ANNUAL REPORT 2012/2013 - Screenwestscreenwest.wa.gov.au/wp-content/uploads/2016/05/... · and March of 2013. The film, which stars Ewan McGregor, Brenton Thwaites and Alicia Vikander

ANNUAL REPORT 2012/2013

SCREENWEST ANNUAL REPORT | 2012 /2013


Table of Contents

Statement of Compliance .......................................................... 2

Overview of the Agency ............................................................. 4

Executive Summary ................................................................... 4

Operational Structure ................................................................11

Agency Performance ............................................................... 21

Significant Issues Impacting the Agency ................................. 31

Disclosures and Legal Compliance.......................................... 32

Independent Auditor’s Report .................................................. 33

Statement of Comprehensive Income ...................................... 37

Statement of Financial Position................................................ 39

Statement of Changes in Equity .............................................. 41

Statement of Cash Flows ......................................................... 42

Notes to the Financial Statements ........................................... 44

Additional Key Performance Indicator Information ................... 84

Key Efficiency and Effectiveness Indicators.................................85

Appendix 1.0 Assessment Meetings and Members

2012/2013.........................................................................................100

Appendix 2.0 Productions with ScreenWest funding

2012/2013.........................................................................................107

Appendix 3.0 Funding Commitments 2012/2013.......................122

1SCREENWEST ANNUAL REPORT | 2012 /2013SCREENWEST ANNUAL REPORT | 2012 /2013

Statement of Compliance

Hon John Day MLA

Minister for Planning; Culture and the Arts; Manager of Government Business in the Legislative Assembly.

We hereby submit for your information and presentation to Parliament the Report of ScreenWest Inc for the financial year ending 30 June 2013.

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

Yours sincerely

Peter Rowe CHAIRMAN SCREENWEST

26 August 2013


37 South MIFF 37° South MarketAACTA Australian Academy Cinema Television ArtsAAMELP Asia Australia Media Executive Leadership ProgramABC Australian Broadcasting CorporationACS Australian Cinematographers SocietyACTF Australian Children’s Television FoundationADG Australian Directors GuildAFCA Australian Film Critics AssociationAFI Australian Film InstituteAFTRS Australian Film Television and Radio SchoolAIDC Australian International Documentary Conference AIEP Audience and Industry Engagement ProgramAIMC Australian International Movie ConventionAMCOS Australasian Mechanical Copyright Owners SocietyAPDG Australian Production Design GuildAPRA The Australasian Performing Rights AssociationASE Australian Screen Editors GuildASP Association of Screen Professionals Inc.ASSG Australian Screen Sound GuildASTRA Australian Subscription and Television and Radio AssociationATOM Australian Teachers of MediaAWG Australian Writers’ GuildDCA Department of Culture and the ArtsDIA Development Investment AgreementFACB First Australian Completion Bond CompanyFTI Film and Television Institute (WA)MDA Media Development Authority, Singapore

MIFF Melbourne International Film FestivalMIPCOM Marché Internationale de Programmes CommunicationsMIPTV Marché Internationale de Programmes de TelevisionPFC WA Perth Film Crew (WA)PGA Production Grant AgreementPIA Production Investment AgreementSAFC South Australian Film CorporationSBS Special Broadcasting ServiceSFF Sydney Film FestivalSMA Screen Music AwardsSPAA Screen Producers Association of AustraliaSXSW South by Southwest Film FestivalTIFF Toronto International Film FestivalTVC Television CommercialWA Western Australia(n)WAnimate Western Australian Animation AssociationWASA’s Western Australian Screen AwardsXML X|Media|Lab

Acronyms


Overview of the Agency

1.1 Executive Summary

It has been a record year for the local screen industry. In the last financial year 32 projects entered principle photography with ScreenWest support. These projects included 10 documentary series, two feature length documentaries, three feature films, one telemovie and a television drama series. The productions included Murdoch (Electric Pictures), Comic Book Heroes (Little Star Productions), The Reckoning (Filmscope Entertainment), Serangoon Road (Great Western Entertainment), These Final Hours (8th In Line Productions) and Seasons (Joined Up Films) to name just a few.

ScreenWest invested $7.35 million in production, which leveraged a value of production totalling $59.88 million. This is the highest level of production ScreenWest has been involved in since our establishment. This level of production brings the three-year rolling average of production in the state to $37.35 million

per financial year.

Importantly, Western Australian Government investment (through ScreenWest) leveraged a higher amount of production value in 2012/13 than in many previous years. For every one dollar invested by ScreenWest in 2012/13, $8.15 was leveraged in Western Australian productions. In addition to the significant economic impact, the Western Australian screen industry was also recognised at various events and festivals the world over with local practitioners being acknowledged and rewarded for their craft, skills and talent.


An Accidental Soldier

KEY INDUSTRY ACHIEVEMENTS

Congratulations to all the nominees and winners throughout the year who have had their dedication and skills celebrated.

Feature film highlights

• The feature film Drift, set in the State’s Margaret River region, opened nationally across 140 screens. The film has had festival screenings at The Hamptons, Rincon in Puerto Rico (winning the festival and audience award) and Newport in the United States (Australian Spotlight Film, Achievement in Filmmaking Award). Drift opened in cinemas in the United States (July and August 2013) and Italy (June 2013). Theatrical releases have also been confirmed in Japan, South Korea and Germany.

• Western Australian writer/director, Zak Hilditch was awarded Best Screenplay in a Short Film at the 2nd Australian Academy of Cinema and Television Arts (AACTA) Awards in January 2013. Zak won the award for his short film Transmission which he

worked on with producer Liz Kearney. Transmission was made as part of Screen Australia’s Springboard short film initiative. This led to the team securing funding for their feature film, These Final Hours, which premiered at the Melbourne International Film Festival in August 2013. Transmission garnered much success on the festival circuit, winning numerous awards at the St Kilda Film Festival and screening at the Tribeca Film Festival in New York in 2012.

• Western Australian Indigenous drama, Satellite Boy, received wide acclaim on the international film festival circuit, premiering at the Toronto International Film Festival, the Abu Dhabi Film Festival and then having its Australian premiere at the Perth International Arts Festival’s (PIAF) Lotterywest Film Festival, an occasion which marked the first time that a Western Australian film had been selected to screen in the program. The film went on to screen at the Berlin International Film Festival in the Generation Kplus competition. Satellite Boy was released in selected cinemas nationally on 20 June 2013.

• Crime thriller, Son of a Gun directed by Western Australian expat Julius Avery filmed in Perth, Kalgoorlie and Rottnest Island during February and March of 2013. The film, which stars Ewan McGregor, Brenton Thwaites and Alicia Vikander is a tautly paced heist thriller which tells the story of a young man’s apprenticeship to public enemy number one. Son of a Gun will be released in 2014.

Zak Hilditch with his AACTA Award for Best Screenplay in a Short Film


Television highlights:

• Western Australian production company Artemis International was named Documentary Producer of the Year after receiving the prestigious award for The Bombing of Darwin: An Awkward Truth at the Screen Producers Association of Australia’s (SPAA) gala night in November 2012. Established in 2001, the SPAA Awards are presented to SPAA members who have produced an outstanding project or body of work that has contributed to the advancement of the independent production industry. The Bombing of Darwin: An Awkward Truth aired on Foxtel’s History Channel in February 2012, which marked the 70th anniversary of the event.

• Outback Truckers from Western Australian production company, Prospero Productions recorded a strong performance on Channel 7’s digital channel, 7mate. Episode 3 was the 4th top show across all free to air digital channels on 3 November 2012. Prospero Productions received two Gold Awards for Documentary at the Prestige Film Awards in Eureka,

California for single documentary Jack the Ripper and documentary series, Outback Truckers. Outback Truckers was also awarded a Gold Remi at the Houston International Worldfest in April 2013.

• Documentary Series Who Do You Think You Are? – Series 4 was nominated at the 2012 Logie Awards for Most Outstanding Factual Program and Most Popular Factual Program.

• West Australian Australian Teachers of Media (ATOM) Award nominations included the documentary Life Architecturally, documentary series Who Do You Think You Are? – Series 4, and children’s television series, Mal.com.

• The premiere of the documentary Chateau Chunder from Electric Pictures recorded a strong audience for the Australian Broadcasting

The Bombing of Darwin: An Awkward Truth


Corporation (ABC). The documentary was one of the highest rated programs for the ABC in the Tuesday night timeslot and had its UK premiere on BBC4 on 13 November 2012.

• Two-part documentary series Desert War from Western Australian production company, Electric Pictures and London based, Nutopia, premiered on the ABC on Anzac Day in April 2013 and received strong reviews from the press and audience alike.

• An impressive crowd were in attendance for the premiere of Yagan, a locally made contemporary documentary from Spear Point Productions which tells the story of the conflict between the Swan River colony and the Noongar people where a young warrior named Yagan emerged. The one-hour documentary premiered at Movies by Burswood in December 2012 and was also showcased as part of the PIAF’s Great Southern program in Albany. The documentary is set to be broadcast on the ABC in the second half of 2013.

Desert War


AGENCY ACHIEVEMENTS

Partnering with Lotterywest

Lotterywest’s sustained commitment over 22 years has been paramount to ScreenWest providing ongoing development and funding opportunities to the Western Australian screen industry.

The agency secured additional funding support in 2012/13 from Lotterywest. In 2012/13 the agency received $7,023,370 - an increase of $1,523,370 on the funding received in 2011/12. The increase in funding enabled the agency to develop the new business development funds and programs as outlined below.

Slate Development Investment Fund

A new initiative, the Slate Development Investment Fund provides funding for established drama producers and factual production companies to increase the marketability of their slate by financially supporting the sourcing, generation and creative development of projects.

The Slate Development Investment Fund

provides investment funding of up to $100,000 for drama producing production companies or $50,000 for factual producing production companies over one financial year.

The Fund saw almost $900,000 committed to 12 Western Australian production companies.

SuperDoc Fund

The scheme recognises the nature of major documentary companies highly structured business plans and allows successful applicants more freedom to develop beyond the limitation of the traditional screen industry’s funding cycles. The SuperDoc Fund will provide documentary company/ies with the ability to access funding support in a few lump sums rather than applying for funding on an ad hoc basis through the year.

Screen Business Development Fund

To create higher levels of sustainability within the Western Australian film and television industry the Screen Business Development Fund will provide funding

support to WA production companies that have identified opportunities to expand their business.

Industry Enhancement Fund

The Industry Enhancement Fund provides financing to seed entrepreneurial industry opportunities that will generate significant screen industry outcomes. This will help build the independent screen content production capacity of the Western Australian industry and position WA as a leader within the Australian film, television and digital media landscape.


Review of Funding Programs

In 2013 ScreenWest undertook a number of significant reviews of its Development, Digital and West Coast Visions programs. The revised guidelines/programs aim to increase the opportunities available to emerging and established Western Australian practitioners and generally increase the level of Western Australian creatives involved in production in WA.

3 to 1 Digital Crowdfunding Initiative

In a global first for a screen agency, this digital crowdfunding initiative saw ScreenWest offer Western Australian digital content creators, media producers and production companies three dollars in funding for every one dollar raised by the creative teams with funds distributed on a ‘first past the post’ basis.

The initiative incentivised film practitioners to engage communities through a crowdfunding model by offering projects that successfully raised 25 per cent of their budget from the community the remaining 75 per cent from ScreenWest until a funding pool of $250,000 was depleted. The initiative was very successful and

the agency looks forward to seeing the production results in 2014.

Screen Industry Infrastructure Needs Assessment Report

In conjunction with Department of Culture and the Arts (DCA) ScreenWest engaged research consultancy, Hames Sharley Strategic Services to undertake the first stage of a Screen Industry Infrastructure Needs Assessment Review. Hames Sharley has been tasked with researching existing infrastructure (human, technical and built) in the State in order to determine what infrastructure already exists and what the industry’s long-term demand drivers are so that appropriate service delivery models and asset and non-asset solutions can be considered.

Top 20 Best Practice Agencies

ScreenWest was listed by the Auditor General as one of the top 20 Best Practice Agencies in the small agency category for 2011/12. The bar for the ‘award’ was raised in 2011/12, with 82 agencies recognised as best practice in 2010/11 and only 40 in 2011/12.

The Best Practice award is based upon:

• clear opinion on financial statements, controls and key performance indicators

• timeliness, submitting information to audit within the agreed timeframe

• management resolution of accounting standards and presentation issues, and

• key staff available during the audit process.

This is the fourth consecutive year that ScreenWest has been recognised as a best practice agency by the Auditor General.


Our thanks

ScreenWest and the Board would like to acknowledge the support of the Western Australian screen industry from the Minister for Culture and the Arts, the Hon John Day MLA.

We would also like to acknowledge the ongoing support and commitment from our key partner, Lotterywest, whose additional funding support over this past financial year has made many projects possible.

Thank you also to the federal screen agency, Screen Australia, whose support to Western Australian practitioners and their projects has been instrumental.

Our sincere thanks go to outgoing Board members including Chairman Erica Smyth who provided instrumental advice and guidance to the agency and the local screen industry during her six year tenure. Her passion, knowledge and insight were greatly appreciated.

Thanks to all our national and international market partners including: ABC, Special Broadcasting Service, 7 Network, Channel 9, Hopscotch Films, National Geographic, ITV UK, Discovery United Kingdom, Discovery European Union and NOVA.

We would also like to thank members of the WA screen industry and our many partners including the industry associations such as SPAA, Australian Writers’ Guild, Australian Directors Guild, Australian Cinematographers Society, Australian Screen Editors Guild, Association of Screen Professionals Inc. and the WA Professional Film Crew.

We would also like to acknowledge the hard work of the ScreenWest staff who dedicate themselves to developing a thriving, distinctive and world-class screen industry in Western Australia.

Peter Rowe Ian Booth CHAIRMAN CHIEF EXECUTIVESCREENWEST SCREENWEST


Operational Structure

Mission

ScreenWest exists to partner with the Western Australian screen industry to produce and promote quality storytelling that delivers multiple cultural and economic benefits to the Western Australian community.

Objectives

Within the context of a rapidly evolving industry in terms of digital production, distribution and changing audiences, ScreenWest will, in partnership with the Western Australian screen industry:

1. Enhance the industry’s capability;2. Increase funding to the industry;3. Strengthen the positioning of the

industry; and4. Operate as a leading best practice

agency.

ScreenWest’s structure is based on the following operational divisions:

Executive and Corporate Services

Provides leadership and operational management of ScreenWest including strategic and operational planning, budget planning, corporate governance and compliance reporting to major stakeholders. ICT, finance and human resource services are provided in collaboration with the DCA and the Office of Shared Services.

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.

Communications

Promotes ScreenWest and the Western Australian 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.

ENABLING LEGISLATION

ScreenWest is an incorporated association, under the Associations Incorporation Act 1987 (WA) and is governed by its Constitution.

RESPONSIBLE MINISTER

The Hon John Day, MLA, Minister for Planning; Culture and the Arts; Manager of Government Business in the Legislative Assembly.

ORGANISATIONAL STRUCTURE

Our Vision

ScreenWest is the partner of choice, enabling a thriving, distinctive and world-class Western Australian screen industry.

We aim to be the partner of choice with stakeholders in Australia and abroad to underpin the growth and success of the Western Australian screen industry; an industry with flexible, entrepreneurial companies and distinctive, innovative, world-class screen content, recognised nationally and internationally.


Organisational Chart

Minister for Culture and the Arts

Department of Culture and the Arts

ScreenWest Board Finance and Audit Sub-Committee

Chief Executive

Director Production Investment

Investment and Film Services Manager

Location Services Manager

DirectorDevelopment

Communications Manager

Indigenous Project

Manager

Development Manager

Manager Corporate Services

Funding Administration

Officer


Officer


Officer

Development Manager

Manager Projects and

Programs

Business Affairs

Manager

Financial Administration

Officer

Administration Assistant

Industry Engagement

ManagerCommunications

Officer


ScreenWest Board

Board members are appointed by the Minister 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.

