at t

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nd o

f the

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rting

per

iod.


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idity

Risk

The

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win

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ble

deta

ils th

e co

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l mat

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ana

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of fi

nanc

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. Th

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mat

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anRa

teAm

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rate

rate

bear

ing

mon

ths

mon

ths

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sye

ars

5 ye

ars

%$0

00$0

00$0

00$0

00$0

00$0

00$0

00$0

00$0

00Fi

nanc

ial L

iabi

lities

2011

Paya

bles

-87

8787

Gran

ts a

nd lo

ans p

ayab

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8,39

38,

393

2,10

16,

229

638,

480

00

8,48

02,

188

6,22

963

00

2010

Paya

bles

-65

3-

653

653

Gran

ts a

nd lo

ans p

ayab

le-

7,04

3-

7,04

31,

473

4,38

61,

184

7,69

60

07,

696

2,12

64,

386

1,18

40

0

(a)

The

amou

nts d

isclo

sed

are

the

cont

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ual u

ndisc

ount

ed c

ash

flow

s of e

ach

clas

s of fi

nanc

ial l

iabi

lities

at t

he e

nd o

f the

repo

rting

per

iod.

Interest rate sensitivity analysisThe following table represents a summary of the interest rate sensitivity of ScreenWest (Inc.)’s financial assets and liabilities at the end of the reporting period on the surplus for the period and equity for a 1% change in interest rates. It is assumed that the interest rates are held constant throughout the reporting period.

-100 basis points +100 basis pointsCarryingamount Surplus Equity Surplus Equity

2011 $ 000 $ 000 $ 000 $ 000 $ 000

Financial AssetsCash and cash equivalents 133 (1) (1) 1 1

(1) (1) 1 1

-100 basis points +100 basis pointsCarryingamount Surplus Equity Surplus Equity

2010 $ 000 $ 000 $ 000 $ 000 $ 000

Financial AssetsCash and cash equivalents 169 (2) (2) 2 2

(2) (2) 2 2

Fair ValuesAll financial assets and liabilities recognised in the Statement of Financial Position, whether they are carried at cost or fair value, are recognised at amounts that represent a reasonable approximation of fair value unless otherwise stated in the applicable notes.

Note 29. Remuneration of members of ScreenWest (Inc.) and senior officers

Remuneration of Members of ScreenWest (Inc.)The number of board members of ScreenWest (Inc.) whose total of fees, salaries, superannuation, non-monetary benefits and other benefits for the financial year, fall within the following bands are:

2011 2010$

0 - 10,000 9

9

The total remuneration of all members of ScreenWest (Inc.)$000

25 $000

46

The total remuneration includes the superannuation expense incurred by ScreenWest (Inc.) in respect of board members of ScreenWest (Inc.).


Remuneration of senior officersThe number of senior officers, other than senior officers reported as members of ScreenWest (Inc.), whose total of fees, salaries, superannuation, non-monetary benefits and other benefits for the financial year, fall within the following bands are:

2011 2010$

120,001 - 130,000 0 1130,001 - 140,000 1 0150,001 - 160,000 0 1160,001 - 170,000 1 0

The total remuneration of senior officers$000

297 $000

281

The total remuneration includes the superannuation expense incurred by ScreenWest (Inc.) in respect of senior officers other than senior officers reported as members of ScreenWest (Inc.)

Note 30. Remuneration of auditor

Remuneration paid or payable to the Auditor General in respect to the audit for the current financial year is as follows:

2011 2010$000 $000

Auditing the accounts, financial statements and key performance indicators 23 23

The expense is included at note 10 ‘Other expenses’.

Note 31. Related bodies

At the reporting date, ScreenWest (Inc.) had no related bodies as defined by TI 951 Related and Affiliated Bodies.

Note 32. Affiliated bodies

Australian Writers Guild (WA) is a government affiliated body that received administrative support and a grant of $158,343 (2010: $92,249) from ScreenWest (Inc.). Australian Writer’s Guild (WA) is not subject to operational control by ScreenWest (Inc.)

Note 33. Supplementary financial information

(a) Write-offsThere was no public property written off during the financial year.


(b) Losses Through Theft, Defaults and Other CausesThere were no losses of public moneys and public and other property through theft or default during the financial year.

(c) Gift of public propertyThere were no gifts of public property provided by ScreenWest (Inc.)

Note 34. Schedule of income and expenses by service

ScreenWest (Inc.) operates under one service called Screen Production Industry Support and the service information is provided in the Statement of Comprehensive Income.


4.2.1 Certified Performance Indicators 2010-11

Erica Smyth Chairman of Accountable Authority 24 August 2011

Catherine Ferrari Member of Accountable Authority 24 August 2011

4.2 Additional Key Performance Indicators Information

We hereby certify that the performance indicators are based on proper records, are relevant and appropriate for assisting users to assess ScreenWest Inc’s performance, and fairly represent the performance of ScreenWest Inc. for the financial years ending 30 June 2011.

SCrEENWEST (INC.)

CErTIFICATION OF PErFOrMANCE INDICATOrS

FOr ThE yEAr ENDED 30 JuNE 2011

The Independent Auditor’s Opinion is located under Section 4.1.


4.2 Additional Key Performance Indicators Information

The cost per grant calculation excludes the Department of Culture and the Arts overheads.

The number of grant applications figure reflects the number of grant applications received for grants administered through ScreenWest’s Funding Program, scripts read by staff for the provision of script advice, applications for participation in industry workshops that are received and assessed by ScreenWest staff and applications that are evaluated by ScreenWest staff for programs managed by industry partners.

Average cost per grant application processedIndicator 2009-10

Actual($)

2010-11Target

($)

2010-11 Actual

($)

2011-12Target

(S)Average cost per grant application1 processed 2,428 2,855 2,492 2,831

2008-09Actual

2009-10Actual

2010-11Target

2010-11Actual

2011-12Target Notes

OuTCOME: A creative, sustainable and accessible culture and arts sector.Creativity (a)

Proportion of funding applicants satisfied with the key elements of the ScreenWest funding programs. ScreenWest 99.3% 99.5% 99% 99.6% 99%

The 2010-11 Actual is

based on three complaints

received during 2010-11.

Sustainability (b)

Perceived value of the Screen Industry to the Western Australian community. ScreenWest 78% 78% 79% 78% 79%Accessibility (c)

Proportion of Western Australians that perceived the Screen Industry to be accessible. ScreenWest 56% 58% 57% 58% 59%

1.

Key Efficiency and Effectiveness Indicators

As outlined in section 1.3 Performance Management Framework, ScreenWest’s activities contribute towards an overall government goal and desired outcome.

The primary service of ScreenWest is the delivery of strategic support and funding to advance the development of the screen production industry in Western Australia. The key efficiency and effectiveness indicators are measures of this service delivery.

Key Efficiency Indicator

Key Effectiveness Indicators

This indicator is measured by the Arts Monitor community survey instrument applied by Patterson Market Research. This is an annual community survey conducted using telephone interviewing techniques.

2,492


(a) CreativityApproximately $8.83million per annum was allocated to ScreenWest to fund its programs to produce ‘creative’ outcomes. Peer panels assess funding applications to ensure the proposed projects demonstrate significant and achievable ‘creative’ outcomes for the people of Western Australia. Comprehensive processes are in place to monitor and acquit the State’s investment in (creative) outcomes delivered via the funding programs. This Indicator measures the satisfaction of funding applicants with the funding process and provides an assessment of the film industry sector’s satisfaction with the creative outcomes being achieved through ScreenWest’s ‘creative’ funding programs.

(b) SustainabilityThe Sustainability KPI provides an assessment of the extent to which the community values the screen industry sector, a key element in the sustainability of the wider culture and arts sector. This Indicator was measured by the Arts Monitor 2011 community survey instrument applied by Patterson Market Research.

In relation to the Western Australian film and television industry, the Arts Monitor 2011 survey indicated that 66% of respondents believe the industry is of ‘some value’, the same result as the previous year. Couples were more likely to perceive the Western Australian film and television industry as valuable compared to any other family structure, and females were more likely to value the industry than males (75% compared to 57%).

(c) AccessibilityThe ‘Accessibility’ KPI provides an assessment of the extent to which the Western Australian community perceives film screening events and/or productions to be accessible. This Indicator was measured by the Arts Monitor 2011 community survey instrument applied by Patterson Market Research.

4.2.2 Additional Indicators


Data Source

Data is correct as at 30 June 2011.

‘Value of Production’ refers to the total budgeted cost of feature films, television drama, documentaries and short films produced in Western Australia that have received ScreenWest funding.

‘Value of ScreenWest Investment’ refers to the amount of funding provided by State Treasury and Lotterywest that is invested by ScreenWest during a year.

‘Ratio of ScreenWest Investment to the Total Value of Production’ compares the Value of Production to the Value of ScreenWest Investment. Calculations are based on actual figures and not the rounded data reported in the table.

‘Hours of Production’ means the total number of hours produced in Western Australia on feature films, television drama, documentaries and short films that have received ScreenWest production funding. It does not include Indigenous Community Stories recordings as these are up to 8-hours each of unedited archival footage. Year to year variances in the production statistics are affected by assigning a production to a given year on the basis of its production start date, rather than the year in which it was financed or the year in which a majority of production activity took place.

As there is often a substantial time lapse between a ScreenWest commitment and the start of a production, a more useful picture can be obtained by considering two or three years together. It is not safe to draw any conclusion about trends from movements in the data in a single year.

‘Average Value of Production per Hour of Production’ divides the total Value of Production by the total number of hours of production per annum. Calculations are based on actual figures and not the rounded data reported in the table.

ScreenWest received no Ministerial directives in 2010-11 with the exception of the Minister’s decisions in relation to the approval of funding recommendations.

4.3 Ministerial Directives

INDICATOr 2007-08 2008-09 2009-10 2010-11

Value of Production ($M) 42.07 42.15 52.58 28.42

Value of ScreenWest Investment ($M) 5.23 5.33 5.17 3.75

Ratio of ScreenWest Investment to the Total Value of Production ($) 8.04:1 7.90:1 10.18:1 7.57:1

INDICATOr 2007-08 2008-09 2009-10 2010-11Hours of Production 55 72.5 67.5 39.41Average Value of Production per Hour of Production $747,455 $581,355 $779,092 $721,058


Employment Type Women Men TotalPermanent Full-time 8 0 8Permanent Part-time 1 0 1Fixed Term Full-time 6 3 9Fixed Term Part-time 0 0 0Casual paid in previous 12 months 0 0 0Other* paid in previous 12 months 0 1 1Total 15 4 19

4.4.1 Pricing Policies of Services Provided

Not applicable to ScreenWest.

4.4.2 Capital Works

No capital projects were completed during 2010-11.

4.4.3 Employment and Industrial Relations ScreenWest staff are employed through the employing authority of the Department of Culture and the Arts. Employment conditions are governed by the Public Sector Management Act 1994 (WA), the Public Service Award 1992 (WA), and the Public Service and Government Officers General Agreement 2011 (WA).