PETER ROWE, CHAIRMAN

Appointed February 2011; Appointed Chairman 1 January 2013; Term expires 31 December 2015; Chairman of the Board and Chairman of the Finance and Audit Sub-Committee.

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. He is also National President of the Australian Federation of AIDS Organisations.

ALAN LINDSAY

Appointed November 2007; Reappointed 2012; Term expires 31 December 2015.

Mr Lindsay is the producer, writer and director of 140 plus productions, genre drama, comedy, documentary and recently transmedia. Mr Lindsay has been awarded the Asian Broadcasting Union Special Award for Innovation, Silver World Medal New York Film Festival, the ABU/CASBBA/ UNICEF Award and UNESCO Awards among others. Twenty three years ago Mr Lindsay established (with producer Helen Clucas) Vue Group - a production company based in Melbourne, making drama and blue-chip documentary and in 2004 a production company and visual effects unit in Perth.

Three years ago Vue Group was transformed into a digital content creation studio, doing animation, visual effects, large format attractions, animated and live action movies and series. It is a private/public initiative in Bunbury based in a ‘smart building complex’ in South Western Australia with great connectivity and a military grade data suite on site.

STEPHEN LANGSFORD

Appointed January 2008; 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, Chairman and CEO of Quickflix Limited, Australia’s leading online movie rental subscription company, which is listed on the Australian Stock Exchange (ASX:QFX).


AIDAN O’BRYAN

Appointed January 2008; Term expires 31 December 2013.

Chief Creative Officer of WBMC, Mr O’Bryan is an experienced 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. Recent production credits include feature films Son of a Gun and Wasted on the Young, rockumentary Something in the Water, television series My Generation and the PIAF digital media project ReFace.

NINGALI LAWFORD-WOLF

Appointed February 2011; Term expires 31 December 2013

Ms Lawford-Wolf is a Walmajarri, Wankatjungka and Gooniyandi woman from the Fitzroy Valley area in the Kimberley Region. A renowned theatre and screen actor, Ms Lawford-Wolf is also involved in developing understanding between Indigenous and non-Indigenous people.

AMANDA HIGGS

Appointed December 2011; Term Expires 31 December 2014.

Ms Higgs is an independent TV producer with a 13 part series, The Time of Our Lives, which screened in June 2013 on ABC1. Previously, Ms Higgs co-created and produced the first three series of the television drama The Secret Life of Us. The series won three Logies for Most Outstanding Drama Series and was nominated for a number of Australian Film Institute (AFI) and Australian Writers Guild (AWGIE) Awards. The series also went on to receive a Bronze Medal at the New York Festival Awards for Best Television Program. Ms Higgs has worked at ABC TV Drama as an Executive Producer, and Acting Head of Drama in late 2009. Ms Higgs script edited The Slap and was executive producer on SLiDE for Fox8. She has also been on the board of the AACTA (formerly the AFI).

SUE TAYLOR

Appointed December 2011; Term Expires 31 December 2014.

Ms Taylor has been a filmmaker for over 25 years. Working across all types of productions ranging from documentaries, children’s drama, adult drama and feature films. She established her own production company in 2001 and has been nominated for numerous AFI, Logie and Critics Circle Awards for projects, which include the children’s series Minty and Time Trackers, the adult mini-series The Shark Net, the telemovie, 3 Acts of Murder, and the feature films Last Train To Freo and The Tree.

The Tree, an Australia / France co-production starring Charlotte Gainsbourg was selected to close the Cannes Film Festival in 2010 and has now screened around the world with sales to 40 countries. Most recently Ms Taylor completed the telemovie An Accidental Soldier, a co-production with Goalpost Pictures, directed by Rachel Ward. Ms Taylor is also Vice President of SPAA and a Board member of Screenrights.


PROFESSOR DAX CALDER

Appointed January 2013; Term Expires 31 December 2015.

Professor Dax Calder is a Specialist Periodontist having founded West Perth Periodontics in 1997. He is also involved in post-graduate teaching and research at the University of Western Australia and the University of Sydney.

Professor Calder also holds directorships with Southbank Day Hospital and OMR Pty Ltd, a not-for-profit consultancy for Venture Capital, Philanthropic Organisations and individuals seeking to invest in the listed ASX Biotechnology Sector.

Mr Calder is also a majority shareholder of Patrys Pty Ltd (ASX:PAB) an ASX listed Australian biotechnology company focused on the development of novel antibodies for the treatment of aggressive human cancers.

JANELLE MARR

Appointed January 2013; Term Expires 31 December 2015.

Mrs Marr is Founder and Managing Director of StepBeyond, a consultancy specialising in strategy and sustainability across a range of sectors including health and community services; energy and resources; and environmental management. She is an experienced strategist and facilitator with over 15 years’ experience providing advisory services in Perth, Melbourne and London and brings considerable management consulting experience having worked in the advisory arms of both KPMG and Ernst & Young.

Ms Marr is also a graduate of the Australian Institute of Company Directors and holds a Master of Business Administration from Mt Eliza Business School. She has held a range of directorships across social services including her current directorship with Diabetes WA. Ms Marr was recently awarded a coveted 40Under40 WA Business News Award for her contribution to community services through StepBeyond.

Board Members retired in 2012/13

ERICA SMYTH, CHAIRMAN

Appointed Chairman January 2006; Term expired 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 Chairman of Toro Energy Ltd, Scitech and the Diabetes Research Foundation WA.

Ms Smyth is also Board Director for various organisations, including the Australian Nuclear Science and Technology Organisation, the Royal Flying Doctor Service - Western Operations and Emeco Holdings Ltd.

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 2012/13 Finance and Audit Committee Members:

• Peter Rowe (Chairman);

• Stephen Langsford; and

• Alan Lindsay

Senior Officers

IAN BOOTH LLB, CHIEF EXECUTIVE

Appointed 2007; Reappointed 2012

Western Australian filmmaker and entertainment lawyer Ian Booth has been Chief Executive of ScreenWest for six years and has overseen the successful

investment of numerous screen productions and strong growth in the local film and television industry.

His tenure has seen investment by ScreenWest in a number of feature film successes, including Bran Nue Dae, Mad Bastards, Red Dog and Drift and award winning television productions, including Cloudstreet, Who Do You Think You Are, Lockie Leonard, Jandamarra’s War, SAS: Search for Warriors, The Great Mint Swindle and the recently screened Desert War and Murdoch.

Mr Booth previously worked as Business Affairs Manager for Drama and Comedy at the ABC in Melbourne, where he worked on projects including Kath & Kim, MDA, The Glasshouse, Enough Rope, The

Shark Net and Marking Time. A lawyer by background, he ran his own law practice specialising primarily in film and television law and also established the production company Sassafras Films.

DEFRIM ISAI, DIRECTOR PRODUCTION

Defrim Isai joined ScreenWest in August 2011 after serving as General Manager of Development and Investment at the South Australian Film Corporation (SAFC) for six years. Prior to the SAFC, Mr Isai was a Project Manager at Pacific Film and Television Commission (PFTC - now Screen Queensland) and also co-produced the features Blurred and Under the Radar.

RIKKI LEA BESTALL, DIRECTOR DEVELOPMENT

Rikki Bestall commenced as Director Development in October 2011. Prior to joining ScreenWest, Ms Bestall was Vice President at Krasnoff/Foster Entertainment in Los Angeles. During her time in Los Angeles Ms Bestall developed numerous feature and television projects and co-produced two studio feature films


During her time in Los Angeles, Ms Carpenter was Vice President at Krasnoff/Foster Entertainment, which had a first look deal with Paramount Pictures. Prior to that, Ms Carpenter worked as a Creative Executive and assistant for producer Gary Foster on the films The Soloist (DreamWorks) and When in Rome (Disney). Prior to working on these productions, Ms Carpenter worked as an assistant to Stacey Snider (CEO, DreamWorks) for several years.

ADMINISTERED LEGISLATIONNil.

The Soloist (DreamWorks) and When in Rome (Disney).

Prior to moving to Los Angeles Ms Bestall spent several years working in various production capacities in Australian film and television.

KRISTA CARPENTER, A/DIRECTOR DEVELOPMENT

Krista Carpenter commenced as acting Director Development in March 2013. Ms Carpenter relocated to Perth, Australia in July 2012 to join ScreenWest as a Development Manager after working in the entertainment industry in Los Angeles for 15 years.


Other Key Legislation Impacting on ScreenWest’s Activities

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

• Salaries and Allowances Act 1975• Industrial Relations Act 1979• Workers’ Compensation and Injury Management Act 1981• Equal Opportunity Act 1984• Occupational Safety and Health Act 1984• Associations Incorporation Act 1987• State Supply Commission Act 1991• Freedom of Information Act 1992• Superannuation Guarantee (Administration) Act 1992 (Cth)• Disability Services Act 1993• Minimum Conditions of Employment Act 1993• Public Sector Management Act 1994• State Records Act 2000• Criminal Code, Crimes and Misconduct Commissions Act 2001 • Public Interest Disclosure Act 2003• Auditor General Act 2006• Financial Management Act 2006


1.3.1 Outcome Based Management Framework

ScreenWest delivers services to achieve the agency level desired outcome, which ultimately contributes to meeting the Government’s goals.

ScreenWest’s 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.

The table to the right sets out the relationship to the Government’s goal outcome based management framework.

Service:Screen Production Industry Support.

Agency Level OutcomeDelivery 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 - OutcomesBased Service DeliveryGreater focus on achieving results in key service delivery areas for the benefit of all Western Australians.

Key Efficiency IndicatorsAverage cost per grant application processed.

Key Effectiveness Indicators

Proportion of funding applicants satisfied with the key elements of ScreenWest’s funding program.Proportion of Western Australians that perceive culture and the 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 2012/13.

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 above in 1.3.1, are contributed to by the work of the DCA and its portfolio agencies - the Art Gallery of Western Australia, State Library of Western Australia, Perth Theatre Trust, State Records Office and the Western Australian Museum.


Agency Performance

2.1 Report on ScreenWest’s 2012/13 Funding Program

ScreenWest’s Strategic Plan 2011-16 seeks to provide a strategic, concise and practical guide to ScreenWest’s operations and inform how the agency will support the Western Australian screen industry over a five year period.

To reflect the strategic plan, ScreenWest’s funding and support programs are designed to:

• Support the development of world-class practice and craft excellence across developed and emerging platforms;

• Facilitate the screen industry to take advantage of innovation and technology developments;

• Advance the industry’s business capability; and

• Form partnerships to develop a vibrant screen culture in Western Australia.

In 2012/13 the Funding Program focused on five core areas: • Production• Development• Indigenous• Digital; and• Screen Culture.

2.1.1 Funding Application Assessment Meetings and Members

During 2012/13, ScreenWest convened 31 assessment meetings. ScreenWest uses a combination of ScreenWest and external industry experts to assess funding applications.

For a full list of assessment meetings and members see Appendix 1.0.

Satellite Boy


2.1.2 Funding Program Allocations

In 2012/13, ScreenWest approved grants and investment funds totalling over $12 million through its funding program, an increase of almost $2.5 million from 2011/12. The majority (53 per cent) of this funding was allocated to Production.

For a list of the ScreenWest funded productions that have entered principal photography in 2012/13 refer to Appendix 2.0.

For a list of all 2012/13 funding committments refer to Appendix 3.0.

2.1.3 Funding Program Key Outcomes and Highlights

PRODUCTION

In July 2012 ScreenWest launched separate Documentary and Drama Production Investment Funds, replacing the catch-all General Production Fund. Both funds support feature film and television productions with strong market attachments and cross-media projects with significant third-party funding and broad audience reach.

These new funds encourage producers to engage Western Australian screen practitioners, equipment hire facilities and post-production houses by incentivising Qualifying Western Australian Expenditure (QWAE), the employment of resident directors and key heads of department, and local post-production spend.

During 2012/13 three feature films, 10 documentary series, seven stand-alone documentaries and two feature length documentaries commenced principal photography.

ScreenWest support for these projects under these schemes during the financial year totalled $4,195,492.

During the year ScreenWest funded productions screened to significant national and international acclaim. Award and television highlights are located on page 5.

In 2012/13 the Agency also allocated $40,000 to Periscope Productions to complete two documentaries, Hunter – For The Record (part funded through the crowdfunding platform, Pozible) and Zed, about the late Western Australian Hip Hop musician Robert Hunter. The feature length Hunter – For The Record screened as part of the 2013 Revelation Perth International Film Festival.


Matched Primetime Television Production Fund

The ScreenWest/ABC Matched Primetime Television Production Fund provides matched production funding for primetime projects produced in Western Australia with a broadcast commitment from the ABC.

In 2012/13, ScreenWest invested $1,292,172 worth of funding to four documentary projects with a total production budget of $7.9 million. These projects will be completed in 2013/14 and include one major docu-drama series, two short run series and a one hour special.

SuperDoc Fund

The creation of the new SuperDoc Fund in 2012/13 supports Western Australia documentary companies in building their production capacity on an international scale by engaging in new financing models, production opportunities and markets to help achieve long term sustainability. One round has been held and the outcomes of this will be known in the 2013/14 financial year.

Industry Enhancement Fund

The Industry Enhancement Fund provides financing for individuals or companies with an international track record in the business or financing sector to realise visionary activities that will generate significant screen industry outcomes and help build the independent screen content production capacity of the Western Australia industry and position Western Australia as a leader within the Australian film, television and digital media landscape. The inaugural round supported two proposals including the Catalina financing proposal from Larrikin Entertainment and Story Beach proposal from VueDC.

Screen Business Development Fund

ScreenWest’s new Screen Business Development fund facilitates Western Australian production businesses to expand and become sustainable within the Australian screen production landscape. One round has been held and the outcomes of this will be known in the 2013/14 financial year.

Locations and Film Services

In 2012/13 ScreenWest allocated both financial and human resources to expand and develop its Locations and Film Services role to the industry and film production sector, to help maintain and develop an economically viable production sector and industry infrastructure in Western Australia. During 2012/13 ScreenWest funded 20 script breakdowns/image presentations for producers considering shooting their projects in Western Australia, ten hosted location scouts, three self-guided location scouts, and facilitated nine meetings between producers and WA key creatives.


DEVELOPMENT

Feature Film Development and TV/Documentary Development saw ScreenWest commit almost $290,000 in funding across 13 drama and three factual projects.

An additional $235,000 was committed through Matched and Emergency Development funding toward features and television across three drama projects and seven factual projects.

A key strategic objective of ScreenWest is to support the development of high quality practice and craft excellence across developed and emerging platforms.

To help achieve this goal, ScreenWest secured a number of international and national guests to act as mentors and presenters for a selection of the agency’s 2012/13 project and skills development programs.

Guests included David Petrarca (Game of Thrones, Boardwalk Empire, True Blood), Lila Rawlings (Executive Producer from Left Bank Pictures), Deborah Liebling

(President at Red Hour Films), and Aaron Ginsburg (Writer for various networks including CBS, NBC, FOX, ABC Family).

Feature and Tele-Navigator Programs

The Navigator programs are ScreenWest’s skills and project development programs for television drama and feature film.

Feature Navigator focuses on screenplay development and marketing and aims to take drama feature projects from story development through to financing. Six teams participated in the 2012/13 Feature Navigator consultation week, with one project selected for ScreenWest development investment funding. 2012/13’s funding recipient was Jules Duncan, for his project Bogan Wedding.

Tele-Navigator is aimed at assisting scripted narrative television projects to move from concept development through to broadcaster commissioning. ScreenWest presented the program in association with the Australian Writers’ Guild. In 2012/13, six creative teams took part in a workshop as part of the program.

Travel Assistance

ScreenWest provides a contribution towards the costs of travel to enable Western Australian production companies and film practitioners to attend relevant markets, conferences, festivals, awards and professional development opportunities held interstate or internationally. During 2012/13 ScreenWest provided 84 travel assistance grants totalling over $260,000.

ScreenWest also provided a contribution to established Western Australian production companies to attend relevant markets, conferences, festivals and awards held interstate or internationally. During 2012/13, ScreenWest allocated more than $140,000 for Travel Assistance: Established Production Companies grants.

LINK and hyperLINK

The Film and Television Institute (FTI) provides a range of programs and services to support emerging and early career independent screen creators. In 2012/13 FTI delivered the LINK and hyperLINK programs on ScreenWest’s behalf. The LINK initiative is a competitive grant


scheme designed as a developmental opportunity for early career Western Australian filmmakers to gain the required skills and working knowledge to take their future projects to the next funding level.

The successful recipients for 2012/13 were: Barrow (producers, Peter Gurbiel, Stuart Mackenzie and Wade K Savage; director, Wade K. Savage; writers, Peter Gurbiel and Wade K Savage); Similar & Familiar (producer, Wendi Graham; director, Noah Norton; writers, Noah Norton and David Smyth).

hyperLINK is designed to support vital, original and stylish projects from early career filmmakers, promoting career advancement through production and project management. One hyperLINK grant is awarded per year, with this year’s successful recipient, The Legend of Gavin Tanner (producer, Lauren Elliott; director Henry Inglis; writer Matt Lovkis).

INDIGENOUS

Almost $710,000 was committed to funding Indigenous programs, initiatives and projects in 2012/13.

ScreenWest’s main focus was on high level skills development for Indigenous key creatives, provided by the best documentary and drama script consultants available.

New guidelines were launched in line with ScreenWest’s commitment to provide ongoing opportunities for the Western Australia Indigenous screen sector.

2012/13 Highlights:

ScreenWest/ABC Factual Television Initiative: Seasons

ScreenWest partnered with the ABC TV Indigenous Department on a new short documentary development and production initiative to produce contemporary, positive and inspirational stories encapsulating the theme of Seasons.

ScreenWest organised for The Australian Film, Television and Radio Schools

These Final Hours


(AFTRS) to deliver a development workshop with filmmaker Dr Tom Murray; Media, Music, Communication and Cultural Studies Macquarie University. Dr Murray provided ongoing script support to the filmmakers. Joined Up Films guided the filmmakers through the production workshop and managed the production of four exceptional mini documentaries.

The initiative uncovered new talent in first time filmmakers Perun Bonsor and Karla Hart along with filmmakers Dot West, Kim West and Tyson Mowarin. The Seasons series was broadcast before the 7pm ABC News during NAIDOC week July 2013.

ScreenWest/National Indigenous Television (NITV) Factual Television Initiative

A new factual development and production initiative to produce distinctive stories, culminating in entertaining, and informative 26-minute factual films with the theme DefiningMomentsto air on NITV in 2014.

Short Drama Initiative

UK short film specialist Paul Welsh of Edge City Films & DigiCult, delivered an intensive and high-level short film drama and skills development program to six Indigenous filmmakers.

Filmmakers; Dot West, Kelli Cross and Ngaire Pigram’s short drama projects were selected to go through to production. Spear Point Productions, producer Kelrick Martin and executive producers Tania Chambers and David Jowsey were selected to produce this Short Drama Initiative.

Feature Film Development Initiative

On completion of an online feature treatment course, screenwriters Jub Clerc, Debbie Carmody, Dennis Simmons and Dot West with Jimmy Chi and Peter Docker worked with LA based screenwriter/producer Paul Chitlik to complete their first draft feature scripts. These scriptwriters continued the feature development program with script consultant Regina Lee, a Los Angeles-based script consultant and script editor; previously a development executive at Seed – Hugh Jackman’s company.

Ngurra Wanggagu, from the Seasons Indigenous mini documentary initative


Satellite Boy

Satellite Boy was the first Western Australian produced feature film in the 60 year history of PIAF to be selected in the 2013 film program and also a community screening at Movies by Burswood. The film was selected in competition in the Toronto and Berlin Film Festivals and was released nationally by Hopscotch Pictures.

Yagan

Spear Point Production’s ABC documentary Yagan premiered to a full audience at Movies by Burswood and screened as part of PIAF’s Albany film program.

In the Air

Ramu Productions ABC short drama In the Air screened at the 2012 Brisbane International Film Festival. Dennis Simmons’ short film Ace of Spades was selected to the 2013 St Kilda Film Festival and both of these films were selected as part of the Get Your Shorts On! program at the 2013 Revelation Film festival.

Yagan


DIGITAL

During the financial year ScreenWest Digital Program highlights included:

3 to 1 Digital Crowdfunding Initiative

In a global first for a screen agency, this digital crowdfunding initiative saw ScreenWest offer Western Australian digital content creators, media producers and production companies three dollars in funding for every one dollar raised by the creative teams with funds distributed on a ‘first past the post’ basis.

The initiative incentivised film practitioners to engage communities through a crowdfunding model by offering projects that successfully raised 25 per cent of their budget from the community the remaining 75 per cent from ScreenWest until a $250,000 pool was depleted. The initiative was very successful and the agency looks forward to seeing the production results in 2014.

Digital Workshops

• From Here to Fraternity Digital Workshop, with digital producers Amy Broadfoot, Aaron Kennedy, Edwin Lynch, Justin McArdle, Matt McEwen, and Michelle Milton September 2012.

• Digital Media Presentation, with Mike Rosenstein (Red Hour Films, Head of Digital) February 2013.

• Digital Media Presentation, with Guy Gadney (The Project Factory) February 2013.

3 to 1 project, Factory 293


SCREEN CULTURE

ScreenWest aims to increase awareness of the Western Australian screen industry and create a vibrant Screen Culture in Western Australia through activities including the Audience and Industry Engagement Program, industry conferences and facilitating screening opportunities.

These activities are designed to develop a well-informed and actively engaged community who seek out Western Australian screen content.

Audience and Industry Engagement Program

ScreenWest’s Audience Engagement and Industry Engagement Program (AIEP) is designed to foster the Western Australian communities’ engagement with screen content and the Western Australian screen industry. AIEP seeks to support the expansion of the Western Australian screen industry through projects that encourage and facilitate dialogue and interaction between the screen industry and the Western Australian public.

In 2012/13, six audience engagement activities ran throughout the state that received $122,000 in funding from the AIEP program. A total of 24,300 audience members purchased tickets or registered their attendance at these activities.

Activities supported included:

BIG SCREEN 2012

The BIG SCREEN Australian Film Festival is a touring film festival of Australian feature films throughout regional Australia. The National Film and Sound archive coordinated the BIG SCREEN tour through Broome, Kununurra and the Gascoyne in 2012.

The program included Western Australia short films and film Not Suitable for Children, which was directed by a Western Australian filmmaker, Peter Templeman.

Revelation Perth International Film Festival

Revelation Perth International Film Festival is an independent film festival that runs annually in Perth. In 2012, 54 Australian films were screened including six Western The audience gets ready to watch Get Your Shorts On! as part of the Revelation Perth International Film Festival


Australian short films as part of Get Your Shorts On! Five sessions incorporating panels, sessions and master classes were also conducted for the industry.

CinéfestOZ

CinéfestOZ is a French-Australian film festival that runs in the South West of Western Australia in late August annually. In 2012 CinéfestOZ attendances grew by over 20 per cent from 2011. Western Australian documentary Chateau Chunder and Western Australian short films were screened.

Rottofest’s Funniest Shorts

Rottofest’s Funniest Shorts is a film festival of short humorous films, held at Rottnest as part of Rottofest. In 2012, people attended film screenings of works by Western Australian and Australian filmmakers.

Flickerfest

Flickerfest is a touring short film Festival that tours throughout Australia. In 2013 the number of screening venues in Western Australia increased to 10 with new venues in Karratha, Carnarvon, Denmark, Exmouth and Bunbury added. All programs were supported with a Western Australia short film.

Perth Actors Collective Script Lab

Perth Actors Collective Script Lab, bi-monthly script readings predominantly held in Subiaco. In 2012/13 six script reading labs were held and a successful script reading was also held during CinéfestOZ.

Industry Conferences and Events

ScreenWest also supports key conferences, markets and screen events to further develop the Western Australian screen industry.

During the year, ScreenWest provided support to the following national conferences and events:

• Screen Producers Association Australia Conference 2012 (Sydney)

• Australian International Documentary Conference 2013 (Adelaide)

• Perth Writers’ Festival HBO Sessions (Perth)

• Emergence Creative Festival (Margaret River)

• Australian Writers’ Guild Conference (Melbourne)

• Melbourne International Film Festival (MIFF) 37ºSouth Market & Accelerator (Melbourne); and

• Various events organised by the Australian Writers’ Guild WA.


Significant Issues Impacting the Agency

ScreenWest and the screen industry face a range of significant issues that are or could have an impact on the achievement of the agency’s strategic outcomes, polices and operational targets.

Current and emerging issues and trends

• Film and television financing remains difficult as audiences shift to new ways of accessing screen content, disrupting traditional distribution pathways.

• The high level of the Australian dollar and the cost of living and labour makes Australia an expensive destination for production.

ScreenWest is working closely with local and international producers to develop more production opportunities. There are a number of major producers and investors interested in filming in Western Australia in 2013/14 and ScreenWest is continuing its efforts to secure funding for these projects.

• Developing stronger links with international partners, especially in the UK, USA, Singapore and China as a

potential way to develop the screen industry in Western Australia and utilise the co-production arrangements between international territories and the Australian Government is a key part of ScreenWest’s Strategic Plan 2011-16.

• ScreenWest continues to take a leadership position to assist the industry to capitalise on innovation and technology developments in terms of digital production, distribution channels and audience needs.

The agency recently reviewed its digital funding programs and commissioned a report to determine the scale, shape and focus of the Western Australian independent games sector to help identify the type and level of State Government support that may be required to best improve its long term viability.

• Appropriate infrastructure - people and physical assets - is needed to ensure the growth of the Western Australian screen industry. ScreenWest has commissioned a report on the current state of Western Australia screen

industry infrastructure and its long-term demand drivers, so that appropriate service delivery models and asset and non-asset solutions can be considered.

The Turning


Disclosures and Legal Compliance

4.1 Financial Statements

ScreenWest Inc

Certification of Financial Statements

For the year ended 30 June 2013

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 ended 30 June 2013 and the financial position as at 30 June 2013.

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


Auditor General

Page 1 of 3

7th Floor Albert Facey House 469 Wellington Street Perth MAIL TO: Perth BC PO Box 8489 Perth WA 6849 TEL: 08 6557 7500 FAX: 08 6557 7600

INDEPENDENT AUDITOR’S REPORT

To the Parliament of Western Australia

SCREENWEST INC

Report on the Financial StatementsI have audited the accounts and financial statements of ScreenWest Inc.

The financial statements comprise the Statement of Financial Position as at 30 June 2013, the Statement of Comprehensive Income, Statement of Changes in Equity and Statement of Cash Flows for the year then ended, and Notes comprising a summary of significant accounting policies and other explanatory information.

Board’s Responsibility for the Financial StatementsThe Board is responsible for keeping proper accounts, and the preparation and fair presentation of the financial statements in accordance with Australian Accounting Standards and the Treasurer’s Instructions, and for such internal control as the Board determines is necessary to enable the preparation of financial statements that are free from material misstatement, whether due to fraud or error.

Auditor’s ResponsibilityAs required by the Auditor General Act 2006, my responsibility is to express an opinion on the financial statements based on my audit. The audit was conducted in accordance with Australian Auditing Standards. Those Standards require compliance with relevant ethical requirements relating to audit engagements and that the audit be planned and performed to obtain reasonable assurance about whether the financial statements are free from material misstatement.

An audit involves performing procedures to obtain audit evidence about the amounts and disclosures in the financial statements. The procedures selected depend on the auditor’s judgement, including the assessment of the risks of material misstatement of the financial statements, whether due to fraud or error. In making those risk assessments, the auditor considers internal control relevant to the ScreenWest’s preparation and fair presentation of the financial statements in order to design audit procedures that are appropriate in the circumstances. An audit also includes evaluating the appropriateness of the accounting policies used and the reasonableness of accounting estimates made by the Board, as well as evaluating the overall presentation of the financial statements.

I believe that the audit evidence obtained is sufficient and appropriate to provide a basis for my audit opinion.

OpinionIn my opinion, the financial statements are based on proper accounts and present fairly, in all material respects, the financial position of ScreenWest Inc at 30 June 2013 and its financial performance and cash flows for the year then ended. They are in accordance with Australian Accounting Standards and the Treasurer’s Instructions.

INDEPENDENT AUDITOR’S REPORT

To the Parliament of Western Australia

SCREENWEST INC

Report on the Financial Statements I have audited the accounts and financial statements of ScreenWest Inc.

The financial statements comprise the Statement of Financial Position as at 30 June 2013, the Statement of Comprehensive Income, Statement of Changes in Equity and Statement of Cash Flows for the year then ended, and Notes comprising a summary of significant accounting policies and other explanatory information.

Board’s Responsibility for the Financial Statements The Board is responsible for keeping proper accounts, and the preparation and fair presentation of the financial statements in accordance with Australian Accounting Standards and the

Treasurer’s Instructions, and for such internal control as the Board determines is necessary to enable the preparation of financial statements that are free from material misstatement, whether due to fraud or error.

Auditor’s Responsibility As required by the Auditor General Act 2006, my responsibility is to express an opinion on the financial statements based on my audit. The audit was conducted in accordance with Australian Auditing Standards. Those Standards require compliance with relevant ethical requirements relating to audit engagements and that the audit be planned and performed to obtain reasonable assurance about whether the financial statements are free from material misstatement. An audit involves performing procedures to obtain audit evidence about the amounts and disclosures in the financial statements. The procedures selected depend on the auditor’s judgement, including the assessment of the risks of material misstatement of the financial statements, whether due to fraud or error. In making those risk assessments, the auditor considers internal control relevant to the ScreenWest’s preparation and fair presentation of the financial statements in order to design audit procedures that are appropriate in the circumstances. An audit also includes evaluating the appropriateness of the accounting policies used and the reasonableness of accounting estimates made by the Board, as well as evaluating the overall presentation of the financial statements. I believe that the audit evidence obtained is sufficient and appropriate to provide a basis for my audit opinion.

Independent Auditor’s Report


Opinion In my opinion, the financial statements are based on proper accounts and present fairly, in all material respects, the financial position of ScreenWest Inc at 30 June 2013 and its financial performance and cash flows for the year then ended. They are in accordance with Australian Accounting Standards and the Treasurer’s Instructions.

Report on Controls I have audited the controls exercised by ScreenWest Inc during the year ended 30 June 2013. Controls exercised by ScreenWest Inc are those policies and procedures established by the Board to ensure that the receipt, expenditure and investment of money, the acquisition and disposal of property, and the incurring of liabilities have been in accordance with legislative provisions.

Board’s Responsibility for Controls The Board is responsible for maintaining an adequate system of internal control to ensure that the receipt, expenditure and investment of money, the acquisition and disposal of public and other property, and the incurring of liabilities are in accordance with the Financial Management Act 2006 and the Treasurer’s Instructions, and other relevant written law.

Auditor’s Responsibility As required by the Auditor General Act 2006, my responsibility is to express an opinion on the controls exercised by ScreenWest Inc based on my audit conducted in accordance with Australian Auditing and Assurance Standards. An audit involves performing procedures to obtain audit evidence about the adequacy of controls to ensure that ScreenWest complies with the legislative provisions. The procedures selected depend on the auditor’s judgement and include an evaluation of the design and implementation of relevant controls. I believe that the audit evidence obtained is sufficient and appropriate to provide a basis for my audit opinion.

Opinion In my opinion, the controls exercised by ScreenWest Inc are sufficiently adequate to provide reasonable assurance that the receipt, expenditure and investment of money, the acquisition and disposal of property, and the incurring of liabilities have been in accordance with legislative provisions during the year ended 30 June 2013.