The 2011 General Agreement replaced the Public Service General Agreement 2008 (WA) and took effect on 27 June 2011, backdated to 1 April 2011.

The following table summarises ScreenWest’s employee demographics as at 30 June 2011.

* Employees seconded in or out of the organisation or not being paid for reasons such as Leave Without Pay/ Parental leave etc.

Managing Our People The Department’s Human Resources directorate provides services to ScreenWest to support workplace issues and needs, including the development and implementation of human resources policy, planning and development initiatives, industrial relations support and offering staff training.

Activities carried out by the HR directorate throughout the year included:

• The upgrade of the Talent 2 human resources information system occurred in conjunction with the Office Shared Services. The upgrade has resulted in an increased ability for staff and managers across the Portfolio to perform routine administrative functions and access information from the database. During the period April to June 2011, Human Resources staff conducted training sessions in the new and existing functions of the system. The same training included an introduction to iSupport, an automated system to make routine administrative inquiries through the intranet.

4.4 Other Financial Disclosures


• Management reports were developed with a view to keeping the Department and Portfolio Agencies regularly appraised of staff data and trends. The reports provide a valuable tool in identifying workforce issues, providing information for decisions and ensuring compliance. Reports are distributed on a quarterly basis.

• The development of a CEO induction program and review of the content of the Portfolio staff induction program.

• A response to the recently released guidance of the Public Sector Commission on strategic workforce directions on behalf of the Department and Portfolio Agencies. ScreenWest participated in a Portfolio reference group that identified the workforce priorities of each agency and the Department. Significant progress has been made towards the goal of having a strategic workforce plan available by June 2012. The plan will seek to address issues faced in areas such as staff development, knowledge management, recruitment and developing leadership skills.

In addition to the above, in 2010-11 ScreenWest staff attended various training and professional development opportunities as appropriate to their role. Sessions attended included X|Media|Lab Perth Pro-Day Conference, FileMaker Pro Database Training, Procurement training, Meeting Preparation and Minute Taking course, seminars by Australian Copyright Council on copyright for Government, website and social media and the National Screenwriters’ Conference.

New staff members attend the Department’s comprehensive Portfolio Induction Program.

4.5.1 Interests of Senior Officers

At the date of reporting, other than normal contracts of employment of service, no senior officers, or firms of which senior officers are members, or entities in which senior officers have substantial interests, had any interests in existing or proposed contracts with ScreenWest and senior officers.

4.5 Governance Disclosures


4.6.1 Expenditure on Advertising, Market Research, Polling and Direct Mail

In accordance with Section 175ZE of the Electoral Act 1907, ScreenWest incurred the following expenditure in advertising, market research, polling, direct mail and media advertising:

1. Total expenditure for 2010-11 was $1,432.2. Expenditure was incurred in the following areas:

4.6.2 Disability Access and Inclusion Plan Outcomes

ScreenWest is committed to ensuring that people with disabilities, their families, friends and carers have the same opportunities, rights and responsibilities enjoyed as others, to access its services, information and facilities.

As a portfolio agency, ScreenWest is part of the Department of Culture and the Arts Disability Access and Inclusion Plan (DAIP) 2007–2011 and has been an active participant of the Disability Services Planning Committee (DSPC). The DSPC is currently drafting the 2012-2016 DAIP.

Portfolio progress towards meeting the desired outcomes of the 2007-2011 DAIP:

Outcome 1: People with disabilities have the same opportunities as other people to access the services of, and any events organised by, the Department.

The recommendations of the evaluation of the Grants for Artists with Disabilities Pilot Project are being considered as part of the Department’s funding process review.

Outcome 2: People with disabilities have the same opportunities as other people to access the buildings and other facilities of the Department.

Auditing of external access to all Department buildings has continued. A list has been developed of required building and facility amendments and the associated costs. Items have been prioritised and some funding approved.

4.6 Other Legal Requirements

Expenditure Area Total Amount ($)

Supplier Sub Total ($)

Advertising agencies Nil - 0Market research organisations Nil - 0Polling organisations Nil - 0Direct mail organisations Nil - 0Media advertising organisations 1,432.01 Job vacancies Adcorp Australia Ltd $432.01Advertising and graphic design An Australian Film

Initiative Pty Ltd $1,000

Classifieds/Listings 0


Outcome 3: People with disabilities receive information from the Department in a format that will enable them to access the information as readily as other people are able to access it.

All new publications follow the State Government Access Guidelines for Information, Services and Facilities. A variety of alternative and accessible formats are available upon request.

Outcome 4: People with disabilities receive the same level and quality of service from the staff of the Department as other people receive from the staff of the Department.

A presentation on disability access and inclusion, including customer service for people with disabilities, is included in the Culture and Arts Portfolio Induction Program that is attended by all new employees.

Outcome 5: People with disabilities have the same opportunities as other people to make complaints to the Department.

ScreenWest’s complaints process is easily accessible online. Feedback and complaints mechanisms are in place and will be reviewed to ensure they are being appropriately implemented.

Outcome 6: People with disabilities have the same opportunities as other people to participate in any public consultation by the Department.

Whenever external consultations or public gatherings have taken place: consultation information has been available in alternative formats upon request where appropriate and information was written in clear, concise language; the invitation process has been accessible; and people with disabilities, their families and carers have been supported to attend through use of access requirements and accessible venues.

Outcome 7: People with disabilities have the same opportunities as other people to seek employment with the Department.

Information and policy aimed at encouraging and facilitating the recruitment of people with disabilities has been incorporated within the Department’s Recruitment, Selection and Appointment Manual. All staff have access to the manual through the Departmental intranet.


4.6.3 Compliance with Public Sector Standards and Ethical Codes

Compliance with the Public Sector Standards and Ethical Codes are assessed regularly by the Department’s Human Resources area and the Public Sector Commission (in the case of a breach claim).

In accordance with section 31 of the Public Sector Management Act 1994 (WA), the following is a report of the extent to which ScreenWest has complied with Public Sector Standards, Western Australian Public Sector Code of Ethics and the Department’s Code of Conduct.

4.6.4 Recordkeeping Plans

During the year ScreenWest reviewed its Recordkeeping Plan and submitted a revised Plan to the State Records Office (SRO) in accordance with the State Records Act 2000 and State Records Commission Standards. This Plan has been registered.

ScreenWest follows the Department’s Record’s Management policy and utilises its records management system. During the year ScreenWest staff received training on TRIM, the Department’s electronic information management system. The training was provided by the Department and is supplemented by additional training as required. The Department’s Portfolio Induction Program provides new employees with information on their record management responsibilities.

COMPLIANCE ISSuE SIGNIFICANT ACTION TAKEN TO MONITOR AND ENSURE COMPLIANCE

Public Sector Standards• Nil breaches

• Information about Public Sector Standards is included on the Department’s intranet and incorporated into the Department’s Induction Program.

• The Department has delivered an Education Program to its Managers and is currently considering implementing it within the Portfolio Agencies.

• Having achieved a significant improvement in participation in the Staff Development System, further improvement is being considered by the Department in the areas of quality and administrative efficiency.

• The Department is reviewing its HR policies and guidelines to ensure continued compliance with the new discipline and employment standards.

Western Australian Public Sector Code of Ethics• Nil breaches

• Training on the Code of Ethics and Code of Conduct continues to be covered in staff induction sessions.

• Staff are required to acknowledge receipt of their own copies of the codes at the time they sign their initial employment contract.

• The Department currently applies the Commissioner’s Instruction: Discipline – General and regularly reviews policies and processes to ensure compliance.

Code of Conduct• Nil breaches

• As above. The Code of Ethics has been incorporated as a separate item within the Department Code of Conduct.


4.7.1 Substantive Equality

ScreenWest is not currently implementing the Substantive Equality Policy Framework.

Equity and Diversity

ScreenWest and the Department of Culture and the Arts are committed to equity and diversity by encouraging the employment of Indigenous Australians, young people, people with disabilities, people from culturally diverse backgrounds and women.

ScreenWest participates as a member of the Culture and the Arts Portfolio Equity and Diversity Reference Group which is responsible for the portfolio wide Equal Employment Opportunity and Diversity Management Plan 2010-12.

The ‘How Does Your Agency Compare?’ report provided yearly by the Office of Equal Employment Opportunity shows a statistical analysis of workforce diversity in the Culture and Arts Portfolio compared to the whole public sector. The information from this report is based on a 2010 Equal Employment Opportunity (EEO) survey with a responses rate of 88% across the Portfolio. This is the highest response rate achieved in the last five years. Results showed that the Portfolio exceeded the public sector representation for women in management and people from culturally diverse backgrounds. The ongoing constrained recruiting environment is making it difficult for the Portfolio to meet its goals for staff representation of Indigenous Australians, people with disabilities and youth (under 25 years). Effort in these areas is mainly focussed on retention of existing staff.

4.7.2 Occupational Safety, Health and Injury Management Commitment ScreenWest accepts that employee safety and health is primarily a management responsibility and is committed to ensuring a safe and healthy workplace is provided for all employees. The goal is to diminish work-related injuries and diseases. This will be achieved by developing and implementing safe systems of work and by identifying hazards and controlling risks as far as practicable.

The Culture and Arts Occupational Safety and Health (OSH) Framework sets out specified policies, work practices and procedures that have been prepared to address the hazards and hazardous work processes in the work place. These are available on the Department’s intranet.

During the year ScreenWest staff were offered the opportunity to have influenza injections and also participated in fire evacuation drills.

All Culture and Arts Portfolio staff, and their immediate family members, can access the Department’s Employee Assistance Program. This provides 24-hour, seven day a week access to a confidential and professional counselling service.

4.7 Government Policy Requirements


Mechanisms for Consultation with Staff

The formal mechanisms for consultation with employees on OSH and injury management matters are primarily via line management. Staff are made aware of this process at their staff induction and by having access to the same information on the intranet.

Compliance with Injury Management Requirements

ScreenWest demonstrates its commitment to assist employees to return to work after a work-related injury or disease through the Department’s Injury Management Policy. Information on workers’ compensation and injury management is provided to staff at induction and via the intranet. The Department engages in formal, documented programs for employees requiring modified duties or equipment upon returning to work after an injury. Such programs are compliant with the Workers’ Compensation and Injury Management Act 1981 (WA).

Workers Compensation ScreenWest is committed to adhering to the requirements of the Workers’ Compensation and Injury Management Act 1981 (WA) and the Workers’ Compensation Code of Practice (Injury Management) 2005 (WA) in the event of a work-related injury. Specified policies, work practices and procedures are available for staff on the Department’s intranet.

No workers’ compensation claims arose during 2010-11.

ScreenWest has committed to deliver training to all its line managers in OSH and injury management responsibilties in 2011-12.