Report on the Key Performance Indicators I have audited the key performance indicators of ScreenWest Inc for the year ended 30 June 2013. The key performance indicators are the key effectiveness indicators and the key efficiency indicators that provide information on outcome achievement and service provision.


Board’s Responsibility for the Key Performance Indicators The Board is responsible for the preparation and fair presentation of the key performance indicators in accordance with the Financial Management Act 2006 and the Treasurer’s Instructions and for such controls as the Board determines necessary to ensure that the key performance indicators fairly represent indicated performance.

Auditor’s Responsibility As required by the Auditor General Act 2006, my responsibility is to express an opinion on the key performance indicators based on my audit conducted in accordance with Australian Auditing and Assurance Standards. An audit involves performing procedures to obtain audit evidence about the key performance indicators. The procedures selected depend on the auditor’s judgement, including the assessment of the risks of material misstatement of the key performance indicators. In making these risk assessments the auditor considers internal control relevant to the Board’s preparation and fair presentation of the key performance indicators in order to design audit procedures that are appropriate in the circumstances. An audit also includes evaluating the relevance and appropriateness of the key performance indicators for measuring the extent of outcome achievement and service provision. I believe that the audit evidence obtained is sufficient and appropriate to provide a basis for my audit opinion.

Opinion In my opinion, the key performance indicators of ScreenWest Inc are relevant and appropriate to assist users to assess the ScreenWest’s performance and fairly represent indicated performance for the year ended 30 June 2013.

Independence In conducting this audit, I have complied with the independence requirements of the Auditor General Act 2006 and Australian Auditing and Assurance Standards, and other relevant ethical requirements.

Matters Relating to the Electronic Publication of the Audited Financial Statements and Key Performance Indicators This auditor’s report relates to the financial statements and key performance indicators of ScreenWest Inc for the year ended 30 June 2013 included on ScreenWest’s website. The ScreenWest’s management is responsible for the integrity of ScreenWest’s website. This audit does not provide assurance on the integrity of ScreenWest’s website. The auditor’s report refers only to the financial statements and key performance indicators described above. It does not provide an opinion on any other information which may have been hyperlinked to/from these financial statements or key performance indicators. If users of the financial statements and key performance indicators are concerned with the inherent risks arising from publication on a website, they are advised to refer to the hard copy of the audited financial statements and key performance indicators to confirm the information contained in this


website version of the financial statements and key performance indicators.

DON CUNNINGHAME

ASSISTANT AUDITOR GENERAL ASSURANCE SERVICES Delegate of the Auditor General for Western Australia Perth, Western Australia 20 August 2013

Page 3 of 3

An audit involves performing procedures to obtain audit evidence about the key performance indicators. The procedures selected depend on the auditor’s judgement, including the assessment of the risks of material misstatement of the key performance indicators. In making these risk assessments the auditor considers internal control relevant to the Board’s preparation and fair presentation of the key performance indicators in order to design audit procedures that are appropriate in the circumstances. An audit also includes evaluating the relevance and appropriateness of the key performance indicators for measuring the extent of outcome achievement and service provision.

I believe that the audit evidence obtained is sufficient and appropriate to provide a basis for my audit opinion.

OpinionIn my opinion, the key performance indicators of ScreenWest Inc are relevant and appropriate to assist users to assess the ScreenWest’s performance and fairly represent indicated performance for the year ended 30 June 2013.

IndependenceIn conducting this audit, I have complied with the independence requirements of the Auditor General Act 2006 and Australian Auditing and Assurance Standards, and other relevant ethical requirements.

Matters Relating to the Electronic Publication of the Audited Financial Statements and Key Performance IndicatorsThis auditor’s report relates to the financial statements and key performance indicators of ScreenWest Inc for the year ended 30 June 2013 included on ScreenWest’s website. TheScreenWest’s management is responsible for the integrity of ScreenWest’s website. This audit does not provide assurance on the integrity of ScreenWest’s website. The auditor’s report refers only to the financial statements and key performance indicators described above. It does not provide an opinion on any other information which may have been hyperlinked to/from these financial statements or key performance indicators. If users of the financial statements and key performance indicators are concerned with the inherent risks arising from publication on a website, they are advised to refer to the hard copy of the audited financial statements and key performance indicators to confirm the information contained in this website version of the financial statements and key performance indicators.

DON CUNNINGHAMEASSISTANT AUDITOR GENERAL ASSURANCE SERVICESDelegate of the Auditor General for Western AustraliaPerth, Western Australia20 August 2013


Note 2013 2012$000 $000

COST OF SERVICES

Expenses

Employee benefits expense 5 2,044 1,781

Supplies and services 6 529 395

Depreciation expense 7 2 2

Accommodation expenses 8 173 122

Grants and loans expense 9 12,113 9,620

Other expenses 10 127 278

Total cost of services 14,988 12,198

Income

Revenue

Returns on funding activities 11 501 357

Interest revenue 12 520 573

Lapsed commitments 13 1,570 1,626

Other revenue 14 152 164

Total Revenue 2,743 2,720

Total income other than income from State Government 2,743 2,720

NET COST OF SERVICES 12,245 9,478

37SCREENWEST ANNUAL REPORT | 2012 /2013

STATEMENT OF COMPREHENSIVE INCOMEfor the year ended 30 June 2013

Income from State Government 15

Service grant 2,002 2,002State grant and subsidies 1,250 320

Lotterywest grant 7,023 5,500

Services received free of charge 1,280 1,173Total income from State Government 11,555 8,995

DEFICIT FOR THE PERIOD (690) (483)

OTHER COMPREHENSIVE INCOME

Items not reclassified subsequently to profit or loss

Changes in asset revaluation surplus 0 0

Total other comprehensive income 0 0

TOTAL COMPREHENSIVE INCOME FOR THE PERIOD (690) (483)

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


STATEMENT OF COMPREHENSIVE INCOME

for the year ended 30 June 2013

Note 2013 2012

ASSETS $000 $000

Current AssetsCash and cash equivalents 24 11,355 10,137Receivables 16 107 189Other current assets 17 9 4Total Current Assets 11,471 10,330

Non-Current AssetsAmounts receivable for services 18 34 32Furniture and equipment 19 1 3

Total Non-Current Assets 35 35

TOTAL ASSETS 11,506 10,365

LIABILITIES

Current LiabilitiesPayables 21 134 156Loans and grants payable 22 9,806 7,825Total Current Liabilities 9,940 7,981

Non-Current LiabilitiesLoans and grants payable 22 1,004 1,132

Total Non-Current Liabilities 1,004 1,132

TOTAL LIABILITIES 10,944 9,113

NET ASSETS 562 1,252


STATEMENT OF FINANCIAL POSITIONas at 30 June 2013

EQUITY 23Contributed equity 150 150Accumulated surplus 412 1,102TOTAL EQUITY 562 1,252

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


STATEMENT OF FINANCIAL POSITIONas at 30 June 2013


Contributed Accumulated TotalNote equity surplus equity

$000 $000 $000

Balance at 1 July 2011 23 150 1,585 1,735

Total comprehensive income for the year (483) (483)

Total 0 (483) (483)

Balance at 30 June 2012 150 1,102 1,252

Balance at 1 July 2012 150 1,102 1,252

Total comprehensive income for the year (690) (690)

Total 0 (690) (690)

Balance at 30 June 2013 150 412 562

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

STATEMENT OF CHANGES IN EQUITYfor the year ended 30 June 2013

Note 2013 2012$000 $000

CASH FLOWS FROM STATE GOVERNMENTService grant 2,000 2,320State grant and subsidies 1,250 320Lotterywest grant 7,023 5,500Net cash provided by State Government 10,273 7,820

Utilised as follows:

CASH FLOWS FROM OPERATING ACTIVITIES

PaymentsEmployee benefits (867) (628)Supplies and services (411) (338)Accommodation (203) (82)Grants and loans (8,684) (7,436)GST payments on purchases (966) (764)GST payments to taxation authority (565) (362)Other payments (142) (286)

ReceiptsReturns on funding activities 575 323Interest received 593 629GST receipts on sales 856 600GST receipts from taxation authority 609 557Other receipts 150 128Net cash (used in) operating activities 24 (9,055) (7,659)


STATEMENT OF CASH FLOWSfor the year ended 30 June 2013

CASH FLOWS FROM INVESTING ACTIVITIES

Net increase in cash and cash equivalents 1,218 161Cash and cash equivalents at the beginning of the period 10,137 9,976

CASH AND CASH EQUIVALENTS AT THE END OF THE PERIOD 24 11,355 10,137

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


STATEMENT OF CASH FLOWSfor the year ended 30 June 2013

Note 1. Australian Accounting Standards

General

ScreenWest Inc’s financial statements for the year ended 30 June 2013 have been prepared in accordance with Australian Accounting Standards. The term

‘Australian Accounting Standards’ includes Standards and Interpretations issued by the Australian Accounting Standard Board (AASB).

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

Early adoption of standards

ScreenWest Inc cannot early adopt an Australian Accounting Standard unless specifically permitted by TI 1101 Application of Australian Accounting Standards

and Other Pronouncements. There has been no early adoption of Australian Accounting Standards that have been issued or amended [but not operative] by

ScreenWest Inc for the annual reporting period ended 30 June 2013.

Note 2. Summary of significant accounting policies

(a) General statement

ScreenWest Inc is a not-for-profit reporting entity that prepares general purpose financial statements in accordance with Australian Accounting Standards, the

Framework, Statements of Accounting Concepts and other authoritative pronouncements of the AASB 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 impose legislative provisions that govern 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

AASB.


NOTES TO THE FINANCIAL STATEMENTSfor the year ended 30 June 2013for the year ended 30 June 2013

(b) Basis of preparation

The financial statements have been prepared on the accrual basis of accounting using the historical cost convention.

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

stated.

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

Note 3 ‘Judgements made by management in applying accounting policies’ discloses judgements that have been made in the process of applying ScreenWest

Inc’s accounting policies resulting in the most significant effects on amounts recognised in the financial statements.

(c) Reporting entity

The reporting entity comprises ScreenWest Inc, it has no related bodies.

(d) Contributed equity

AASB Interpretation 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.


NOTES TO THE FINANCIAL STATEMENTSfor the year ended 30 June 2013

(e) Income

Revenue 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 to the bank account or credited to the ‘Amounts receivable for services’ (holding account) held at Treasury.

Grants, donations, gifts and other non-reciprocal contributions

Revenue is recognised at fair value when ScreenWest Inc obtains control over the assets comprising the contributions, usually when cash is received.

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

Royalties for Regions funds are recognised as revenue at fair value in the period in which ScreenWest Inc obtains control over the funds. ScreenWest Inc obtains control of the funds at the time the funds are deposited into ScreenWest Inc’s bank account.



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 equipment

Capitalisation/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) Impairment of assets

Furniture and equipment are tested for any indication of impairment at the end of each reporting period. 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 reflects the level

of consumption or expiration of asset’s future economic benefits and to evaluate any impairment risk from falling replacement costs.

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.



(h) Leases

ScreenWest Inc holds operating leases for a motor vehicle. Lease payments are expensed on a straight line basis over the lease term as this represents the

pattern of benefits derived from the leased property.

(i) Financial instruments

In addition to cash, ScreenWest Inc has two categories of financial instrument:

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

Financial Instruments have been disaggregated into the following classes:

Financial Assets:* Cash and cash equivalents* Receivables* Amounts receivable for services

Financial Liabilities:* Payables* Loans and grants payable

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

measurement is at amortised cost using the effective interest method.

The fair value of short-term receivables and payables is the transaction cost or the face value because there is no interest rate applicable and subsequent

measurement is not required as the effect of discounting is not material.



(j) Cash and cash equivalents

For the purpose of the Statement of Cash Flows, cash and cash equivalent (and restricted cash and cash equivalent) assets comprise cash on hand and short-

term deposits with original maturities of three months or less that are readily convertible to a known amount of cash and which are subject to insignificant risk

of changes in value, and bank overdrafts.

(k) Accrued salaries

Accrued salaries (see note 21 ‘Payables’) 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.

(l) Amounts receivable for services (holding account)

ScreenWest Inc receives grants from the Department of Culture and the Arts partly in cash and partly as asset (holding account receivable). The accrued

amount appropriated is accessible on the emergence of the cash funding requirement to cover leave entitlements and asset replacement.

(m) Receivables

Receivables are recognised and carried at original invoice amount less an allowance for any uncollectible amounts (i.e. impairment). The collectability of

receivables is reviewed on an ongoing basis and any receivables identified as uncollectible are written-off against the allowance account. The allowance for

uncollectible amounts (doubtful debts) is raised when there is objective evidence that ScreenWest Inc will not be able to collect the debts. The carrying amount

is equivalent to fair value as it is due for settlement within 30 days.

(n) Payables

Payables are recognised when ScreenWest Inc becomes obliged to make future payments as a result of a purchase of assets or services. The carrying amount

is equivalent to fair value, as settlement is generally within 30 days.



(o) Assets and services received free of charge or for nominal cost

Assets or services received free of charge or for nominal cost are recognised as income at the fair value of the assets and/or the fair value of those services that

can be reliably measured and that ScreenWest Inc would otherwise pay for. A corresponding expense is recognised for services received. 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.

(p) Comparative figures

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

(q) Department of Culture and the Arts

The Department provides staff and other support to agencies in the Culture and the Arts portfolio. The Department receives an appropriation for salary costs,

superannuation, fringe benefits tax and minor equipment as part of the PC replacement program. These resources, provided to ScreenWest Inc, but paid for

by the Department, have been treated as ‘Resources received free of charge’ in the Statement of Comprehensive Income under the item ‘Income from State

Government’.

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



Note 3. Judgements made by management in applying accounting policies

The preparation of financial statements requires management to make judgements about the application of accounting policies that have a significant effect on

the amounts recognised in the financial statements. ScreenWest Inc evaluates these judgements regularly.

Operating lease commitments

ScreenWest Inc has entered into a commercial lease for a motor vehicle and has determined that the lessor retains substantially all the significant risks and

rewards of ownership of the property. Accordingly, this lease has been classified as an operating lease.

Note 4. Disclosure of changes in accounting policy and estimates

Initial application of an Australian Accounting Standard

ScreenWest Inc has applied the following Australian Accounting Standard effective for annual reporting periods beginning on or after 1 July 2012 that impacted

on ScreenWest Inc.



AASB 2011-9 Amendments to Australian Accounting Standards – Presentation of Items of Other Comprehensive Income [AASB 1, 5, 7,

101, 112, 120, 121, 132, 133, 134, 1039 & 1049]

This Standard requires to group items presented in other comprehensive income on the basis of whether they are potentially

reclassifiable to profit or loss subsequently (reclassification adjustments). There is no financial impact.

Future impact of Australian Accounting Standards not yet operative

ScreenWest Inc cannot early adopt an Australian Accounting Standard unless specifically permitted by TI 1101 Application of Australian Accounting Standards

and Other Pronouncements. Consequently, ScreenWest Inc has not applied early any of the 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 9 Financial Instruments 1 Jan 2015This Standard supersedes AASB 139 Financial Instruments: Recognition and

Measurement, introducing a number of changes to accounting treatments.

AASB 2012-6 Amendments to Australian Accounting Standards – Mandatory Effective

Date of AASB 9 and Transition Disclosures amended the mandatory application

date of this Standard to 1 January 2015. ScreenWest (Inc) has not yet determined the

application or the potential impact of the Standard.



AASB 10 Consolidated Financial Statements 1 Jan 2014This Standard supersedes AASB 127 Consolidated and Separate Financial

Statements and Int 112 Consolidation – Special Purpose Entities, introducing a

number of changes to accounting treatments.