Indicator Target 2009-10 2010-11

Number of fatalities Zero (0) 0 0

Lost time injury/disease (LTI/D) incidence rate

Zero (0) or 10% reduction on previous year 0 0

Number of severe claimsZero (0) or 10% improvement on previous year

0 0

Lost time injury severity rateZero (0) or 10% improvement on previous year

0 0

Percentage of injured workers returned to work within 28 weeks

Actual percentage result to be reported N/A N/A

Percentage of managers trained in occupational safety, health and injury management responsibilities

Greater than or equal to 50%

Not recorded

Not recorded


Indicator Target 2009-10 2010-11

Number of fatalities Zero (0) 0 0

Lost time injury/disease (LTI/D) incidence rate

Zero (0) or 10% reduction on previous year 0 0

Number of severe claimsZero (0) or 10% improvement on previous year

0 0

Lost time injury severity rateZero (0) or 10% improvement on previous year

0 0

Percentage of injured workers returned to work within 28 weeks

Actual percentage result to be reported N/A N/A

Percentage of managers trained in occupational safety, health and injury management responsibilities

Greater than or equal to 50%

Not recorded

Not recorded

Appendix 1: Assessment Meetings and Members 2010-11................................68

Appendix 2: Productions with ScreenWest Funding 2010-11 ............................73

Appendix 3: Funding Approvals 2010-11 ............................................................82

APPENDICES


APPENDIX 1: ASSESSMENT MEETINgS AND MEMbErS 2010-11Members’ Key* ScreenWest Staff Member** ScreenWest Board Member

FuNDINg INITIATIvE MEETINg DATE ASSESSOrS

Project Development Investment Fund - Documentary and TV

16 August 2010 Rikki Lea Bestall*Francesca HopeNatalie Bell

Tele-Navigator Development Grant 2010 20 August 2010 Rikki Lea Bestall*Amanda Higgs

Audience and Industry Engagement Program

13 September 2010 Neta Gill*Joanna Hos*Damien Blythe

Feature Navigator 15 September 2010 Rikki Lea Bestall*Adam IsittRoss Hutchens

Courses Committee 21 September 2010 Vikki Barr*Barbara ConnellKim LordEvangeline ThanMichael McCallDavid RevillKelrick MartinTanya WheatleyCarol Brearley

Tele-Navigator Consultation Week 24 September 2010 Rikki Lea Bestall*Barbara ConnellMike Bullen

General Production and Production Attraction Fund

28 September 2010 Jacqueline WillingeRoss HutchensAndrew Lewis**Rikki Lea Bestall*Shannon Jenkins*Vikki Barr*Ian Booth*Harry Bardwell*



Project Development Investment Fund - Features

29 September 2010 Rikki Lea Bestall*Richard HydeTracey Defty-Rashid

Project Development Documentary and Tv 10 November 2010 Rikki Lea Bestall*Celia TaitDan Brown

Short Film Marketing 10 November 2010 Rikki Lea Bestall*Joanna Hos*

Digital Breakout and Digital Scoping Development Funding

19 October 2010 Aidan O’Bryan**Caroline Middleton*Aaron Kennedy*

General Production Fund Panel 6 December 2010 Ian Booth*Harry Bardwell*Vikki Barr*Mark Donaldson*Cath TrimboliChris HetheringtonAndrew Lewis**

Courses Committee 15 December 2010 Vikki Barr*Barbara ConnellKim LordEvangeline ThanCarol Brearley

Tele-Navigator Development Grant 11 January 2011 Rikki Lea Bestall*Mike Bullen

MDA / ScreenWest Cross-Media Development

12 January 2011 Tim ParsonsFelicity McVayMike RichNick LoveMichelle Glaser*Harry Bardwell*Marcus Lim

SBS / ScreenWest Digital Factual 18 January 2011 Michelle Glaser*Harry Bardwell*Nick DohertyShelley Hepworth



Feature Film Development 27 January 2011 Rikki Lea Bestall*Sue TaylorChris Watson

Feature Navigator Development Grant 9 February 2011 Rikki Lea Bestall*Adam Isitt

Documentary and TV Development 14 February 2011 Rikki Lea Bestall*Ray PedrettiJodie De Barros

Audience and Industry Engagement Program

23 February 2011 Neta Gill*Jo Hos*Lauren Elliot

Bill Warnock Award Shortlist 25 February 2011 Rikki Lea Bestall*Adam IsittChris Pip

Bill Warnock Award Final Panel 11 March 2011 Rikki Lea Bestall*Adam IsittBarbara Connell

General Production Fund 16 March 2011 Ian Booth*Harry Bardwell*Vikki Barr*Rikki Lea Bestall*Brian Beaton Ross HutchensAlan Lindsay**

Business Development Fund - Stage One 21 March 2011 Catherine Ferrari**Ian Booth*Caroline Middleton* David Court

West Coast Visions - Shortlisting 24 March 2011 Rikki Lea Bestall*Nathaniel MooreSue Murray

Feature Navigator - Phase One Development Grant

11 April 2011 Rikki Lea Bestall*Barbara Connell



West Coast Visions - Finalist 11 - 12 April 2011 Rikki Lea Bestall*Scott MeekJan Chapman

Courses Committee 13 April 2011 Vikki Barr*Barbara ConnellKim LordKelrick MartinLawrie Hill

Production Attraction Fund 19 April 2011 Ian Booth*Harry Bardwell*Vikki Barr*Mark Donaldson*Andrew Lewis**Melissa Kelly Ross Hutchens

Short Film Marketing 21 April 2011 Rikki Lea Bestall*Neta Gill*

Documentary and TV - Seed Development 16 May 2011 Rikki Lea Bestall*Carmelo MuscaFrancesca Hope

Feature Film Development 26 May 2011 Rikki Lea Bestall*Victor GentileMeg Shields

Business Development Fund - Stage Two 30 May 2011 Catherine Ferrari**Peter Rowe**Ian Booth*Caroline Middleton* David Court

Digital Production Breakout and First in round

7 June 2011 Michelle Glaser*Troy ZaferLouise O’Donnell



General Production Fund 9 June 2011 Harry Bardwell* Vikki Barr*Mark Donaldson*Jacqueline WillingeJodie De Barros Alan Lindsay**

Tele-Navigator Phase One Grant 9 June 2011 Rikki Lea Bestall*Adam Isitt


APPENDIX 2: PrODuCTIONS WITh SCrEENWEST FuNDINg 2010-11 The following projects all entered Principal Photography in 2010-11.

DrAMA

DrIFT 1 x 120 min Feature Film Production Company: World Wide Mind FilmsProducers: Tim Duffy, Michele Bennett, Myles Pollard, Joan Peters Director: Morgan O’Neill, Ben Nott Writer: Morgan O’Neill Original Story: Morgan O’Neill, Tim DuffyDOP: Geoffrey Hall Distributor: TF1 ScreenWest Initiative: Production Attraction Fund Synopsis: In the 70’s two brothers battle killer waves, straight society and ruthless bikers to kick-start the modern surf industry.

MAL.COM 13 x 15 min Children’s SitcomProduction Company: Animazing ProductionsProducer: Susie CampbellDirectors: David Swann, Steve PeddieWriters: Kym Goldsworthy, Mark Shirrefs, Dan Osborn, Vincenzo Perrella, Tim Pye, Gina Roncoli, Drew Proffitt, Chris HawkshawDOP: Michael McDermottEditors: Meredith Watson Jeffrey, Ralph StrasserBroadcaster: ABC3ScreenWest Initiative: West Coast Kids Synopsis: Two teenage orphans, Jake and Daisy, and the mysterious Kid, stumble on television’s biggest secret. Malcom Mann, TV3’s most popular host, is a robot! Holly, Malcom’s ruthless and greedy producer, is desperate to keep it a secret so the kids offer her a deal. They’ll keep quiet if she gives them a home. And so an offbeat family is born.


DOCuMENTAry

AN AWKWARD TRUTH 1 x 52 min DocumentaryProduction Company: Artemis International Producer: Brian BeatonLine Producer: Karen Williams Director: Steve Peddie Writer: Steve PeddieDOP: Torstein DyrtingEditor: David FosdickBroadcaster: History ChannelScreenWest Initiative: General Production Fund Synopsis: Drawing on long-hidden documents, including the Lowe Royal Commission and first person accounts,An Awkward Truth reveals the truth surrounding the bombing of Darwin in 1942 and takes us into the lives of people who were there.

gALLEry OF EvEryDAy ThINgS 8 x 30 min Documentary Series Production Company: Great Western Entertainment and Infinite Frameworks Pty Ltd Producer: Paul Barron, Freddie Yeo Director: Edward McQueen-Mason and others TBCWriter: Paul Payne, Bridget Curran Editor: Edward McQueen-Mason Broadcaster: ABC1 ScreenWest Initiative: Matched Primetime TV Production Fund Synopsis: The extraordinary stories behind the ordinary things we use in everyday modern life.

JACK THE RIPPER: THE CASE REOPENED 1 x 52 min Documentary Production Company: Prospero Productions Producers: Ed Punchard, Julia Redwood Director: Franco Di ChieraWriter: Franco Di ChieraDOP: Simon SmithEditor: Roland Smith Broadcaster: Discovery Canada, UKTV, Channel 7 ScreenWest Initiative: General Production Fund Synopsis: The story of Jack the Ripper is one of the most gruesome and infamous unsolved crimes in history. A horrific killing spree, which exposed the darkest recesses of Victorian London, leaving a city gripped in terror. Today, more than 120 years later, modern science may hold the key to cracking the case. In a laboratory in Australia, lies what is believed to be the skull of Australia’s first serial killer, Frederick Deeming. At the time of his execution in 1892, Deeming was a suspect in the Jack the Ripper case. In a recent experiment DNA was extracted from the skull. Now a modern investigation is underway to find out if Deeming could have done it. Can modern medical science finally catch Jack the Ripper?


DOCuMENTAry CONT

JANDAMARRA’S WAR1 x 55 min Documentary Production Company: Wawili Pitjas, Electric PicturesProducers: Eileen Torres, Andrew Ogilvie Director: Mitch TorresWriter: Mitch TorresDOP: Allan Collins Editor: Lawrie SilvestrinBroadcaster: ABC TVScreenWest Initiative: Matched Primetime Television Production Fund Synopsis: In the pantheon of Australia outlaw heroes there are no Aborigines. The time has come to add the mythic name of Jandamarra.

* Some documentary filming for Jandamarra’s War took place in 2009-10. The drama filming took place in 2010-11. The production has been included in statistical data for 2010-11 only.

MAN WhO JuMPED1 x 52 min DocumentaryProduction Company: Prospero Productions Producer: Ed Punchard, Julia RedwoodDirector: Russell Vines Development Writer: John McCourtEditor: Lawrie SilvestrinScreenWest initiative: General Production Fund Synopsis: In 2002, footage of an asylum seeker leaping onto razor wire at Woomera Detention Centre made front-page news around the world and became one of the most provocative and enduring images of the decade. But who was the man who jumped, why did he do it and what happened to him?

MY MUM TALKS TO ALIENS1 x 52 min Documentary Production Company: Joined Up Films Producers: Jacqueline Willinge, Dan BrownDirector: Dan BrownWriters: Dan BrownDOP: Jim Frater Editors: Merlin CornishBroadcaster: SBS ScreenWest Initiative: Secrets & Lives Synopsis: On the surface, mother and son Mary and Chris Rodwell have a normal, loving relationship but there is one issue that is driving a wedge between them - the existence of Extraterrestrial life. Chris is a vet, a man of science and a self-confessed sceptic whilst Mary is the leading Australian authority on Extraterrestrial phenomena. Something has to give! Packing nothing but an open mind, Chris has agreed to enter Mary’s world and has given his mother one month to convince him that the truth really is ‘out there’.


DOCuMENTAry CONT

NED’S HEAD1 x 52 min DocumentaryProduction Company: Prospero Productions Producers: Ed Punchard, Julia RedwoodDirector: Rebecca CiallellaWriters: John McCourt, Rebecca CiallellaBroadcaster: SBS ScreenWest Initiative: General Production Fund Synopsis: This riveting documentary exclusively follows the work of scientists from the Victorian Institute of Forensic Medicine as they investigate one of Australia’s greatest mysteries. Is a skull that has been recently handed in that of the famous bushranger, Ned Kelly?

SAS: The Search for Warriors 2 x 52 min Documentary SeriesProduction Company: Prospero Productions Producers: Ed Punchard, Julia Redwood Director: Russell Vines Writer: John McCourtDOP: Gavin Johns, Nathan HayterEditors: Peter Pritchard, Teresa Ashton GrahamBroadcaster: SBS ScreenWest Initiative: General Production Fund Synopsis: To join the ranks of Australia’s elite SAS regiment you’ve got to make it through one of the toughest training courses in the world.

SINgAPOrE 19422 x 52 min Documentary Series Production Company: Electric Pictures Producers: Andrew Ogilvie, Trevor Graham, Andrea Quesnelle, Ned Lander Director: Don FeatherstoneWriter: Don FeatherstoneDOP: Jim FraterEditor: Lawrie SilvestrinBroadcaster: SBSScreenWest Initiative: General Production Fund Synopsis: The fall of Singapore shattered myths, bought an empire to its knees and changed the destiny of millions of people.


DOCuMENTAry CONT

ThE SECrET hISTOry OF ThE EurOvISION SONg CONTEST2 x 52 min and 1 x 90 min Documentary SeriesProduction Company: Electric Pictures and Brook Lapping ProductionsProducers: Andrew Ogilvie, Andrea Quesnelle, Trevor GrahamDirector: Steve OliverWriter: Steve OliverDOP: Jim FraterEditor: Andrew ArestidesBroadcaster: SBS, Channel 4, YLE, DR2, SVT, RTE, NRK, NTR, WDR, VRT, BBC ScreenWest Initiative: General Production Fund Synopsis: Fun, lively and insightful, this is the inside story of how the Eurovision Song Contest not only helped change the face of Europe, but became the most popular live music show on Earth.

WHO DO YOU THINK YOU ARE – SERIES 4 6 x 52 min Documentary SeriesProduction Company: Artemis International & Serendipity Productions Producers: Brian Beaton, Margie Bryant, Celia Tait, Robin EastwoodDirectors: Kay Pavlou, Russell Vines, Max Walker, Jane Manning, Victoria PittWriters: Kay Pavlou, Russell Vines, Max Walker, Jane Manning, Victoria PittBroadcaster: SBSScreenWest Initiative: General Production Fund Synopsis: Well-known Australians play detective as they go in search of their family history, revealing secrets from the past. Taking us to all corners of Australia and the globe are six stories of individuals seeking to find the definitive answer to where they came from. Along the way secrets are uncovered and histories are revealed — with each individual discovering that their ancestors form an integral part of not only their own identity, but that of the nation. Combining emotional and personal journeys with big-picture history, these inspiring and sometimes challenging stories remind us how Australians have come to be the people that we are today.

WHO’S BEEN SLEEPING IN MY HOUSE? 8 x 26 min Documentary Series Production Company: Joined Up Films Producers: Jacqueline Willinge, Dan Brown Directors: Dan Brown, Andrew Saw Post Production Directors: Victoria Midwinter Pitt, Phillipa HutchesonPost Production Supervisor/Director: Katherine BarrettCamera: Jim Frater, Dave Le May, Robert Koenig-LuckEditors: Roland Smith, Beckett Broda, Jonathan RowdonBroadcaster: ABC ScreenWest Initiative: Matched Primetime TV Production Fund Synopsis: Each week we visit what appears to be an ordinary Australian house that might be in any neighbourhood from Balmain or Coolgardie; a house you might drive past every day and never give a second look. And yet within its rooms are the hidden stories of our past; the lives of the people who lived, bore children, died or just moved on. This is our history, told by the people who have slept in our homes.


INDIgENOuS LOW buDgET Tv PrODuCTION

STRAIGHT SHOOTIN’10 x 26 min Lifestyle Show Production Company: Spear Point Productions Pty Ltd Executive Producer: Kelrick MartinProducer: Robyn MaraisCross Media Producer: Danielle Giles Director: Kelrick MartinWriter: Kelrick Martin Camera Operators: Robert Koening-Luck, Armin Azad, Leigh McDonald, Ian MarkeyDirector/Switcher: Deanna Watson Broadcaster: National Indigenous Television (NITV)ScreenWest Initiative: Indigenous Low Budget TV Production Fund Synopsis: Straight Shootin’ is a candid, lively and unapologetic look at Indigenous life – offering up helpful hints and opinions that will shock the senses and tickle the funny bone! A no holds barred, Indigenous women’s talk show presented by the Queen of the Kimberley Mary G with panellists Rosanna Angus, Dr Sue Gordon AM, Meggan Grose and Marianne Mackay.

WAAbINy TIME SErIES 210 x 26 min Children’s EntertainmentProduction Company: l’unica Productions Producer: Cath TrimboliDirectors: Irma Woods, Cath Trimboli Writers: Charmaine Bennell, Sharon Gregory Camera: Todd Russell, Casey Grogan, Claire Leeman, Gavin Johns, Atilla Bak, Alicia GibbsEditors: Todd Russell, Jules DuncanBroadcaster: National Indigenous Television (NITV)ScreenWest Initiative: Indigenous Low Budget TV Production Fund Synopsis: Children’s variety program exploring Noongar language.

DIgITAL

SOuND ChAMbEr Cross-Platform: Installation, Website Application, Short Film 1 x 4 min 16 sec Producers: Yvette Coyne, Amanda Morrison Documentary Director: Sharon MeredithTechnical Director: Malcolm Riddoch Artist: Kynan Tan Broadcaster: ABCScreenWest initiative: iArts (DCA, ABC, ScreenWest) Synopsis: The first project of its kind in Australia, the Sound Chamber is both an interactive sound-art installation and a participatory online experience in which the users themselves can become the artists.


ANIMATION

gOD SQuAD 1 x 20 min Adult AnimationProduction Company: ZAC ToonsProducers: Troy Zafer, Jemma CookDirectors: Nick Kempt, Emma CamdenWriters: Brendan Luno, Chad FiferEditor: Nick KemptBroadcaster: SBSScreenWest Initiative: General Production Fund Synopsis: God Squad is an animated send-up of gritty police dramas in which the gods of various past and present religions play the principal roles as cops and criminals.

DEADLy yArNS 5

ruNNINg rIOT1 x 5 min Short DramaProduction Company: Wawili PitjasProducer: Eileen TorresDirector: Cornel OziesWriter: Cornel OziesEditors: Cornel Ozies, Clinton FerstlBroadcaster: ABCScreenWest Initiative: Deadly Yarns Synopsis: Living with his grandparents on a remote cattle station in the Kimberley, Hank has just won an online tournament and a spot at the world gaming series. His worlds begin to collide and confusion sets in as to what he will do.

TELLINg Our STOry1 x 5 min Short DramaProduction Company: Ramu Productions Producer: Jodie BellDirector: Arnhem HunterWriter: Arnhem HunterEditor: Kim West Broadcaster: ABC ScreenWest Initiative: Deadly Yarns Synopsis: A timeline of Aboriginal oral history communication from pre-contact times to the present day through poetry coming to life on screen.


LINK/HYPERLINK SHORT FILM

AMbuLANCE1 x 9 min Short FilmProducer: Erin DuncanDirector: Stephen McCallumWriter: Stephen McCallum, Gerald LillywhiteDOP: Allan MylesEditor: Chris TrappeScreenWest Initiative: Link/Hyperlink – FTI Synopsis: A paramedic is involved in a collision of fate that provides him with the opportunity to heal.

CrOSShAIrS1 x 11 min Short FilmProduction Company: 17° South FilmsProducer: Dan WoodDirector: Mike HoathWriter: Peter TemplemanEditor: Ivan DavidovScreenWest Initiative: Link/Hyperlink – FTI Synopsis: Caught poaching a lamb, two brothers must decide how far they’re willing to go to get away.

gEOrgE JONES & ThE gIANT SQuID1 x 14 min Short FilmProducer: Ella WrightDirectors/Writers: Vincenzo Perrella, Dan OsbornDOP: Mick McDermottEditor: Leanne Cole ScreenWest Initiative: Link/Hyperlink - FTI Synopsis: George Jones would do anything to escape his island home – but everyone knows one toe in the water spells certain death.

ONE NIghT ONLy1 x 10 min Short FilmProducer: Michael FaceyDirector/Writer: Pete GurbielDOP: Anthony HansonEditor: Regg Skwarko ScreenWest Initiative: Link/Hyperlink – FTI Synopsis: A clown returns home for first time since running away to join the circus as a young boy.


LINK/HYPERLINK SHORT FILM CONT

PErIShED1 x 12 min Short FilmProduction Company: SARFilmsProducer: Aaron McCann Directors/Writers: Aaron McCann, Stefan A. RadanovichEditor: Stefan A. Radanovich ScreenWest Initiative: Link/Hyperlink - FTI Synopsis: An irresponsible man finds himself locked in a shed amidst a zombie outbreak and must learn to confront his fears or face starvation.


APPENDIX 3: FuNDINg APPrOvALS 2010-11

Amounts listed are the approved commitments by ScreenWest and may not be the final amounts contracted or paid.