Mandatory application of this Standard was deferred by one year for not-for-profit

entities by AASB 2012-10 Amendments to Australian Accounting Standards –

Transition Guidance and Other Amendments. ScreenWest Inc has not yet determined

the application or the potential impact of the Standard.

AASB 11 Joint Arrangements 1 Jan 2014This Standard supersedes AASB 131 Interests in Joint Ventures, introducing a



entities by AASB 2012-10. ScreenWest Inc has not yet determined the application or

the potential impact of the Standard.



AASB 12 Disclosure of Interests in Other Entities 1 Jan 2014This Standard supersedes disclosure requirements under AASB 127 Consolidated

and Separate Financial Statements and AASB 131 Interests in Joint Ventures.


entities by AASB 2012-10. The Authority has not yet determined the application or the

potential impact of the Standard.

AASB 13 Fair Value Measurement 1 Jan 2013This Standard defines fair value, sets out a framework for measuring fair value and

requires additional disclosures about fair value measurements. There is no financial

impact.

AASB 127 Separate Financial Statements 1 Jan 2014This Standard supersedes AASB 127 Consolidated and Separate Financial Statements,

introducing a number of changes to accounting treatments.






AASB 128 Investments in Associates and Joint Ventures 1 Jan 2014

This Standard supersedes AASB 128 Investments in Associates, introducing a





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

This Standard establishes a differential financial reporting framework consisting of

two tiers of reporting requirements for preparing general purpose financial statements.

There is no financial impact.

AASB 1055 Budgetary Reporting 1 Jul 2014This Standard specifies the nature of budgetary disclosures, the circumstances in

which they are to be included in the general purpose financial statements of not-for-

profit entities within the GGS. ScreenWest Inc will be required to disclose additional

budgetary information and explanations of major variances between actual and

budgeted amounts, though there is no financial impact.



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

Disclosure Requirements [AASB 1, 2, 3, 5, 7, 8, 101, 102, 107, 108, 110,

111, 112, 116, 117, 119, 121, 123, 124, 127, 128, 131, 133, 134, 136,

137, 138, 140, 141, 1050 & 1052 and Int 2, 4, 5, 15, 17, 127, 129 & 1052]

1 Jul 2013

This Standard makes amendments to Australian Accounting Standards and

Interpretations to introduce reduced disclosure requirements for certain types of

entities. There is no financial impact.

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 Int 2, 5, 10, 12, 19 & 127]

1 Jan 2015

This Standard makes consequential amendments to other Australian Accounting

Standards and Interpretations as a result of issuing AASB 9 in December 2010.

ScreenWest Inc has not yet determined the application or the potential impact of the

Standard.

AASB 2012-6 amended the mandatory application date of this Standard to 1 January

2015. ScreenWest Inc has not yet determined the application or the potential impact of

the Standard.



AASB 2011-2 Amendments to Australian Accounting Standards arising from the Trans-Tasman

Convergence Project – Reduced Disclosure Requirements [AASB 101 & AASB 1054]

1 Jul 2013

This 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. There is no

financial impact.

AASB 2011-7 Amendments to Australian Accounting Standards arising from the Consolidation and

Joint Arrangements Standards [AASB 1, 2, 3, 5, 7, 101, 107, 112, 118, 121, 124, 132,

133, 136, 138, 139, 1023 & 1038 and Int 5, 9, 16 & 17]

1 Jan 2013

This Standard gives effect to many consequential changes arising from the issuance

of AASB 10, AASB 11, AASB 127 Separate Financial Statements and AASB 128

Investments in Associates and Joint Ventures. For not-for-profit entities it applies to

annual reporting period beginning on or after 1 January 2014. ScreenWest Inc has not

yet determined the application or the potential impact of the Standard.

AASB 2011-8 Amendments to Australian Accounting Standards arising from AASB 13 [AASB 1, 2, 3,

4, 5, 9, 7, 101, 102, 108, 110, 116, 117, 118, 119, 120, 121, 128, 131, 132, 133, 134, 136,

138, 139, 140, 141, 1004, 1023 & 1038 and Int 2, 4, 12, 13, 14, 17, 19, 131 & 132]

1 Jan 2013

This Standard replaces the existing definition and fair value guidance in other Australian

Accounting Standards and Interpretations as the result of issuing AASB 13 in September

2011. There is no financial impact.



AASB 2011-10 Amendments to Australian Accounting Standards arising from AASB 119 (September

2011) [AASB 1, 8, 101, 124, 134, 1049 & 2011-8 and Int 14]

1 Jan 2013

This Standard makes amendments to other Australian Accounting Standards and

Interpretations as a result of issuing AASB 119 Employee Benefits in September 2011.

There is no financial impact.

AASB 2011-11 Amendments to AASB 119 (September 2011) arising from Reduced Disclosure

Requirements.

1 Jul 2013

This Standard gives effect to Australian Accounting Standards – Reduced Disclosure

Requirements for AASB 119 (September 2011). There is no financial impact.

AASB 2012-1 Amendments to Australian Accounting Standards - Fair Value Measurement - Reduced

Disclosure Requirements [AASB 3, 7 , 13, 140 & 141]

1 Jul 2013

This Standard establishes and amends reduced disclosure requirements for additional

and amended disclosures arising from AASB 13 and the consequential amendments

implemented through AASB 2011-8. There is no financial impact.



Note 5. Employee benefits expense2013 2012$000 $000

Wages and salaries (a) 1,852 1,600Superannuation - defined contribution plans (b) 161 139Other related expenses 31 42

2,044 1,781

(a) Includes the value of the fringe benefit to the employee plus the fringe benefits tax component, leave entitlements including superannuation contribution component.

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

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

Note 6. Supplies and services2013 2012$000 $000

Communications 15 13Consultants 94 25Board fees 44 24Travel 63 66



Printing and advertising 15 21

Lease - equipment and vehicles 21 29Entertainment 30 32Legal fees 171 85Consumables 21 25Insurance 5 4Membership subscriptions 3 10Other 47 61

529 395

Note 7. Depreciation expense2013 2012$000 $000

DepreciationFurniture and equipment 2 2Total depreciation 2 2

Note 8. Accommodation expenses2013 2012$000 $000

Rent 151 101Other 22 21

173 122



Note 9. Grants and loans expense2013 2012$000 $000

Project Assistance 8,049 8,441Production Company Support 3,120 273Practitioner Development 416 363Industry & Screen Culture 528 543

12,113 9,620

Note 10. Other expenses 2013 2012$000 $000

Panels and assessment costs 69 88Sponsorship 36 169Employment on-costs 0 0Refund of previous years’ revenue 0 0Audit fees 22 21Other 0 0

127 278

Note 11. Returns on funding activities2013 2012

$000 $000Funding program 501 357

501 357



Note 12. Interest revenue2013 2012$000 $000

Commonwealth Bank (CBA) operating account 10 12Bankwest term deposits 510 561

520 573

Note 13. Lapsed commitments2013 2012$000 $000

Project Assistance 1,549 1,614Production Company Support 15 9Practitioner Development 6 2Industry & Screen Culture 0 1

1,570 1,626

Note 14. Other revenue 2013 2012$000 $000

Management fees 63 51Other 89 113

152 164



Note 15. Income from State Government2013 2012$000 $000

Grants received during the year:Service grant (a) 2,002 2,002State grant and subsidies (b) 1,250 320Lotterywest grant 7,023 5,500

10,275 7,822

Resources received free of charge (c)

Determined on the basis of the following actuals provided by Department of Culture and the Arts:(i) Payroll expenditure 1,280 1,158(ii) Minor equipment 0 15

1,280 1,173

11,555 8,995

(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 of Culture and the Arts) 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) State grant and subsidies relates to the funding ScreenWest secured for the ABC Matched Primetime Television Fund. The grant was provided by the Department of Culture and the Arts.

(c) 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. Receivables2013 2012$000 $000

CurrentReceivables 39 89Interest 27 100GST receivable 41 0

107 189

Note 17. Other current assets2013 2012$000 $000

CurrentPrepayments 9 4

Total current 9 4

Note 18. Amounts receivable for services (Holding Account)2013 2012$000 $000

Non-current 34 3234 32

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 equipment2013 2012$000 $000

Furniture and equipmentAt cost 12 11Accumulated depreciation (11) (8)

1 3

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

2013 2012$000 $000

Furniture and Equipment

Furniture and Equipment

Reconciliations:Carrying amount at start of year 3 5Additions 0 0Depreciation (2) (2)Carrying amount at end of year 1 3

Note 20. Impairment of assets

The were no indications of impairment of furniture and equipment at 30 June 2013.



Note 21. Payables2013 2012$000 $000

CurrentTrade payables 35 22

Accrued expenses 99 109GST payable 0 25

134 156

Note 22. Loans and grants payable2013 2012$000 $000

CurrentProject Assistance 7,049 7,566Production Company Support 2,594 195Practitioner Development 106 42Industry & Screen Culture 57 22Total current 9,805 7,825

Non-currentProject Assistance 795 1,132Production Company Support 209 0Industry & Screen Culture 0 0Total non-current 1,004 1,132



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 equity2013 2012$000 $000

Balance at start of period 150 150

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

Balance at end of period 150 150

Accumulated surplus2013 2012$000 $000

Balance at start of period 1,102 1,585Result for the period (690) (483)

Balance at end of period 412 1,102

Total Equity at end of period 562 1,252



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:

2013 2012$000 $000

Commonwealth Bank operating account 168 91Bankwest term deposits 11,187 10,046

11,355 10,137

Reconciliation of net cost of services to net cash flows used in operating activities2013 2012$000 $000

Net cost of services (12,245) (9,478)

Non-cash items:Depreciation expense (note 7) 2 2Resources received free of charge (note 15) 1,280 1,173

(Increase)/decrease in assets:Current receivables (a) 123 7Other current assets (5) (2)

Increase/(decrease) in liabilities:Current payables (a) 3 44Loans and grants payable 1,853 564

Net GST receipts / (payments) (b) (66) 31Change in GST in receivables / payables (c) 0 0Net cash (used in) operating activities (9,055) (7,659)



(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.

Non-cancellable operating leases2013 2012$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 6 0

Later than 1 year and not later than

5 years 12 018 0

Representing:

Non-cancellable operating leases 18 018 0

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



Grant commitments2013 2012$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 409 804

Later than 1 year and not later than 5 years 110 0

519 804



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

There were no subsequent events brought to account.



Note 27. Explanatory statement

Significant variations between estimates and actual results for 2013 and between actual results for 2012 and 2013 are shown below. Significant variations are considered to be those greater than 10% or $100,000.

Significant variances between estimated and actual result for 2013

Estimate Actual Variation$000 $000 $000

Employee benefits expense 2,375 2,044 (331)Grants and loans expense 11,358 12,113 755Returns on funding activities 365 501 136Interest revenue 450 520 70Lapsed commitments 1,162 1,570 408

Employee benefits expense

The reduction in employee benefit expenditure was mainly attributable to Government FTE caps introduced in September 2012.

Grants and loans expenseDuring the year ScreenWest successfully secured 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.

Returns on funding activitiesScreenWest is a minority investor in most productions and prioritises returns to producers to strengthen Western Australian production companies. Returns were higher than initially estimated due to the commercial success of the content produced by Western Australian production companies in the marketplace.

Interest revenueInterest revenue is forecast conservatively. The increased interest revenue is also reflective of the difficult financial environment the screen industry is operating in, with productions taking longer than previously to fully finance and commence production.

Lapsed commitmentsThe variance is a result of large grant commitments lapsing during the year. 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 loan expense.

2013 2013



Significant variances between actual results for 2012 and 20132013 2012 Variance$000 $000 $ 000

IncomeReturns on funding activities 501 357 144State grant and subsidies 1,250 320 930Lotterywest grant 7,023 5,500 1,523ExpensesEmployee benefits expense 2,044 1,781 263Supplies and services 529 395 134Accommodation expense 173 122 51Grants and loans expense 12,113 9,620 2,493Other expenses 127 278 (151)

Returns on funding activitiesReturns were higher than due to the commercial success of the content produced by Western Australian production companies in the marketplace.

State grant and subsidies

Variance can be attributed to the funding ScreenWest secured for the ABC Matched Primetime Television Fund.

Lotterywest grant

The variance represents an increase in Lotterywest funding which contributed to the increase in the grants and loans expense.

Employee benefits expense

The variance can be attributed to the WA Public Sector wage increase and level increment increases.



Note 28. Financial instruments

(a) Financial risk management objectives and policies

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

Credit risk

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

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

Supplies and services

Variance can be attributed to increased legal expenditure proportionate to an increased level of contracting and the Screen Industry Infrastructure Needs Assessment project.

Accommodation expenseVariance can be attributed to overall increases in accommodation costs associated with the move to the new building.

Grants and loans expense

This increase is proportionate to the increase in Lotterywest grant funding and the amount of lapsed commitments during the year, all of these funds are committed back into

Other expensesThe variance can be attributed to the change in timing of an industry conference, it is now being held in a future financial year.



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

Liquidity risk

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

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

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

Market risk

Market risk is the risk that changes in market prices such as foreign exchange rates and interest rates will affect ScreenWest Inc 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 does not have any exposure to market risk for changes in interest rates.

(b) Categories of financial instruments

In addition to cash and bank overdraft, the carrying amounts of each of the following categories of financial assets and financial liabilities at the end of the reporting period are:

2013 2012$000 $000

Financial AssetsCash and cash equivalents 11,355 10,137Loans and receivables (a) 100 221

Financial LiabilitiesFinancial liabilities measured at amortised cost 10,843 9,088

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



(c) Financial Instrument Disclosures

Credit Risk

The following table discloses ScreenWest Inc’s maximum exposure to credit risk and the ageing analysis of financial assets. ScreenWest Inc’s maximum exposure to credit risk at the end of the

reporting period is the carrying amount of the financial assets as shown below. The table discloses the ageing of financial assets that are past due but not impaired and impaired financial assets.

The table is based on information provided to senior management of the ScreenWest Inc.

ScreenWest Inc does not hold any collateral as security or other credit enhancements relating to the financial assets it holds.

Ageing analysis of financial assets

Past due but not impaired

Carrying

Amount

Not past due and

not impaired

Up to 1

month 1-3 months

3 months to

1 year 1-5 Years More than 5 years Impaired financial assets

$000 $000 $000 $000 $000 $000 $000 $000

2013Cash and cash equivalents 11,355 11,355

Loans and receivables (a) 66 66 1

Amounts receivable for services 34 34

11,455 11,455 0 0 1 0 0 0

2012Cash and cash equivalents 10,137 10,137

Loans and receivables (a) 189 189 27 55

Amounts receivable for services 32 32

10,358 10,358 27 55 0 0 0 0

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



Liquidity Risk and interest rate exposure

The following table details ScreenWest Inc’s interest rate exposure and contractual maturity analysis of financial assets and financial liabilities. The maturity analysis section includes interest and principal cash flows. The interest rate exposure section analyses only the carrying amounts of each item.

Interest rate exposures and maturity analysis of financial assets and financial liabilities (a)

Interest rate exposure Maturity dates

Weighted Average Effective Interest Rate Carrying Amount

Fixed interest rate

Variable interest rate

Non interest bearing

Nominal amount

Up to 1 month

1-3 months

3 months to 1 year

1-5 years

More than 5 years

% $000 $000 $000 $000 $ 000 $000 $000 $000 $000 $000

2013

Financial Assets

Cash and cash equivalents 3.55% 11,355 11,187 168 11,355 3,316 8,039

Loans and receivables (a) - 107 107 107 73

Amounts receivable for services - 34 34 34 34

11,496 11,187 168 141 11,496 3,389 8,039 0 0 34

Financial Liabilities

Payables - 35 35 35 35

Grants and loans payable - 10,810 10,810 10,810 639 2,831 6,336 1,004

10,845 0 0 10,845 10,845 674 2,831 6,336 1,004 0

2012Financial Assets

Cash and cash equivalents 5.06% 10,137 10,046 91 10,137 2,484 5,259 2,394

Loans and receivables (a) - 189 189 189 0

Amounts receivable for services - 32 32 32 32

10,358 10,046 91 221 10,358 2,484 5,259 2,394 0 32

Financial Liabilities

Payables - 131 131 131 131

Grants and loans payable - 8,957 8,957 8,957 2,067 2,241 3,517 1,132

9,088 0 0 9,088 9,088 2,067 2,241 3,517 1,132 0

(a) The amounts of receivables excludes GST recoverable from the ATO (statutory receivable).



Interest rate sensitivity analysis

The 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 pointsCarrying amount Surplus Equity Surplus Equity

2013 $ 000 $ 000 $ 000 $ 000 $ 000

Financial AssetsCash and cash equivalents 168 (2) (2) 2 2

(2) (2) 2 2

-100 basis points +100 basis points

Carrying amount Surplus Equity Surplus Equity

2012 $ 000 $ 000 $ 000 $ 000 $ 000

Financial AssetsCash and cash equivalents 91 (1) (1) 1 1

(1) (1) 1 1

Fair Values

All 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:

$ 2013 2012

0 - 10,000 9 8

$000 $000Base remuneration and superannuationAnnual leave and long service leave accruals

Other benefitsThe total remuneration of all members of ScreenWest Inc 44 24

The total remuneration includes the superannuation expense incurred by ScreenWest Inc in respect of board members of ScreenWest Inc.Remuneration of senior officers

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

$ 2013 2012110,001 - 120,000 0 1140,001 - 150,000 0 1150,001 - 160,000 1 0180,001 - 190,000 1 1190,001 - 200,000 1 0



$000 $000Base remuneration and superannuation 493 446Annual leave and long service leave accruals 31 (6)Other benefits 0 -

The total remuneration of senior officers 524 440

The total remuneration includes the superannuation expense incurred by ScreenWest Inc in respect of senior officers other than senior officers reported as board 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:

2013 2012

$000 $000Auditing the accounts, financial statementsand key performance indicators 25 24

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 $127,014 ($114,853: 2012) 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 dther 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.



Additional Key Performance Indicator Information

4.2.1 Certified Performance Indicators 2012/13

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

ScreenWest Inc

Certification of Performance Indicators

For the year ended 30 June 2013 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 year ending 30 June 2013.

Peter RoweChairman of Accountable Authority Member of Accountable Authority


Key Efficiency and Effectiveness Indicators

KEY EFFICIENCY INDICATOR

Government GoalScreenWest Inc contributes to the achievement of the Government Goal: GreaterfocusonachievingresultsinkeyservicedeliveryareasforthebenefitofallWesternAustralians.

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

Key efficiency and effectiveness indicators have been developed in accordance with Treasurer’s Instruction 904 to evaluate ScreenWest Inc’s performance in achieving the Government Desired Outcome.

2011/12 Actual

2012/13 Target

2012/13 Actual

2013/14 Target

Average cost per grant application1 processed 2,739 2,989 3,304 4,876

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

1Number of grant applications figure reflects the number of applications received for grants administered through ScreenWest’s Funding Program, scripts read by ScreenWest staff for the provision

of script advice, applications for participation in industry workshops that are received and assessed by ScreenWest staff, applications that are evaluated by ScreenWest for programs managed by

industry partners and the assessment and follow up of project enquiries and applications for locations’ services funding.


KEY EFFECTIVENESS INDICATORS

The ‘Sustainability’ and ‘Accessibility’ indicators are measured by the Arts Monitor community survey instrument applied by Patterson Market Research. This is an annual community survey conducted using telephone interviewing techniques.

2010/11 Actual

2011/12 Actual

2012/13 Target

2012/13 Actual

2013/14 Target Notes

Creativity (a) Proportion of funding applicants satisfied with the key elements of the ScreenWest funding programs.

99.6% 99.7% 99% 99.6% 99.6%The 2012/13 Actual is based on having received three complaints in 2012/13.

Sustainability (b) Perceived value of the screen industry to the WA community. 78% 84% 79% 76% 80%

Accessibility (c) Proportion of Western Australians that perceived the screen in-dustry to be accessible.

58% 58% 59% 58% 60%

(a) Creativity

Approximately $10.27 million per annum was allocated to ScreenWest to fund its programs to produce ‘creative’ outcomes. Peer panels assess funding applications to ensure the proposed projects demonstrate significant and achievable ‘creative’ outcomes for the people of Western Australia. Comprehensive processes are in place to monitor and acquit the State’s investment in (creative) outcomes delivered via the funding programs. This Indicator measures the satisfaction of funding applicants with the funding process and provides an assessment of the film industry sector’s satisfaction with the creative outcomes being achieved through ScreenWest’s ‘creative’ funding programs.

(b) Sustainability

The ‘Sustainability’ KPI provides an assessment of the extent to which the community values the screen industry sector, a key element in the sustainability of the wider culture and arts sector.

In relation to the Western Australian screen industry, the Arts Monitor 2013 survey indicated that 63% of the 76% who responded believe the industry is of ‘high value’, a decrease on the previous year (77%). The 2013 result (63%) is similar to results found in the years 2008-2011.

(c) Accessibility

The ‘Accessibility’ KPI provides an assessment of the extent to which the Western Australian community perceives film screening events and/or productions to be accessible.

The Arts Monitor 2013 survey indicated that males were slightly more than females to report it being ‘easy’ to get access to Western Australian film and television productions (31% compared to 24%). No significant differences were found between respondents in the regional areas of Western Australia.


ADDITIONAL INDICATORS

52.58 28.42 23.75

59.88

5.17 3.75 4.34 7.35

67.5

0

10

20

30

40

50

60

70

80

0

10

20

30

40

50

60

70

2009/10 2010/11 2011/12 2012/13

Hour

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Financial Year

Key Effec�ve Indicators Value of Produc�on ($M) Value of ScreenWest Investment ($M) Hours of Produc�on


DATA SOURCE

INDICATOR 2009/10 2010/11 2011/12 2012/13Value of Production ($M) 52.58 28.42 23.75 59.88

Value of ScreenWest Investment ($M) 5.17 3.75 4.34 7.35

Ratio of ScreenWest Investment to the Total Value of Production ($) 1:10.18 1:7.57 1:5.47 1:8.14

INDICATOR 2009/10 2010/11 2011/12 2012/13Hours of Production 67.5 39.41 47.23 70.52Average Value of Production per Hour of Production $779,092 $721,058 $502,956 $849,079

Data is correct as at 30 June 2013.

‘Value of Production’ refers to the total contracted cost of feature films, television drama, documentaries and short films produced in Western Australia that have received ScreenWest funding and have commenced principal photography within the given financial year.

‘Value of ScreenWest Investment’ refers to the amount of funding provided by State Treasury and Lotterywest that is invested by ScreenWest for projects listed as entering principal photography in the 2012/13 financial 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’ refers to the total number of hours produced in Western Australia on feature films, television drama, documentaries and short films3 that have received ScreenWest production funding. It does not include Indigenous Community Stories recordings as these are up to eight hours each of unedited archival footage, or Digital Production Funding as each project is varied in its cross platform elements and would therefore not represent an accurate level of production hours. Year to year variances in the production statistics are affected by assigning a production to a given year on the basis of its production start date, rather than the year in which it was financed or the year in which a majority of production activity took place.

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

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


4.3 Ministerial Directives

ScreenWest received no Ministerial directives in 2012/13 with the exception of the Minister’s decisions in relation to the approval of funding recommendations.

4.4 Other Financial Disclosures

4.4.1 PRICING POLICIES OF SERVICES PROVIDED

Not applicable to ScreenWest.

4.4.2 CAPITAL WORKS

No capital projects were completed during 2012/13.


4.4.3 EMPLOYMENT AND INDUSTRIAL RELATIONS ScreenWest’s staff are employed through the employing authority of the Department of Culture and the Arts (DCA). 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 following table summarises ScreenWest’s headcount as at 30 June 2013.

Figures include staff on paid leave and on fixed term contracts.

Employment Type Women Men TotalPermanent Full-time 8 1 9Permanent Part-time 2 0 2Fixed Term Full-time 7 4 11Fixed Term Part-time 1 0 1Casual paid in previous 12 months 0 0 0Other paid in previous 12 months 0 0 0Total 18 5 23


Managing Our People

The DCA human resources directorate provides services across the culture and arts portfolio to support workplace issues and needs, including the development and implementation of human resource policy, planning and development initiatives, industrial relations support and the offering of staff training. Significant activities undertaken by the DCA throughout the year included: The delivery of online Accountability and Ethical Decision Making training. This training is a compliance requirement included in the WA Public Sector Commissioner’s Instructions. The training commenced in the second half of 2012/13. All ScreenWest staff successfully completed the training with a minimum pass mark of 80%, by 30 June 2013. A Manager Induction programme for all Managers across the culture and arts portfolio. The program objectives were to:

• Develop an understanding of the legislative and policy framework within Culture and Arts and the WA Public Sector,• Understand the Manager’s role and the responsibilities related to operational performance, financial and non-financial reporting and

compliance,• Create awareness of the internal processes relevant to the execution of Manager’s responsibilities.

New ScreenWest staff members attend the DCA’s comprehensive Portfolio Induction Program. The Portfolio Induction Program has been developed to assist new employees settle into their environment and understand their public sector responsibilities.

4.5 Governance Disclosures

4.5.1 INTERESTS OF SENIOR OFFICERS

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


4.6 Other Legal Requirements

4.6.1 EXPENDITURE ON ADVERTISING, MARKET RESEARCH, POLLING AND DIRECT MAIL

In accordance with Section 175ZE of the Electoral Act 1907, ScreenWest incurred the following expenditure in advertising, market research, polling, direct mail and media advertising:• Total expenditure for 2012/13 was $7,147.24.

Expenditure was incurred in the following areas:

Expenditure Area Total Amount ($) Supplier Sub Total ($)Advertising agencies 0.00 - 0.00Market research organisations 7,147.24 - 7,147.24Polling organisations 0.00 - 0.00Direct mail organisations 0.00 - 0.00Media advertising organisations

Job vacancies Adcorp Australia Ltd 197.90

Advertising

Grapevine Jobs Ltd

Adcorp Australia LtdReed BusinessSensis MelbourneThe Location Guide

100.00

6,262.69457.50

90.4238.73


4.6.2 DISABILITY ACCESS AND INCLUSION PLAN OUTCOMES

ScreenWest recognises the universal value of culture and the arts to the wider community. Culture and arts are fundamental to human existence, especially to our history, identity, creativity and desire for play and enjoyment. Participation in arts and cultural experience, as a right for all people, has the potential to improve all areas of human endeavour.

The Culture and Arts Portfolio has adopted a Disability Access and Inclusion Plan 2013–2017 (DAIP) to ensure that the Portfolio’s services, information and facilities are accessible for people with disability. The 2013–2017 DAIP builds on work done under the Portfolio’s 2007–2012 DAIP and is in response to the Government requirement to review DAIPs every five years.

Strategies to Improve Access and Inclusion 2013 – 2017 are as follows:

Outcome 1

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

1.1 Build awareness, capacity and sustainability within the Portfolio’s funded arts and cultural organisations to enhance access forpeople with disability.

1.2 Encourage the Portfolio’s funded arts and cultural organisations to develop strategies to improve access for people with disabilityto mainstream programs and services.

1.3 Improve access for people with disability to arts funding programs, processes and timelines.1.4 Ensure Portfolio funded events are accessible.1.5 Ensure individuals and organisations contracted by the Portfolio to provide services comply with DAIP requirements.


Outcome 2

People with disabilities have the same opportunities as other people to access the buildings and other facilities of the Portfolio.

2.1 Ensure the Portfolio’s buildings and facilities meet access standards.

2.2 Ensure access is monitored and maintained to ensure our buildings and facilities continue to meet the needs of people with disability and their families and carers.

2.3 Ensure community consultation on access standards is a requirement in the design, planning, and construction of any buildingsand facilities.

Outcome 3

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

3.1 Ensure information provided for people with disability complies with State Government Access Guidelines for Information,Services and Facilities.

3.2 Make available upon request alternative format versions of public documents.3.3 Make available plain English versions of key public documents relevant to people with disability.3.4 Ensure staff are aware of accessible information needs and how to obtain information in other formats.

Outcome 4

People with disabilities receive the same level and quality of service from the staff of the Portfolio as other people receive from the staff of the Portfolio.

4.1 Ensure staff have the knowledge and skills to provide an equal level and quality of service to people with disability and their familiesand carers.


Outcome 5

People with disabilities have the same opportunities as other people to make complaints to the Portfolio.

5.1 Review the complaints process to ensure it meets the needs of people with disability.5.2 Ensure people with disability are aware of the complaints process.5.3 Ensure staff handling complaints have sufficient knowledge and understanding of people with disability to adequately respond to

complaints.

Outcome 6

People with disabilities have the same opportunities as other people to participate in any public consultation by the Portfolio.

6.1 Ensure public consultation processes are inclusive.6.2 Increase opportunities for people with disability, their family, and carers to be involved in public consultation.

Outcome 7

People with disabilities have the same opportunities as other people to seek employment with the Portfolio.

7.1 Ensure recruitment policies and practices are inclusive.7.2 Develop strategies to improve attraction, recruitment and retention of employees with disability.7.3 Ensure Portfolio staff with disability are supported to undertake their employment responsibilities.


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 DCA’s human resources directorate. The Public Sector Commission investigates and determines the outcome of breach claims, should they occur.

In accordance with Section 31 of the Public Sector Management Act 1994, the following is a report of the extent to which the ScreenWest has complied with Public Sector Standards, the Western Australian Public Sector Code of Ethics and the Culture and the Arts Portfolio Code of Conduct.

COMPLIANCE ISSUE SIGNIFICANT ACTION TAKEN TO MONITOR AND ENSURE COMPLIANCE

Code of ConductNil breaches

Staff are required to acknowledge receipt of their own copies of the Culture and the Arts Portfolio Code of Conduct at the time they sign their initial employment contract.Accountable and Ethical Decision Making training was undertaken by all ScreenWest staff in 2012/13.

Public Sector StandardsNil breaches

Information about Public Sector Standards is included on the DCA intranet and incorporated into the DCA’s Portfolio Induction Program.The DCA continually reviews its human resources policies and guidelines to ensure ongoing compliance with the Public Sector Standards.

Western Australian Public Sector Code of EthicsNil breaches

Training on the Code of Ethics and Code of Conduct continues to be covered in the Culture and the Arts Portfolio Induction Program.Staff are required to acknowledge receipt of their own copies of the Culture and the Arts Portfolio Code of Conduct at the time they sign their initial employment contract. Accountable and Ethical Decision Making training was undertaken by all ScreenWest staff in 2012/13.


4.6.4 RECORDKEEPING PLANS

In accordance with Section 19 of the State Records Act 2000 ScreenWest has a Recordkeeping Plan in place that has been approved by the State Records Commission.

ScreenWest utilises the DCA’s records management policy and system and its electronic information management system, TRIM. During the year the DCA provided ScreenWest staff with training on TRIM; additional training is provided as required.

The DCA’s Portfolio Induction Program provides new employees with information on their record management responsibilities under the State Records Act 2000.

4.7 Government Policy Requirements

4.7.1 SUBSTANTIVE EQUALITY

In the 2011/12 financial year, the DCA established the Substantive Equality Reference Group which continues to provide advice to the portfolio on substantive equality and targeting community based arts and culture needs. In the 2012/13 financial year, the new policy and communication plan for substantive equality progressed satisfactorily, helping guide the portfolio towards a clear regulatory framework to support community based projects.

Equity and Diversity

ScreenWest is committed to equity and diversity by encouraging the employment of Indigenous Australians, young people, people with disabilities, people from culturally diverse backgrounds and women. As of June 2013 the Culture and Arts Portfolio Equal Employment Opportunity (EEO) objectives have been incorporated into the Strategic Workforce Plan 2012 – 2017.