PrOJECT DEvELOPMENT

rECIPIENT PrOJECT TITLE FOrMAT AMOuNT NOTESShotcut Productions Dead Cool Feature $ 20,000Artemis International An Awkward Truth Documentary $ 13,020Lei-lou Creative WestSide Central Children’s Series $ 20,000Great Western Entertainment Tyger, Tyger Children’s Series $ 9,090Chris Watson The Concrete Submarine Feature $ 15,000Ethan Marrell Tinglewood Feature $ 10,000Circling Shark Productions Vanished Feature $ 10,000Media World Pictures The Saviour - Script

reader’s reportFeature $ 65

World Wide Mind Films Drift - Fourth draft script Feature $ 20,000Victor Gentile Feature Film Development

- Script Reader ReportsAssessment Panel $ 2,000

Barbara Connell Feature Film Development - Script Reader Reports

Assessment Panel $ 2,500

Jocelyn Quioc Akathaso Feature $ 10,000Jules Duncan Deathbed Confessions Feature $ 12,200Transcendence Media Father’s Day Feature $ 10,000Justin Beckett Never Let Me Down Feature $ 5,000CM Film Productions Black Dog Blue Planet Documentary $ 13,000Andrew Lewis The Damned Feature $ 20,000Storyteller Media Group Before It’s Too Late Documentary $ 7,000 Lapsed $7000

Rumbalara Films Dirt Music Feature $ 25,000Taylor Media Seed Funding-Projects TBC Television Series $ 15,000Prospero Productions Resurrecting The Mam-

mothDocumentary $ 14,000

Prospero Productions Metal Detectives Documentary Series $ 19,000Filmscope Entertainment The Last Road Feature $ 20,000The Penguin Empire The Rot Feature $ 15,000McRobbie Productions Blackout Feature $ 10,000Everythingdances Jump Feature $ 20,000Vue DC Piccolo Feature $ 100,000Great Western Entertainment Gallery of Everyday Things Documentary Series $ 25,000 Emergency

Development

CM Film Productions In Focus Documentary Series $ 20,280 Emergency Development

Little Star Productions Comic Book Story Documentary $ 20,000 Emergency Development

Mago Films Off the Beaten Track Documentary Series $ 9,548 Emergency Development

Sub-Total $ 511,703Lapsed $ 7,000Total $ 504,703


PrOJECT DEvELOPMENT CONT WEST COAST vISIONS DEvELOPMENT

rECIPIENT PrOJECT TITLE FOrMAT AMOuNT NOTESProspero Productions The Man Who Jumped Documentary $ 10,000 Matched with

SBS

Animazing Productions Mal.com - 2nd Stage Development Children’s Series $ 17,600 Matched with ABC and ACTF

Taylor Media The Graduates Television Series $ 25,000 Lapsed $7000 Matched with ABC

Taylor Media Murderer No More Tele-Movie $ 25,000 Matched with Seven Network

Great Western Entertainment Serangoon Road Television Series $ 25,000 Matched with ContentFilm

Great Western Entertainment Tyger, Tyger Children’s Series $ 10,000 Matched with ABC

Electric Pictures The Australian Wine Revolution Documentary $ 20,000 Matched with ABC


rECIPIENT PROJECT/DESCRIPTION FOrMAT AMOuNT NOTESMedia World Pictures Dieback – Script reader’s report by

Paul ChitlikFeature $ 1,486

Media World Pictures Dieback – Script reader’s report by Simon van de Borgh

Feature $ 6,000

Media World Pictures Dieback - Further script development

Feature $ 15,000

8th In Line Productions These Final Hours Feature $ 25,000West Coast Visions Development

TBC Feature $ 17,514

Total $ 65,000

WrITErS DEvELOPMENT INITIATIvES

RECIPIENT PROJECT/DESCRIPTION FORMAT AMOUNT NOTESAustralian Writers’ Guild (WA)

Tele-Navigator 2011 - Phase One Tele-Navigator $ 9,827

Art Gallery of WA Tele-Navigator 2011 - Phase One Tele-Navigator $ 974Jules Duncan Vernon James Television Series $ 3,500Leon Ewing The Artist in Residence Television Series $ 3,500David Smith Family Tree Television Series $ 2,500Sue Taylor Family Tree - Script Consultant Television Series $ 1,000Renee Webster Consummate Professionals Television Series $ 3,500Australian Writers’ Guild (WA) and Various

Tele-Navigator Phase 1 and 2 - Screen Australia Contribution

Tele-Navigator $ 37,787 Lapsed $2818.19


WrITErS DEvELOPMENT INITIATIvES CONT

SPECIAL INITIATIvES

STATE LOCATION AND CrEW SuPPOrT SErvICES

rECIPIENT PrOJECT TITLE FOrMAT AMOuNT NOTESAustralian Writers’ Guild (WA) and Various

Tele-Navigator Phase 3 - Screen Australia Contribution

Tele-Navigator $ 6,000 Lapsed $275

TBC Tele-Navigator - Screen Australia Contribution

Tele-Navigator $ 3,713 Lapsed $1341.82

Australian Writers’ Guild (WA) and Various

Feature Navigator Phase 1 Q&A

Feature Navigator $ 24,091 Lapsed $20.95

Australian Writers’ Guild (WA) and Various

Feature Navigator - Screen Australia Contribution

Feature Navigator $ 10,000

Jocelyn Quioc The Red Bride Feature $ 20,000Kate Separovich Play Things Feature $ 20,000Adam Isitt Frozen Secrets Feature $ 3,500Jules Duncan Deathbed Confessions Feature $ 3,500Helen Mulroney Penny’s Worth Feature $ 3,500

Sub Total $ 156,892Lapsed $ 4,456Total $ 152,436

rECIPIENT PROJECT/DESCRIPTION FOrMAT AMOuNT NOTESTBC Digital Stepping Stones

Initiative$ 200,000

Total $ 200,000

rECIPIENT DESCrIPTION AMOuNT NOTESGoalpost Pictures Location Scouting Assistance on Harvest $ 1,282Shelley Guy Productions Location Scouting Assistance on The

Grandmothers$ 600

Montague Production Services Location Scouting Assistance on Drift $ 2,000Tim Burns Productions Location Scouting Assistance on The

Grandmothers$ 7,906

Animazing Productions Contribution towards Sunset Hospital maintenance

$ 5,000

Tim Burns Productions Peel Regional Website $ 7,500Animazing Productions Contribution towards Sunset Hospital

maintenance$ 4,305

Total $ 28,593


PrODuCTION FuNDINg

rECIPIENT PrOJECT TITLE FOrMAT AMOuNT NOTESArtemis International Who Do You Think You

Are? Series 4Documentary Series $ 231,549

Zac Toons God Squad Animation $ 42,540Prospero Productions The Man Who Jumped Documentary Single $ 84,208Electric Pictures Singapore 1942 Documentary Series $ 185,788 Lapsed $22065

Prospero Productions Jack the Ripper: The Case Re-opened

Documentary Single $ 97,344

Prospero Productions Mutha Truckers Documentary Single $ 174,000SB Films Satellite Boy Feature $ 160,000Artemis International The Bombing of Darwin -

An Awkward TruthDocumentary Single $ 74,440

Zinc Finger Films & Cordell Jigsaw Productions

Sundowner Feature $ 422,984

Artemis International The Bombing of Darwin - An Awkward Truth

Documentary Single $ 5,500 Increased. Total commitment $79,940

Artemis International Who Do You Think You Are? Series 5

Documentary Series $ 441,271

Prospero Productions Gallipoli’s Deep Secrets Documentary Single $ 36,000 WA Crew Employment Incentive Fund

Prospero Productions Pirate Patrol Documentary Series $ 48,400 WA Crew Employment Incentive Fund

Needle Productions Needle Feature $ 50,000 WA Crew Employment Incentive Fund

Prospero Productions Dino Stampede Documentary Single $ 16,063 WA Crew Employment Incentive Fund

Electric Pictures Skin Deep Documentary Single $ 35,273 WA Crew Employment Incentive Fund

Prospero Productions SAS: The Search for Warriors

Documentary Series $ 40,406 WA Crew Employment Incentive Fund

Artemis International Who Do You Think You Are? Series 3

Documentary Series $ 73,858 WA Crew Employment Incentive Fund

Sub-Total $ 2,219,624Lapsed $ 20,270Total $ 2,199,354


AbC MATChED PrIMETIME TELEvISION PrODuCTION FuND

PrODuCTION ATTrACTION FuND

WEST COAST vISIONS INITIATIvE

rECIPIENT PrOJECT TITLE FOrMAT AMOuNT NOTESJoined Up Films Who’s Been Sleeping in My

House?Documentary Series $ 5,000 Matched ABC

funding

TBC ScreenWest ABC Factual Entertainment Initiative

Various $ 640,000

Sara Ramsden ScreenWest ABC Factual Entertainment Workshop

Workshop $ 5,000

Mago Films Life Architecturally (AKA Arthouse)

Documentary Single $ 10,000 Funding to com-plete 1hr version of project

Various ScreenWest ABC Factual Entertainment Workshop

Workshop $ 636 Lapsed $300.54

Prospero Productions Nurses Documentary Series $ 10,000Prospero Productions Vets Documentary Series $ 5,000Artemis International Dream House Documentary Series $ 8,050Electric Pictures Peppermint Grove Documentary Series $ 20,000Spear Point Productions Yagan Documentary Single $ 130,000Zinc Finger Films & Essential Media & Entertainment

Do or Die Documentary Series $ 337,500

Prospero Productions Vets - Part 2 Documentary Series $ 25,000Sub-total $ 1,191,186Lapsed $ 301Total $ 1,190,885

rECIPIENT PROJECT/DESCRIPTION FOrMAT AMOuNT NOTESTBC Production Attraction Fund TBC $ 500,000

Total $ 500,000

rECIPIENT PROJECT/DESCRIPTION FOrMAT AMOuNT NOTES8th In Line Productions These Final Hours Feature $ 750,000

Total $ 750,000


PROFESSIONAL ATTACHMENTS, PLACEMENTS AND MENTORSHIPS

rECIPIENT PROJECT/DESCRIPTION INITIATIvE AMOuNT NOTESArtemis International / Peter Brown

Production Assistant Attachment to Stuart Grieg and Cath Trimboli on Desperately Seeking Doctors: The Kimberley

Attachment $ 3,000

Southern Star Productions No. 10 Pty Ltd / Magda Wozniak

Scriptwriting Attachment to Sarah Smith on Rescue Special Ops: Series 3

Attachment $ 4,495

Southern Star Productions No. 10 Pty Ltd / Magda Wozniak

Scriptwriting Attachment to Sarah Smith on Rescue Special Ops: Series 3 - 2 week extension

Attachment $ 1,496

Porchlight Films / Tenille Kennedy

Producers Assistant Attachment to Vincent Sheehan on The Hunter

Attachment $ 8,021

Animazing Productions / Pamela Fuentes

Sound Attachment to Glenn Dillon on Mal.com

Attachment $ 3,407

Animazing Productions / Evangeline Than

Producer Placement with Susie Campbell on Mal.com

Placement $ 10,000

Krasnoff/Foster Productions / Michael James Searle

Producer Internship with Krasnoff/ Foster Productions

Placement $ 25,000

CM Film Productions / Nick Dunlop

Editor Placement with Carmelo Musca on (International Version) Deep Sleep No More