4.7.2 OCCUPATIONAL SAFETY, HEALTH AND INJURY MANAGEMENT

Commitment

ScreenWest recognises that the safety and health of its employees is primarily management’s responsibility. The agency is committed to providing a safe and healthy workplace for all its employees 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 hazards and hazardous work processes. Information is made available through the Department’s intranet.

An audit of both the Culture and the Arts Portfolio agencies (including the DCA) was completed using the WorkSafe Plan as the benchmark, with an implementation plan developed for 2013-2015 to focus on recommendations in the areas of management commitment, planning, consultation, hazard management and training.

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 Culture and Arts Portfolio Injury Management Policy. Information on workers’ compensation and injury management is provided to staff at the Portfolio induction and via the intranet. The Portfolio 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 DCA’s intranet.

No workers’ compensation claims arose during 2012/13.

Indicator Target 2011/12 2012/13Number of fatalities Zero (0) 0 0Lost time injury/disease (LTI/D) incidence rate Zero (0) or 10% reduction on the previous three years 0 0Lost time injury severity rate Zero (0) or 10% reduction on the previous three years 0 0Percentage of injured workers returned to work:within 13 weekswithin 26 weeks

Actual percentage result to be reported

Greater than or equal to 80%

(i) 0.00%(ii) 0.00%

(i) 0.00%(ii) 0.00%

Percentage of managers trained in occupational safety, health and injury management responsibilities Greater than or equal to 80% 50% 50%


Appendix 1.0 Assessment Meetings and Members 2012/2013Assessor’s Key

* ScreenWest Staff Member

** ScreenWest Board Member

Funding Initiative Assessed Meeting Date Assessors

Documentary Production Investment 25-July-2012 Defrim Isai*

Ryan Hodgson*

Aidan O’Bryan**

Andrew Lewis

Kelrick Martin

Tele-Navigator 25-July-2012 Rikki Lea Bestall*

Krista Carpenter*

Victor Gentile

Audience and Industry Engagement 01-August-2012 Jane Simpson*

Rebecca Wheatley*

Madeline Bates

Rebecca Coakley


APPENDICES

Documentary Production Investment and Drama Production Investment 12-September-2012 Defrim Isai*

Ryan Hodgson*

Alan Lindsay**

Alan Carter

David Lightfoot

Documentary and TV Development 10-September-2012 Rikki Lea Bestall*

Krista Carpenter*

Dan Brown

Carmelo Musca

Feature Film Development - shortlisting 03-October-2012 Krista Carpenter*

Victor Gentile

Feature Navigator Consultation Week 11-October-2012 Krista Carpenter*

Barbara Connell

Digital Development 22-October-2012 Michelle Glaser*

Ross Hutchens

Jennifer Wilson


APPENDICES

Feature Film Development 22-October-2012 Krista Carpenter*

Adam Isitt

Regina Lee

Audience and Industry Engagement 07-November-2012 Rebecca Wheatley*

Tamara Small*

Daniel High

Documentary Production Investment and Drama Production Investment 21-November-2012 Defrim Isai*

Ryan Hodgson*

Alan Lindsay**

Jacqueline Willinge

Nelson Woss

Documentary and TV Development 05-December-2012 Krista Carpenter*

Jodie De Barros

Adam Bishop*

Documentary Production Investment and Drama Production Investment 16-January-2013 Defrim Isai*

Ryan Hodgson*

Aidan O’Bryan**

Dan Brown

Ross Hutchens


APPENDICES

Feature Film Development - shortlisting 11-February-2013 Krista Carpenter*

Adam Bishop*

Aidan O’Bryan**

Feature Film Development 05-March-2013 Adam Bishop*

Aidan O’Bryan**

Erin Stam

Industry Enhancement Fund - Stage One 07-March-2013 Ian Booth*

Defrim Isai*

Peter Rowe**

Dax Calder**

Janelle Marr**

Amanda Higgs**

Digital Innovation Production 22-March-2013 Michelle Glaser*

Gareth Lockett

Amanda Morrison

Feature Navigator - Project Development 26-March-2013 Adam Bishop*

Barbara Connell


APPENDICES

Documentary and TV Development 27-March-2013 Adam Bishop*

Victor Gentile

John Rapsey

Documentary Production Investment and Drama Production Investment 10-April-2013 Defrim Isai*

Ryan Hodgson*

Sue Taylor**

Tania Chambers

Julia Overton

Audience and Industry Engagement 22-April-2013 Kathryn Ogilvie*

Rebecca Wheatley*

Colin Walker

Indigenous Short Drama Production - shortlisting 02-May-2013 Krista Carpenter*

Nadine Redmond*

Debra Miller*

Aidan O’Bryan **

Indigenous Short Drama Production - Interviews 13-May-2013 Krista Carpenter*

Nadine Redmond*

Debra Miller*

Aidan O’Bryan **


APPENDICES

West Coast Visions - shortlisting 16-May-2013 Krista Carpenter*

Adam Bishop*

Tait Brady

Victor Gentile

Marian Macgowan

SuperDoc EOI - shortlisting 23-May-2013 Defrim Isai*

Ian Booth*

Peter Rowe**

Dax Calder**

Janelle Marr**

Kim Dalton

Industry Enhancement Fund - Stage Two 27-May-2013 Ian Booth*

Defrim Isai*

Peter Rowe**

Dax Calder**

Amanda Higgs**

Janelle Marr**

Slate Development 28-May-2013 Ian Booth*

Krista Carpenter*


APPENDICES

Amanda Higgs**

Sue Milliken

Feature Film Development 04-June-2013 Adam Bishop*

Zyra McAuliffe

Sarah Shaw

Documentary Production Investment and ABC Matched Primetime Production

05-June-2013 Defrim Isai*

Ryan Hodgson*

Stephen Langsford**

Jodie De Barros

Carmelo Musca

West Coast Visions - Interviews 06-June-2013 Krista Carpenter*

Adam Bishop*

Tait Brady

Marian Macgowan

Lila Rawlings

Documentary and TV Development 24-June-2013 Adam Bishop*

Dan Brown

Drew Proffitt


APPENDICES

Appendix 2.0 Productions with ScreenWest funding 2012/2013The following projects entered principal photography in 2012/13.

Please note: For Digital Projects, the principal photography start date is listed as the date that the contract was fully executed, as the definition of “principal photography” differs for each digital project.

Disclaimer: All information was provided to ScreenWest by a representative of the Production Company.

FEATURE FILMS

Son of a Gun1 x 110 min Feature SOAG ProductionsProducer: Timothy White, Janelle LandersDirector: Julius AveryWriter: Julius AveryDoP: Nigel BluckEditor: Veronica JenetDistributor: Hopscotch Films (ANZ)ScreenWest Initiative: Drama Production Investment Fund

Synopsis: A young man is sent to prison where he becomes the apprentice to public enemy number one.

The Reckoning1 x 88 min FeatureFilmscope EntertainmentProducer: Deidre KitcherDirector: John SotoWriter: John SotoDoP: Jason Thomas (WA)Editor: Regg Swarko (WA), Meredith Jeffrey (WA)Distributor: IncubateScreenWest Initiative: Drama Production Investment Fund

Synopsis: A detective on the trail of a killer must track down two missing teenagers whose video footage contains the identity of the murderer.


APPENDICES

The Turning1 x 184 min CompendiumArenamediaProducers: Robert Connolly, Maggie Miles

ScreenWest Funded Chapters:

AbbreviationProducer: Liz KearneyDirector: Jub ClercWriter: Jub ClercDoP: Geoffrey Simpson ACSEditors: Merlin Cornish

AquiferProducer: Maggie Miles, Tenille KennedyDirector: Robert ConnollyWriter: Justin MonjoDoP: Denson Baker ACEditors: Andy Canny

The TurningProducer: Maggie Miles, Sue ItalianoDirector: Claire McCarthyWriter: Claire McCarthyDoP: Denson Baker ACEditors: Beckett Broda

CommissionProducer: Maggie MilesCo-Producer: Tenille KennedyDirector: David WenhamWriter: David WenhamDoP: Andrew Commis ACSEditors: Nick Meyers

FogProducer: Maggie MilesCo-Producer: Tenille KennedyDirector: Jonathan auf der HeideWriter: Jonathan auf der HeideDoP: Ellery Ryan ACSEditors: Billy Browne


APPENDICES

DefenderProducer: Rita WalshCo-Producer: Rose GrandileDirector: Ian MeadowsWriter: Ian MeadowsDoP: John BrawleyEditors: Gabe Dowrick

Broadcaster: ABCScreenWest Initiative: Stepping Stones Initiative

Synopsis: Seventeen extraordinary Australian directors respond to the hauntingly beautiful collection of short stories by Tim Winton. Spanning almost 30 years, these stories provide windows into the lives of men and women in the small coastal town of Angelus. Linking and overlapping, the stories create a stunning and disturbing portrait of a small coastal community in Western Australia. As befits the title of the film, the stories are preoccupied with the extraordinary turning points in ordinary people’s lives. Relationships irretrievably alter, resolves are made or broken, and lives change direction forever.

These Final Hours1 x 85 min Feature8th In Line ProductionsProducer: Liz KearneyDirector: Zak HilditchWriter: Zak HilditchDoP: Bonnie ElliottEditor: Mick Meyers, Meredith Watson JeffreyDistributor: Footprint Films, Celluloid DreamsScreenWest Initiative: West Coast Visions Initiative

Synopsis: A young man makes his way to the party to end all parties on the last day on Earth, but ends up saving the life of a little girl searching for her father, who ultimately leads him on the path to redemption.


APPENDICES

DOCUMENTARY

Comic Book Heroes2 x 27 minCo-Production: Little Star Productions and Wild FuryProducers: Nicholas Dunlop, Veronica FuryDirector: Nicholas DunlopWriter: Nicholas DunlopDoP: Various (including Helen Barrow, Jenni Meaney, Jim Frater, Nick Dunlop, Carmelo Musca) Editor: Nicholas DunlopBroadcaster: ABC ScreenWest Initiative: Documentary Production Investment Fund

Synopsis: This documentary follows the adventures of two best mates / business partners as they, and their insanely talented group of Australian writers and artists, try to ‘make it’ in the American comic book industry. Filmed over two and a half years in Australia, Japan, and the USA, Comic Book Heroes is a funny and poignant tale of art versus commerce, taking place against the bizarre and spectacular backdrop of the San Diego Comic-Con.

Dream House6 x 26 minArtemis InternationalExecutive Producers: Brian Beaton, Celia TaitDirector: Ruth CullenPost Director: Alan CarterWriter: Ruth Cullen, Alan CarterDoP: Nathan HayterEditors: Beckett Broda, Nick Dunlop, David FosdickBroadcaster: ABCScreenWest Initiative: ABC/ScreenWest Factual Entertainment Initiative

Synopsis: Follows three aspiring adults with intellectual disabilities as they leave home for the first time and move into shared house to tackle one of life’s great rites of passage.

Hello Birdy6 x 27 minSea Dog TV International Producer: Leighton De Barros, Jodie De Barros Post Production Series Producer: Andrea Ulbrick


APPENDICES

Director: Leighton De Barros, Randall Wood, Clare Thomson, Tosca LoobyWriter: Leighton De Barros, Randall Wood, Clare Thomson, Tosca LoobyDoP: Leighton De BarrosEditors: Johnathan Rowdon, Teresa Ashton GrahamBroadcaster: ABCScreenWest Initiative: ScreenWest/ABC Matched Primetime Television Production Fund

Synopsis: Well-known Aussie actor William McInnes fulfils a lifelong dream and travels the length and breadth of Australia to get up close and personal with interesting Aussie birds (the feathered type of course).

Life on the Edge; The Series2 x 60 minProspero ProductionsProducer: Julia Redwood, Ed PunchardDirector: Russell VinesWriter: Russell VinesDoP: Nathan HayterEditor: Roland Smith, David Langlands

Broadcaster: National GeographicScreenWest Initiative: General Production Fund

Synopsis: Life on the Edge; The Series continues a spectacular, engaging and thrilling voyage of discovery into the Bush Myth vs. Maritime Legend. The coastal areas of Surfers Paradise, the Whitsundays, the Cape York Peninsular and the 900 nautical miles from Queensland across the Top End to Northern WA, are explored to further reveal Australia’s marine and maritime world.

Murdoch2 x 52 minElectric PicturesProducer: Andrew Ogilvie, Dinah Lord, Kate BottingDirector: Janice SutherlandWriter: Janice SutherlandDoP: Jim FraterEditor: Alex ArcherBroadcaster: SBS, ITVScreenWest Initiative: General Production Fund

Synopsis: The definitive account of how one man took control of the media and became one of the wealthiest, most powerful land feared figures in the world.


APPENDICES

Outback Truckers 212 x 44 minProspero ProductionsProducers: Ed Punchard, Julia RedwoodSeries Producer: Roger PowerField Director: Eliot Buchan, Cian O’CleryWriter: Roger PowerEditor: David Langlands, Roland SmithBroadcaster: 7Mate, Discovery UK, Discovery EUScreenWest Initiative: Documentary Production Investment Fund

Synopsis: Outback Truckers 2 hits the red dirt in another thrilling season.

Outside Chance5 x 24 minWild Fury and Spear Point ProductionsProducer: Kelrick Martin, Veronica FuryDirector: Kelrick MartinWriter: Kelrick MartinDoP: Rodney Stratton, Torstein Dyrting, David SmithEditor: Roland Smith, David LanglandsBroadcaster: ABC

ScreenWest Initiative: General Production Fund

Synopsis: Football players from WA’s Wooroloo Prison Farm step outside the walls of jail once a week to prove that they are more than just criminals - to the community and themselves.

Recipes That Rock6 x 25 minMago FilmsProducer: Marian Bartsch, Alun BartschDirector: Carmelo MuscaWriter: Alun BartschDoP: David LeMayEditor: John CarozziBroadcaster: 7TWO, UK Food NetworkScreenWest Initiative: Documentary Production Investment Fund

Synopsis: A rock’n’roll farmer and a rock’n’roll chef take a journey of discovery around the Margaret River region to discover unique characters and events, music related craftspeople and musicians, surf and surfers plus discover wonderful natural attractions to coincide with the gourmet world descending on the region for the first ever Margaret River Gourmet Escape, where music and television celebrities as well as celebrity chefs from around the world rub shoulders and exchange ideas.


APPENDICES

Who Do You Think You Are? 5.22 x 52 minArtemis International and Serendipity ProductionsExecutive Producers: Brian Beaton, Margie BryantSeries Producer: Celia TaitDirectors: Russell Vines, Alan Carter, Steve Peddie, Victoria Midwinter Pitt, Ili Baré, Kay Pavlou, Robert Wilkins, Ruth Cullen, Claire MeechWriters: Russell Vines, Alan Carter, Steve Peddie, Victoria Midwinter Pitt, Ili Baré, Kay Pavlou, Robert Wilkins, Ruth Cullen, Claire MeechDoP: Ian Pugsley ACS, Uli KrafzikEditors: Beckett Broda, Roland Smith, Peter PritchardBroadcaster: SBSScreenWest Initiative: Documentary Production Investment Fund

Synopsis: Well-known Australian identities play detective as they go in search of their family genealogy.

Who Do You Think You Are? Series 66 x 52 minArtemis International and Serendipity ProductionsExecutive Producers: Brian Beaton, Celia Tait, Margie BryantSeries Producer: Bernice ToniDirector: Steve Peddie, Ila Baré, Lisa Matthews, Bernadine LimWriter: Steve Peddie, Ila Baré, Lisa Matthews, Bernadine LimDoP: Ian Pugsley ACS, Uli KrafzikEditor: Beckett Broda, Teresa Ashton-GrahamBroadcaster: SBSScreenWest Initiative: Documentary Production Investment Fund

Synopsis: Well-known Australian identities play detective as they go in search of their family genealogy.