Placement $ 10,000

Odin’s Eye Entertainment / Kate Separovich

Sales Agent Placement with Michael Favelle at Cannes Film Market 2011

Placement $ 11,500

Revelation Perth International Film Festival Inc / Emma Poletti

Marketing & Communications Placement with Suzanne Worner/Kate Wilson for Revelation Perth International Film Festival 2011

Placement $ 3,600

RKPix / Yvette Coyne Producer Mentorship with Amanda Morrison on The Sound Chamber

Mentorship $ 5,000

Great Western Entertainment / Paul Barron

Writer Mentorship with Simon Nasht on Gallery of Everyday Things

Mentorship $ 5,000

Ethan Marrell Writer Mentorship with Paul Chitlik on Tinglewood

Mentorship $ 5,026

l’unica Productions / Cath Trimboli

Project Development and Pre-production Mentorship with Nick Hopkin on Waabiny Time: Series 2

Mentorship $ 9,945

Ikandy Films / Carol Seeley Producer Mentorship with Janine Hosking on 35 Letters

Mentorship $ 5,000

Zac Toons / Troy Zafer Script Editor Mentorship with Brendan Luno on God Squad

Mentorship $ 7,300

Animazing Productions / Andrew Kendall

Production Accountant Mentorship with Robert Hay on Mal.Com

Mentorship $ 10,000

Regan Bennett Script Consultant Mentorship with Andy Cox on Yilgarn Street

Mentorship $ 1,400 Lapsed $126.49

8th In Line Productions / Liz Kearney

Production Management Mentorship with Jane Sullivan on These Final Hours

Mentorship $ 5,000

CROW Media and Communications / Rob McGlynn

Production Management Mentorship with Liz Sward on Harvest

Mentorship $ 9,735


PROFESSIONAL ATTACHMENTS, PLACEMENTS AND MENTORSHIPS CONT

rECIPIENT PROJECT/DESCRIPTION INITIATIvE AMOuNT NOTESRKPix / Taryne Laffar Digital Production Mentorship with

Amanda Morrison on BlackTraxMentorship $ 3,000

RKPix / Yvette Coyne Digital Production Mentorship with Amanda Morrison on The Adventures of Bradley

Mentorship $ 5,000

Krasnoff/Foster Productions / Michael James Searle

Producer Internship with Krasnoff/Foster Productions

Placement $ 25,000 Third party contribution Screen Australia

Sub-total $ 176,925Lapsed $ 126Total $ 176,799

buSINESS DEvELOPMENT FuND

rECIPIENT DESCrIPTION AMOuNT NOTESArtemis International Business Development Fund 2011 $ 60,000Content Licence Exchange (CLX)

Business Development Fund 2011 $ 60,000

WBMC Business Development Fund 2011 $ 80,000Total $ 200,000

TrAvEL ASSISTANCE

rECIPIENT EVENT/DESCRIPTION INITIATIvE AMOuNT NOTESGreat Western Entertainment

Travel Assistance: Established Production Company 2010-11 (MIPCOM & Round the World)

Established Production Company

$ 8,250

Electric Pictures Travel Assistance: Established Production Company 2010-11 (MIPCOM)


$ 6,250

Great Western Entertainment

Travel Assistance: Established Production Company 2010-11


$ 18,000

Artemis International Travel Assistance: Established Production Company 2010-11


$ 21,800

Electric Pictures Travel Assistance: Established Production Company 2010-11


$ 17,000

Media World Pictures Travel Assistance: Established Production Company 2010-11


$ 15,250 Lapsed $2343

Prospero Productions Travel Assistance: Established Production Company 2010-11 (MIPCOM)


$ 6,250


TrAvEL ASSISTANCE CONT

rECIPIENT EVENT/DESCRIPTION INITIATIvE AMOuNT NOTESFilmscope Entertainment Travel Assistance: Established Production

Company 2010-11 (MIPCOM)Established Production Company

$ 6,250

Prospero Productions Travel Assistance: Established Production Company 2010-11


$ 28,750

Filmscope Entertainment Travel Assistance: Established Production Company 2010-11


$ 28,750

WBMC American Distribution Screenings for Wasted on the Young

Markets & Conferences

$ 3,000

Factor 30 Films 37 South, MIFF 2010, Melbourne Markets & Conferences

$ 1,500

Circling Shark Productions MIPCOM 2010, France Markets & Conferences

$ 6,200 Lapsed $620

Zac Toons MIPCOM 2010, France Markets & Conferences

$ 6,250

Vue DC MIPCOM 2010, France Markets & Conferences

$ 6,250

l’unica Productions MIPCOM 2010, France Markets & Conferences

$ 6,250

Mago Films AIDC 2011 & Adelaide & Sheffield Documentary Festival 2010


$ 6,250 Lapsed $1750

Jules Duncan MIPCOM 2010, France Markets & Conferences

$ 6,250

Transcendence Media MIPCOM 2010, France Markets & Conferences

$ 6,250 Lapsed $6250

Andrew Burleigh Smith InkTip Pitch Summit 2010, LA Markets & Conferences

$ 2,000

Schmick Films Sheffield Documentary Festival 2010, UK Markets & Conferences

$ 3,000

Electric Pictures Emmy Awards 2010, New York Markets & Conferences

$ 2,000


$ 3,000

Factor 30 Films Toronto International Film Festival 2010, Canada


$ 4,965


$ 1,000

Zac Toons SPAA 2010, Sydney Markets & Conferences

$ 1,500

CROW Media and Communications

SPAA 2010, Sydney Markets & Conferences

$ 1,500

Crewjo SPAA 2010, Sydney Markets & Conferences

$ 1,500

Animazing Productions Kidscreen 2011, USA Markets & Conferences

$ 6,250 Lapsed $6250



rECIPIENT EVENT/DESCRIPTION INITIATIvE AMOuNT NOTESCrewjo Pty Ltd Kidscreen 2011, USA Markets &

Conferences$ 6,250

Kate Vyvyan Kidscreen 2011, USA Markets & Conferences

$ 6,250 Lapsed $570

CM Film Productions World Congress for Science and Factual Producers 2010, Germany


$ 3,000

Interior Castle World Congress for Science and Factual Producers 2010, Germany


$ 3,000

Bolder Pictures International Rome Festival 2010, Italy Markets & Conferences

$ 3,000

WBMC Pusan International Film Festival 2010, Korea


$ 3,000

Catchlight Pictures Australian Cinematographers Society Awards 2010, Adelaide


$ 450

Lumiere Films Australian Cinematographers Society Awards 2010, Adelaide


$ 450

Sauce Films Australian Cinematographers Society Awards 2010, Adelaide


$ 490

Sea Dog TV International AIDC Conference 2011, Adelaide Markets & Conferences

$ 1,500

Jules Duncan AIDC Conference 2011, Adelaide Markets & Conferences

$ 720

Glare Productions AIDC Conference 2011, Adelaide Markets & Conferences

$ 1,500 Lapsed $416.14

Corrie Jones American Film Market 2010, Los Angeles Markets & Conferences

$ 3,000 Lapsed $250

Schmick Films AIDC Conference 2011, Adelaide Markets & Conferences

$ 1,500

Allan Collins Australian Cinematographers Society Awards 2010, Adelaide


$ 450

Goalpost Pictures AFI Awards 2010, Melbourne Markets & Conferences

$ 1,000

Will Manning AFI Awards 2010, Melbourne Markets & Conferences

$ 900 Lapsed $900

Reginald Cribb AFI Awards 2010, Melbourne Markets & Conferences

$ 1,000

SHOOSH! The Location Sound Production Company

AFI Awards 2010, Melbourne Markets & Conferences

$ 1,000

CM Film Productions Australia-China Film Industry Forum 2010, Beijing


$ 750

Vue DC Australia-China Film Industry Forum 2010, Beijing


$ 750

Clayton Jauncey AFI Awards 2010, Melbourne Markets & Conferences

$ 993

Steadi-Vision Australia AFI Awards 2010, Melbourne Markets & Conferences

$ 1,000

WBMC Australia-China Film Industry Forum 2010, Beijing


$ 750



rECIPIENT EVENT/DESCRIPTION INITIATIvE AMOuNT NOTESVictoria Pitt AFI Awards 2010, Melbourne Markets &

Conferences$ 1,000

Magda Wozniak National Screenwriters Conference 2011, Victoria


$ 1,500

Kate Reynolds National Screenwriters Conference 2011, Victoria


$ 1,500

Rochelle Wiltshire National Screenwriters Conference 2011, Victoria


$ 1,500

Annie Murtagh-Monks Australian Directors Guild (ADG) National Conference 2011, Adelaide


$ 1,500

Siamese 8th Pacific International Documentary Film Festival Papeete, 2011, Tahiti


$ 469

Claire Marshall Australian Directors Guild (ADG) National Conference 2011, Adelaide


$ 925

RKPix FICCI Frames 2011, Mumbai Markets & Conferences

$ 3,000

Taylor Media MIPtv 2011, France Markets & Conferences

$ 6,050

Circling Shark Productions MIPtv 2011, France Markets & Conferences

$ 6,000

Vue DC MIPtv 2011, France Markets & Conferences

$ 6,250

Seaflower Holdings MIPtv 2011, France Markets & Conferences

$ 5,891

Last Pixel Studios MIPtv 2011, France Markets & Conferences

$ 6,191

Graeme Hunt MIPtv 2011, France Markets & Conferences

$ 6,250

Storyteller Digital MIPtv 2011, France Markets & Conferences

$ 6,250

Streamnet Digital The Giant Screen Cinema Association Film Expo 2011, LA, USA


$ 3,000

Bolderpictures Cannes Film Festival 2011, France Markets & Conferences

$ 6,000

Factor 30 Films Cannes Film Festival 2011, France Markets & Conferences

$ 5,465

Impian Films Cannes Film Festival 2011, France Markets & Conferences

$ 5,750

Woss Group Film Productions

Cannes Film Festival 2011, France Markets & Conferences

$ 6,250

WBMC Screen Singapore 2011, Singapore Markets & Conferences

$ 3,000

Allan Collins Australian Cinematographers Society Awards 2011, Adelaide


$ 1,180

Catchlight Pictures Australian Cinematographers Society Awards 2011, Adelaide


$ 728



rECIPIENT EVENT/DESCRIPTION INITIATIvE AMOuNT NOTESWBMC MIFF 37 South 2011, Melbourne Markets &

Conferences$ 1,500

Tenille Kennedy MIFF 37 South 2011, Melbourne Markets & Conferences

$ 1,500

Angel Pictures St Kilda Film Festival, 2011, Melbourne Markets & Conferences

$ 1,500

8th In Line Productions MIFF 37 South 2011, Melbourne Markets & Conferences

$ 1,500

Michael James Searle New Media Conference 2011, LA Markets & Conferences

$ 864

Danielle Giles X Media Lab: Pro Day Conference and Lab 2010, Melbourne

Short Courses & Training

$ 315

Jules Duncan Shop the Doc 2010, Melbourne Short Courses & Training

$ 1,000 Lapsed $55

Siamese Shop the Doc 2010, Melbourne Short Courses & Training

$ 1,000 Lapsed $55

Interior Castle Shop the Doc 2010, Melbourne Short Courses & Training

$ 1,000

Kirrilly Brentnall Shop the Doc 2010, Melbourne Short Courses & Training

$ 847 Lapsed $9.30

Ethan Marrell Screenwriting Expo 2010, LA Short Courses & Training

$ 2,000

Ben Lucas Travel assistance for career development with LA based production companies


$ 2,975

Leanne Cole Travel assistance for career development with international industry agencies (various)


$ 3,000

Dan Wood Feature-Navigator Workshop 2011, Perth Short Courses & Training

$ 750

Tanya Visosevic Australian Network for Art and Technology (ANAT) DomeLab 2010, Perth


$ 350 Lapsed $350

Magic Broome Films Australian Network for Art and Technol-ogy (ANAT) DomeLab 2010, Perth


$ 350

Sohan Ariel Hayes Australian Network for Art and Technol-ogy (ANAT) DomeLab 2010, Perth


$ 350

Toe Sox Productions Australian Network for Art and Technol-ogy (ANAT) DomeLab 2010, Perth


$ 350

Daniel Walsh Australian Network for Art and Technology (ANAT) DomeLab 2010, Perth


$ 350

Natalie Way International Make Up Artists Trade Show 2011, London


$ 1,000

Bobby Ruckus Bobby Roth Directing Masterclass, 2010, Melbourne


$ 900

Symphonic Pictures X Media Lab and Kre8tif Animation and Gaming Event, 2010, Malaysia


$ 2,000

Kate Separovich Stacey Parks Going Global Program, 2011, Adelaide


$ 1,489



rECIPIENT EVENT/DESCRIPTION INITIATIvE AMOuNT NOTESJanine Boreland Phillip Bloom DSLR Australian

Workshop, 2011, AdelaideShort Courses & Training

$ 960

Melissa Ozich Arri Alexa Digital Camera 2 Day Intensive Tutorial, 2011, Sydney


$ 935

Julia Ngeow Judith Weston Acting for Directors Workshop, 2011, USA


$ 2,000

The Penguin Empire Robert McKee Seminar, 2011, Sydney


$ 1,500

Aquarius Productions X Media Lab 2011, Perth Short Courses & Training

$ 841

Ben Lucas Judith Weston Rehearsal Intensive, 2011, USA


$ 1,041

Phimedia X Media Lab 2011, Perth Short Courses & Training

$ 444

Fuzzy Pictures Robert McKee Seminar, 2011, Sydney & Melbourne


$ 1,500

Jag Films X Media Lab 2011, Perth Short Courses & Training

$ 1,243

Tenille Kennedy Robert McKee Seminar, 2011, Melbourne


$ 1,500

Vue DC X Media Lab 2011, Perth Short Courses & Training

$ 832

Damien Spiccia Robert McKee Seminar, 2011, Melbourne


$ 1,500

Digital Jellyfish Robert McKee Seminar, 2011, Melbourne


$ 1,456

d-gradeBoys.com Robert McKee Seminar, 2011, Sydney


$ 1,500

Renee Webster Kate Dennis TV Masterclass, 2011, Melbourne


$ 1,500

Spear Point Productions Robert McKee Seminar, 2011, Sydney


$ 1,500

Goolarri Media Enterprises Tele-Navigator Launch 2011, Perth Short Courses & Training

$ 1,500

Daniel Osborn Robert McKee Seminar, 2011, Melbourne


$ 1,500

Vincenzo Perrella Robert McKee Seminar, 2011, Melbourne


$ 1,500

Ben Young Accelerator 2011, Melbourne Short Courses & Training

$ 1,500

Dan Wood AWG Genre Tools Workshop with Simon Van Der Borgh, 2011, Perth


$ 600

Zak Hilditch Accelerator 2011, Melbourne Short Courses & Training

$ 1,500

Anthony Hanson Kodak ACS Cinematography Student Masterclass, 2011, Sydney


$ 1,500



rECIPIENT EVENT/DESCRIPTION INITIATIvE AMOuNT NOTESDaniel Walsh Kodak ACS Cinematography Student

Masterclass, 2011, SydneyShort Courses & Training

$ 1,500


PrACTITIONEr EXECuTIvE DEvELOPMENT

rECIPIENT EVENT/LOCATION AMOuNT NOTESAmanda Morrison AAMELP 2011, Fremantle $ 5,388Troy Zafer AAMELP 2011, Fremantle $ 4,338Jodie Bell AAMELP 2011, Fremantle $ 5,388Andrew Ogilvie AAMELP 2011, Fremantle $ 5,388Britt Arthur AAMELP 2011, Fremantle $ 5,388Jule Japhet Chiari Assistance for the Festival De Cannes

and the Cannes Marche Du Film (11-22 May 2011)

$ 3,220

Total $ 29,110

BILL WARNOCK WRITER AWARD

rECIPIENT PROJECT TITLE/DESCRIPTION FOrMAT AMOuNT NOTESDamien Spiccia Beyond The Pale Feature $ 1,000Emma Forrest Beyond The Pale - Script Consultant Feature $ 5,000

Total $6,000

rESOurCE OrgANISATIONS

rECIPIENT DESCrIPTION AMOuNT NOTESAustralian Writers' Guild (WA)

Core Resource Organisation $ 43,000

Film & Television Institute Core Resource Organisation $ 363,175Film & Television Institute Core Resource Organisation - 2010

Calendar Year CPI Increase$ 14,922

Film & Television Institute Link and Hyperlink 2011 $ 250,000Subtotal $ 671,097Lapsed $ 0Total $ 671,097


COURSES / TRAINING

rECIPIENT DESCrIPTION AMOuNT NOTESWAnimate Pixar Workshops with Simon Allen,

Pixar Animation Studios$ 3,000

Australian Cinematographers Society (WA)

Masterclass with David Eggby $ 3,000

Australian Cinematographers Society (WA)

Masterclass with Peter James $ 3,000

Various 3D Workshop (Speakers Amanda Woods and John Merritt)

$ 10,887 Lapsed $2006.94

John Fairhead ScreenWest Safety Officer Production OHS Management Mentor Program - Part 2

$ 3,000

Peter West ScreenWest Safety Officer Production OHS Management Mentor Program - Part 2

$ 3,000

Rob Greenough ScreenWest Safety Officer Production OHS Management Mentor Program - Part 2

$ 3,000

WAnimate The Hero’s Journey with Karel Segers $ 3,000Various 3D Course Part 2 Budgeting & Scheduling $ 4,899 Lapsed

1527.55

Mantodea Studios Pty Ltd Speaker Fees for 3D course Part 2 Budgeting & Scheduling

$ 750

Australian Writers’ Guild (WA)

Genre and Genre Hybrids Seminar $ 3,000

WAnimate WAM BAM 2011 $ 3,000Screen Producers Association of Australia

SPAA Fringe Hits The Road - August 2011 $ 3,000

Marr Street Studios P.L. Marr Street Studios Makeup Short Course 1, 2 & 3 - July to November 2011

$ 3,000

SPAA Executive Screen Production Course – February - March 2012

$ 3,000

Australian Film Television and Radio School (AFTRS)

Toon Boom Animate 2 $ 1,000


Tait Brady Distribution, Exhibition and International Sales course

$ 2,000


Documentary Writing - Structure and Proposal Planning, November 2010

$ 1,500


Introduction to Documentary Production Management

$ 1,500


Low Budget Features Course: How, why and what not to do! June 2011

$ 3,000

Nick Hopkin and Various Nick Hopkin Television Format Workshop $ 5,697Export Finance and Insurance Corporation and Various

Catering for EFIC meeting $ 137


COURSES / TRAINING CONT

rECIPIENT DESCrIPTION AMOuNT NOTESVarious Let’s Make Games Workshop $ 1,502 Lapsed

$63.82


INDIgENOuS FuNDINg

rECIPIENT PROJECT/DESCRIPTION AMOuNT NOTESFilm & Television Institute Indigenous Community Stories Project

Completion Funding for Rounds 1-4$ 23,800

Film & Television Institute Indigenous Community Stories Round 5 $ 200,000Spear Point Productions Straight Shootin’ $ 25,000l’unica Productions Waabiny Time Series 2 $ 25,000Spear Point Productions Recording Waltzing the Wilarra theatre

performance$ 25,000 Lapsed

$25000

Ramu Productions Characters of Broome – Documentary Series $ 50,000 Lapsed $25000

TBC Low Budget TV Production $ 50,000Spear Point Productions Treatment development for I’m not Racists

but…, Gundy and Yagan$ 7,500

Cornel Ozies and Clinton Festal

Travel assistance and registration - WAnimate Pixar Workshops with Simon Allen

$ 1,518

Film & Television Institute Indigenous film screening event for One Sky Many Paths Indigenous Regional Youth Leadership Program

$ 380

Dennis Simmons Barbara Connell Script Editor for Ace of Spades $ 2,500Dot West Travel assistance - AFI Awards 2010,

Melbourne$ 2,000

Wawili Pitjas Travel assistance - AFTRS doco course with Alan Rosenthal, Perth

$ 995

Goolarri Media Travel assistance - ‘Trade, Intellectual Property and the Knowledge Assets of Indigenous Peoples: The Developmental Frontier’ Conference, 2010, Wellington, New Zealand

$ 2,000

Dot West Travel assistance - Bollywood/Chooky Dancers Script Development Workshop

$ 375 Lapsed $17.45

Bush Turkey Films Travel assistance - Dean Daley-Jones and Greg Tait, Sundance Film Festival 2011, US

$ 6,000

Allan Collins Travel assistance - Video Australasia Sydney for digital camera testing

$ 1,500

l’unica Productions / Irma Woods

Assistant Director Mentorship with Merlin Cornish on Waabiny Time Series 2

$ 1,881

l’unica Productions / Todd Russell

Post Production Mentorship with Merlin Cornish on Waabiny Time Series 2

$ 3,300


INDIgENOuS FuNDINg CONT

rECIPIENT PROJECT/DESCRIPTION AMOuNT NOTESTBC (Early Bird Registra-tions below)

Australian International Documentary Conference (AIDC) 2011, Adelaide - Six Early Bird Registrations

$ 3,927

Michelle (Mitch) Torres Travel assistance - AIDC 2011, Adelaide $ 3,000 Lapsed $3000

Jodie Bell Travel assistance - AIDC 2011, Adelaide $ 2,500Eileen Torres Travel assistance - AIDC 2011, Adelaide $ 2,500 Lapsed $2500

Kelrick Martin Travel assistance - AIDC 2011, Adelaide $ 2,000Ash Sillifant Travel assistance - AIDC 2011, Adelaide $ 2,000Glen Stasiuk Travel assistance - AIDC 2011, Adelaide $ 2,000Metro Screen Contribution to the Employment of the

Media RING Coordinator$ 3,000

Dot West Chooky’s in India - develop treatment $ 3,000Tyson Mowarin Straight Shootin’ Behind the Scenes, January

2011$ 6,000

Dot West Travel assistance - Feature Navigator 2011 Treatment Seminar with Paul Chitlik, Perth

$ 1,500

Spear Point Productions Straight Shootin’ Australian Teachers of Media (ATOM) guide

$ 2,500

Spear Point Productions Travel assistance - NITV 2011 Season Launch 9 for Straight Shootin’ Kelrick Martin, Mark Bin Bakar & Tania Bin Bakar, Sydney

$ 3,772

Dennis Simmons, Michael Bonner & Katherine Glass

XMediaLab Perth Pro Day Conference 2011 - registration

$ 750 Lapsed $68.18

Michael Woodley Travel assistance - Message Sticks Indigenous Film Festival 2011, Sydney

$ 2,000 Lapsed $2000

Bush Turkey Films Travel assistance - Mad Bastards launches in Wyndham, Broome and Perth for Dean Daley-Jones, Stephen Pigram and Alan Pigram

$ 6,000

Spear Point Productions XMediaLab Perth Pro Day Conference 2011 - Registration

$ 250 Lapsed $22.73

Weeriaana Street Media Travel assistance - XMediaLab Perth 2011 for the project Murujuga Rock Art Project

$ 3,000

Wawili Pitjas Jandamarra’s War Broome & Fitzroy Crossing Launch contribution ($4,000). Travel assistance - Perth launch for Mitch & Eileen Torres ($1,600)

$ 5,600

Taryne Laffar Digital Mentorship with Transmedia Producer Amanda Morrison on BlackTrax

$ 3,000 Lapsed $3000

Magabala Books Digital Mentorship with Raging Pixel Productions on Ubby’s Underdog

$ 3,000 Lapsed $3000

Karrie-Anne Kearing Post Production costs for Carrolup $ 3,000Taryne Laffar Project & Practitioner Development - Digital

Mentorship with Transmedia Producer Amanda Morrison on BlackTrax

$ 3,000


INDIgENOuS FuNDINg CONTINuED

rECIPIENT PROJECT/DESCRIPTION AMOuNT NOTESKurdarrku Media Travel assistance for research on Soldiers Not

Citizens (6 x 26 min Doco Series)$ 3,000

Film & Television Institute

Deadly Yarns 6 $ 250,000


INNOvATION FuND

rECIPIENT PrOJECT TITLE AMOuNT NOTESProfessional Film Crew of WA Inc (PFCWA)

PFCWA website expansion $ 2,000

Filmscope Entertainment

Needle marketing for WA cinematic screening $ 12,500

Australian Cinematographer's Society (WA)

Platinum Award Sponsorship for WA/SA ACS Awards 2011

$ 10,000 Lapsed $10000

Bridget Curran Travel and fee expenses for Barry Humphries in Link film What a Debacle, Freddy Farkle

$ 3,000


INTERNATIONAL MARKETING SUPPORT

rECIPIENT PrOJECT TITLE AMOuNT NOTESJames Grandison Subtitling costs for My Uncle Bluey - Cinema

Des Antipodes, Cannes$ 3,500 Lapsed

$21.30

Factor 30 Films Subtitling costs for Blame - Cinema Des Antipodes, Cannes 2011

$ 2,759

Sub Total $ 6,259Lapsed $ 21Total $ 6,238Lapsed $ 10,000

SCrEENWEST - MEDIA DEvELOPMENT AuThOrITy MATChED DEvELOPMENT FuND

rECIPIENT PROJECT/DESCRIPTION FOrMAT AMOuNT NOTESWBMC/Interactive SG Preseason Transmedia $ 15,000RKPix/August Media Holdings

The Adventures of Bradley Transmedia $ 15,000

Total $ 30,000


CrOSS PLATFOrM

rECIPIENT PrOJECT TITLE AMOuNT NOTESOrbit Media Group Business and Development

Consultant for iPad business proposal

$ 4,990

Art Gallery of WA X|Media|Lab Briefing Session – Venue hire

$ 412 Lapsed $412


Harvest $ 50,000 SBS Digital Stepping Stone Initiative

The Project Factory and various

Digital Seminar with Jennifer Wilson $ 3,783

Various X|Media|Lab Perth: Digital Development Award – speaker fees

$ 2,500

Red Alpha Afterdeath $ 5,000 Digital Breakout Development

Westone Services MDA/SW Cross Media Development Virtual Networking Session - Video conferencing costs

$ 448

Various SBS Digital Factual Seminar - catering and venue costs

$ 640 Lapsed $640

Inkubator Bone Diggers $ 20,000 X|Media|Lab Perth: Digital Development Award

YouShine Who am I Helping Really? $ 3,995 Digital Scoping Development

Prospero Productions Enter the Detention Centre $ 50,000 SBS Digital Initiative

Aaron McCann Henry & Aaron’s 7 Steps to Supers-tardom

$ 4,000 Digital Scoping Development

Prospero Productions Enter the Detention Centre $ 4,000 Digital Scoping Development

Banksia Media Our Streets $ 5,000 Digital Development Breakout

Creative Legal Story of a Song $ 5,000 Digital Development Breakout


Harvest (Formally What Does Your Garden Grow?)

$ 4,000 Digital Scoping Development

Media Compliance Services

Before It’s Too Late: Mobile App $ 4,000 Digital Scoping Development

Vue DC Car Park Whalers $ 4,000 Digital Scoping Development

Richard Todd Wildlife Action Squad $ 4,000 Digital Breakout Development

Kate Vyvyan Otto Plus the Ooobly Dooblies $ 4,000 Digital Breakout Development

Joined Up Films Through the Eyes of a Stranger $ 4,000 Digital Breakout Development

Creative Ideas Vongplay $ 5,000 Digital Breakout Development

Justin McArdle Memory Walls $ 5,000 Digital Breakout Development

Ellen Jurik Illusionists Fate $ 5,000 Digital Breakout Development

Jennifer Gherardi Heavenly $ 5,000 Digital Breakout Development

Richard Todd Wildlife Action Squad $ 50,000 Digital Breakout Development


CrOSS PLATFOrM CONT

rECIPIENT PrOJECT TITLE AMOuNT NOTESStoryteller Media Group Before it is too late: Orangutan $ 50,000 Digital Breakout

Development

Vue DC Car Park Whalers $ 50,000 Digital Production

Red Alpha Afterdeath $ 40,000 Digital Production

Raging Pixels Ubby’s Underdog - XMediaLab Perth Development Award

$ 20,000 DCA Third Party Contribution

Yvette Coyne Sound Chamber installation at X|Media|Lab


Various X|Media|Lab Perth 2011 Lead up events $ 8, 418 DCA Third Party Contribution


Harvest - X|Media|Lab Perth Development Award



LOTTEryWEST AWArDS FOr EXCELLENCE

rECIPIENT DESCrIPTION AMOuNT NOTESFilm & Television Institute WA Screen Awards - Lotterywest Awards $ 20,000Film & Television Institute WA Screen Awards $ 15,000

Total $ 35,000

SHORT FILM AND SELF FUNDED LOW BUDGET FEATURE MARKETING

rECIPIENT PrOJECT TITLE AMOuNT NOTES17° South Something Fishy $ 2,000Damian Fasolo The Road Not Taken $ 2,000Vincenzo Perrella It’s Just Gary $ 1,027

Hydra Poesis Liberty In The Dark $ 2,000

Peter Gleeson Something To Tell You $ 2,000Davison Bros Backstage $ 2,000David Smith The Adventures of Chipman and Biscuit

Boy$ 2,000

Claire Marshall The Boondi War $ 2,000Antony Webb The Dinner Meeting $ 2,000Ella Wright George Jones and The Giant Squid $ 2,000Joshua Lee Pain is Temporary Pride is Forever $ 2,000Jules Fortune Light as a Feather $ 2,000Kate Separovich Play Things: Hunt $ 2,000

Total $ 25,027


AuDIENCE AND INDuSTry ENgAgEMENT PrOgrAM

rECIPIENT PROJECT/DESCRIPTION AMOuNT NOTESAssociation of Screen Professionals

PAC Script Lab 2011 $ 7,000

Flickerfest Flickerfest 2011 $ 5,750Amicko Films Future Shorts (November 2010-April

2011)$ 6,000

Arts Margaret Documentary Club

Doco Club 2011 $ 2,125

National Film and Sound Archive

Big Screen 2011 $ 5,000

Amicko Films Future Shorts (May 2011-April 2012) $ 12,000Vulture Culture Search For Australia’s Funniest

Filmmakers$ 2,125

Geographe French Australian Festivals

CinéfestOZ 2011 $ 30,000

Geographe French Australian Festivals

CinéfestOZ Strategic Plan $ 10,000

Total $ 80,000

Funding Initiatives Sub-Total $ 8,732,681Lapsed $ 137,264TOTAL FuNDINg INITIATIvES $ 8,595,417

SPONSOrShIP

rECIPIENT EVENT/DESCRIPTION AMOuNT NOTESFilmfest Ltd Melbourne International Film

Festival - 37South Market$ 3,000

AIDC Ltd Australian International Documentary Conference 2011

$ 10,000

Screen Producers Association of Australia

SPAA Conference 2010 $ 5,000

X|Media|Lab X|Media|Lab Perth 2011 $ 90,000 Third Party Contribution from the DCA

Total Sponsorship

$ 108,000

102 ScreenWest Annual Report 2010-11ScreenWest Annual Report 2010-11 102

Image Credits

Front Cover (Vertically left to right): My Mum Talks to Aliens, Joined Up Films; Dogstar - Series 2, Media World Pictures; Two Worlds, Lorraine Coppin; Red Dog, Woss Group Films; Jandamarra’s War, Electric Pictures and Wawili Pitjas; Mal.com, Animazing Productions; Straight Shootin’, Spear Point Productions; SAS: The Search for Warriors, Prospero Productions; Mad Bastards, Bush Turkey Films.

Page 5 Dino Stampede, Prospero Productions.

Page 16 Red Dog, Woss Group Films.

Page 24 Running Riot, Wawili Pitjas.

Page 25 Wasted on the Young, WBMC.

Page 67 Tim Winton’s Cloudstreet, A Screentime Production for SHOWTIME Australia. Photography by David Dare Parker.

© ScreenWest (Inc.)Published September 2011www.screenwest.wa.gov.auEmail: [email protected]: +61 8 9224 7340 Fax: +61 8 9224 7341Level 7 Law Chambers, 573 Hay Street, Perth, Western Australia


Documents

ANNUAL REPORT 2010-11 · Western Australian feature film has been selected In Competition at Sundance. Mad Bastards also screened at the US Karlovy Vary International Film Festival