Z Special Unit3 x 52 minJoined Up Films Producers: Dan Brown, Jacqueline Willinge, Anthony WillingeDirector: Robert Wilkins


APPENDICES

Writer: Robert WilkinsBroadcaster: SBSScreenWest Initiative: Documentary Production Investment Fund

Synopsis: This is the secret history of Z Special Unit, an elite group of highly trained men during world war 2, who would drop behind Japanese lines to bomb, ambush and entrap enemy forces.

Sydney Harbour; Life on the Edge1 x 60 minProspero ProductionsProducer: Julia Redwood, Ed PunchardDirector: Russell VinesWriter: Russell VinesDoP: Nathan HayterEditor: Roland Smith, David LanglandsBroadcaster: National GeographicScreenWestInitiative: General Production Fund

Synopsis: The jewel in the crown of Australia’s magnificent coastline; the world famous Sydney Harbour, believed by many to be the most beautiful natural harbour on the planet. A team of experts go on a fascinating quest to reveal its mysteries in this

trilling 360-degree exploration by land, sea and air, of one of the most iconic locations on the planet. Race for Beauty1 x 52 minProspero ProductionsProducer: Julia Redwood, Ed PunchardDirector: Julia RedwoodPost Director: Rhian SkirvingDoP: Jim FraterEditor: Roland SmithBroadcaster: SBSScreenWest Initiative: Documentary Production Investment Fund

Synopsis: As demand for cosmetic ‘enhancement’ explodes around the world, Race for Beauty explores the new and increasingly controversial phenomenon of ethnic plastic surgery. We join Anna Choy, actress, presenter and new Mum as she takes a personal and confronting journey to discover more about the rising popularity of this type of cosmetic surgery.


APPENDICES

Stone Age Mystery1 x 57 minElectric PicturesProducer: Andrew Ogilvie, Claire JagerDirector: Daniella OrtegaWriter: Daniella OrtegaDoP: Jim FraterEditor: Lawrie Silvestrin ASEBroadcaster: ABCScreenWest Initiative: Documentary Production Investment Fund

Synopsis: In March 2012, Australian and Chinese scientists announced the startling discovery of prehistoric human remains from a remote cave in China unlike any found before. With access to an unfolding scientific investigation, we dramatically reconstruct the ancient lives and Ice Age world of the Red Deer Cave People and join an international team as it hunts for answers to solve the mystery: Who were the Red Deer Cave people and why did they disappear?

The Real Jaws1 x 48 minProspero ProductionsProducers: Ed Punchard, Julia Redwood

Director: Adam GeigerWriter: Adam GeigerDoP: Adam Geiger, Uli KrafzikEditor: John CarozziBroadcaster: Channel 9, NOVAScreenWest Initiative: Documentary Production Investment Fund

Synopsis: Just when you thought it was safe to go back into the water…..a series of fatal shark attacks in Western Australia shows it is anything but. The Real Jaws investigates why? The Search for the Ocean’s Super Predator1 x 57 minOcean’s Super Predator FilmsProducer: Leighton De Barros, David Riggs, Michael LynchDirector: Michael LynchWriter: Michael LynchDoP: Leighton De BarrosEditor: John CarozziBroadcaster: ABCScreenWest Initiative: Documentary Production Investment Fund


APPENDICES

Synopsis: In the hidden depths of Australia’s wild Southern Ocean a great white shark is savagely attacked one hundred meters below the sea’s surface by a far larger and faster mystery predator. An electronic tracking device attached to the great white records a high-speed underwater chase six hundred meters deep before the shark and its tag are savagely devoured. Two weeks later, after being carried in the belly of the unknown killer, the still functioning tag is excreted and washed ashore, withholding clues that could reveal the identity of the shark’s super predator. This is the story of a super predator’s epic underwater attack that leads investigators to a mysterious and powerful natural phenomenon that, for a few short weeks each year, attracts the oceans most fearsome predators. Trucking Hell1 x 44 minProspero ProductionsProducers: Ed Punchard, Julia RedwoodSupervising Producer: Roger PowerField Director: Eliot Buchan, Cian O’CleryWriter: Roger PowerEditor: David LanglandsBroadcaster: 7Mate, Discovery UK, Discovery EUScreenWest Initiative: Documentary Production Investment FundSynopsis: Behind the wheel of monstrous road trains, daredevil Aussie truckers put their lives on the line to drive some of the toughest roads in the world.

The President vs. the Pirates1 x 52 minElectric PicturesProducer: Andrew Ogilvie, Claire JagerDirector: Victoria Midwinter-PittWriter: Victoria Midwinter-PittDoP: Tim WiseEditor: David FosdickBroadcaster: SBSScreenWest Initiative: Documentary Production Investment Fund

Synopsis: Somali Australians have returned to their Puntland homeland with a mission: to piece together their broken State and set it on a path to becoming a modern African nation.

Hunter: for the Record 1 x 81 min Feature Documentary Periscope PicturesProducer: Alice RossDirector: Sam FieldWriter: Stefan A RadanovichDoP: Sam Field


APPENDICES

Editor: Stefan A Radanovich, Dominic PearceFestival: Revelation Film Festival

Zed, the Last Note 1 x 41 minPeriscope PicturesProducer: Alice RossDirector: Sam FieldWriter: Sam FieldDoP: Sam FieldEditor: Pete GleesonScreenWest Initiative: Innovation Fund

Synopsis: When Hunter found out at age 35 that his time on earth was to be cut cruelly short, he decided not to retreat inwards but to use digital tools to share his physical, emotional and musical journey into uncharted territory. His fight was broadcast, primarily by Hunter himself, in a very public, networked, and an extraordinarily honest manner. What Hunter didn’t expect was just how his broadcasts would motivate a musical community to come out and support him in surprising ways. For Hunter himself, cancer became a lens through which the important things in life and his past regrets came sharply into focus. In a compelling mixture of Ob Doc, video diary and music, Hunter: For The Record documents a man driven to change, of a digital native

whose natural reaction to mortality was to leave a lasting digital and emotional imprint upon the world he left behind.

The Frackman1 x 90 minAquarius Productions, Freshwater Pictures, Smith & NashtProducer: Richard Todd, Trish Lake, Simon NashtDirector: Richard ToddWriter: Sarah Rossetti, John ColleeDoP: Dan Schist, Richard ToddDistributor: HopscotchScreenWest Initiative: Documentary Production Investment Fund

Synopsis: The adventures of The Frackman and his filmmaker mate as they take on some of the biggest coal seam gas multi-nationals in the world.


APPENDICES

TELEMOVIES/

An Accidental Soldier1 x 90 minGoalpost TaylorProducer: Sue Taylor, Kylie du FresneDirector: Rachel WardWriter: Blake AyshfordDoP: Germain McMickingEditor: Leanne ColeBroadcaster: ABCScreenWest Initiative: ABC Matched Primetime Television Production Fund

Synopsis: A volunteer soldier sent to the Western Front in 1917 decides to desert and creates a new life with the French woman who hides him from the authorities.

Serangoon Road10 x 53 minGreat Western Entertainment and Infinite StudiosProducers: Paul Barron, Nick NorthDirectors: Peter Andrikidis, Tony Tilse

Writers: Michaeley O’Brien, Tony Morphett, Margaret Wilson, Christopher D Hackshaw, Justin Monjo, Kym Goldsworthy, Timothy Lee, Andrew Ngin Chiang MengDoP: Joseph H PickeringEditor: Nicole La Macchia, Lawrence Silvestrin ASEBroadcaster: ABC ScreenWest Initiative: ABC Matched Primetime Television Production Fund

Synopsis: 1964-65. Singapore is a city at the crossroads. Political and racial tensions are at fever pitch as a new nation is about to be born. The lights of Bugis Street never burned so bright, the famous Straits are filled with ships from around the world, strikers take to the streets, the Cold War is hot in the tropics and Chinese triad gangs prosper in the ‘interesting’ times. The Malayan Emergency is over but added new scars to the memories of colonial rule and the Japanese occupation during WW2. The sun may have set on the Empire, but British and Australian troops are still in the middle of an intense four-year jungle war in neighbouring Borneo and in one year Indonesian terrorists will set of more than 29 bombs in Singapore itself. And then there are the Americans and that war in Vietnam. This is the city of Sam Callaghan, Patricia Cheng, the CIA’s Conrad Harrison and the clients of the Cheng Detective Agency.


APPENDICES

DIGITAL

FACTORY 293 1 x 19 min interactive narrative drama FACTORY 293Producers: Roderick MacKay, Michael Searle, Justin Mcardle Director: Roderick MacKay Writer/s: Roderick MacKayProduction Manager: Michael Searle 1st AD: Dan Wood Digital VFX: Andrew GordonDOP: Andrew GordonEditor: Dominic Pearce Script Editor: Stephen LloydDelivery Platform: Online ScreenWest Initiative: 3 to 1 Digital Crowdfunding Initiative

Synopsis: In a remote part of the dark and despondent world of Stalin’s war-torn Union of the Soviet Socialist Republic, Comrade Grigor, Manager of Munitions FACTORY293, faces the realities of his existence. Despite the infatuation of his female factory workforce, he is drawn to increasingly melancholy thoughts – Stalin, his leader, has abandoned him. With a howling blizzard outside, the power is suddenly cut, rudely interrupting Grigor’s

intent to take decisive action. In the flurry to restore power before the inspectors arrive, a lost and half-frozen young soldier is rescued from the cold.

Tango Underpants 1 x 10 min online short filmTango UnderpantsProducers: Tania Chambers, Stephen Van Mil, Miranda EdmondsProduction Executive: Susie CampbellLine Producer: Estelle Buzzard, Agustina CostaProduction Manager: Maya KavanaghDigital Producer/s: Maya Kavanagh, Miranda EdmondsDirector: Miranda Edmonds, Khrob EdmondsDigital Director: Khrob EdmondsWriter: John ColleeDOP: Denson Baker ACSEditor: Lawrence Silvestrin ASEDelivery Platform: OnlineScreenWest Initiative: 3 to 1 Digital Crowdfunding Initiative

Synopsis: After a bad breakup and too long on the road, Carolyn, a young Australian backpacker has completely lost her mojo. But that all changes when she reaches Argentina, land of the Tango. Here she not only discovers the wonders of the dance and the people, but also the vital importance of the right underwear!


APPENDICES

Chronicle Scarborough Social history interactive websiteStoryfire Co-Producers: Janine Boreland, Liz SiderisWebsite Developer: Craig Harman, Harmonic New MediaDelivery Platform: Social History InteractiveScreenWest Initiative: Digital Breakout Production Fund

Synopsis: Chronicle Scarborough is a community engagement program that enables people to share stories particular to their community, event or physical location. These stories are curated into a number of events, creating a strong sense of community and cultural identity. The project fosters cultural heritage, bringing to life hidden social history through a web of personalised and interactive local stories.

LINK AND HYPERLINK

Inner Quality1 x 8 minProducer: Ethan MarrellDirector: Ethan MarrellWriter: Ethan MarrellDOP: Jim FraterEditor: Ethan Marrell

Synopsis: The story of two rival street buskers: a Homeless Man and a Rich Kid. When jamming together they discover the rewards are greater.

The Fan1 x 10 minProducer: Emilia JolakoskaDirector: Antony WebbWriter: Ben SuttonDOP: David Le MayEditor: Antony Webb

Synopsis: Daniel leads a mundane life, until he discovers an unlikely new friend.


APPENDICES

Rat Tale1 x 10 minProducer: Lauren BrunswickDirector: David Vincent-SmithWriter: David Vincent-SmithDOP: Lewis PottsEditor: Aaron Moss

Synopsis: One afternoon a group of reckless friends receive a fatal lesson in the fragility of life.

Similar & Familiar2 x 7 min webisodesProducer: Wendi GrahamDirector: Noah NortonWriter: Noah Norton, David SmythDOP: Nick JacksonEditor: Noah Norton

Synopsis: Similiar & Familiar won’t rest until they have destroyed the peaceful town of Akerstrom, however for one reason or another the result of their plans always seem to leave the town better off.

Graduation Afternoon1 x 10 minProducer: Kate SeparovichDirector: Alex von HofmannWriter: Alex von HofmannDOP: Jason ThomasEditor: Beckett Broda

Synopsis: Its graduation afternoon and Jane is thinking about love, a career and her future. But everything is about to change.

The Legend of Gavin Tanner5 x 7 min webseriesProducer: Lauren ElliottDirector: Henry InglisWriter: Matthew LovkisDOP: David Le-MayEditor: Henry Inglis

Synopsis: The Legend of Gavin Tanner is about the misadventures of a small-time dealer hell-bent on making the world a better place.


APPENDICES

Appendix 3.0 Funding Commitments 2012/2013Amounts listed are funding commitments made during 2012/13 as at 30 June 2013 and may not be the final amounts contracted or paid.

Monetary amounts are rounded to the nearest dollar.

Project names are as at 30 June 2013 and may be working titles.

PRODUCTION INVESTMENT FUND

Recipient Project Format Amount

World Wide Mind Films Drift Feature 7,200

Filmscope Entertainment The Reckoning Feature 460,000

Arenamedia Paper Planes Feature 300,000

Unicorn Films and Gecko Films Driving Back From Dubbo Feature 400,000

Feisty Dame Productions Kill Me Three Times Feature 600,000

Robyn Kershaw Productions and Jason Byrne Productions Sucker Feature 401,856

Southern Light Films Son of a Gun Feature 650,000

Artemis International Who Do You Think You Are? 5.2 Documentary Series 123,034

Artemis International Who Do You Think You Are? Series 6 Documentary Series 34,000


APPENDICES

Artemis International Who Do You Think You Are? 6.2 Documentary Series 129,530

Sea Dog TV International The Search for the Ocean’s Super Predator Documentary 113,000

Mago Films Recipes That Rock Documentary Series 45,648

Artemis International Watch this Space Documentary 112,344

Artemis International Dream House Documentary Series 27,744

Prospero Productions Race for Beauty Documentary 91,000

Little Star Productions Comic Book Heroes Documentary Series 70,000

Electric Pictures Saving Somalia Documentary 75,248

Electric Pictures Stone Age Mystery Documentary 111,448

The Film Company The Reef Documentary 150,000

Prospero Productions The Real Jaws Documentary 117,603

Joined Up Films Z Special Unit Documentary Series 288,000

Prospero Productions Trucking Hell Documentary 78,011

Prospero Productions Outback Truckers 2 Documentary Series 391,309

Aquarius Productions The Frackman Documentary Feature 156,403

Showrunner Productions 72 Documentary Series 60,000

TOTAL 4,993,378


APPENDICES

ABC MATCHED PRIMETIME TELEVISION PRODUCTION FUND


Electric Pictures The War That Changed Us Documentary Series 600,000

Joined Up Films Who’s Been Sleeping In My House? Series 3 Documentary Series 346,247

Mago Films The Waler: Australia’s War Horse Documentary 165,925

Screentime Flying Miners Documentary Series 180,000

TOTAL 1,292,172

SUPERDOC FUND

Recipient Amount

TBC 1,600,000

TOTAL 1,600,000


APPENDICES

INDUSTRY ENHANCEMENT FUND

Recipient Project Amount

Vue DC Story Beach 100,000

Larrikin Entertainment Catalina Capital 100,000

Leapfrog Films Leapfrog Films 20,000

TOTAL 220,000

SLATE DEVELOPMENT INVESTMENT FUND

Recipient Amount

Taylor Media 100,000

Beyond West 100,000

WBMC 100,000

Filmscope Entertainment 96,500

Woss Group Films 100,000

ZAC Toons 100,000


APPENDICES

Artemis International 50,000

Electric Pictures 50,000

Joined Up Films 50,000

Mago Films 50,000

Prospero Productions 50,000

Sea Dog TV International 50,000

TOTAL 896,500

PROJECT DEVELOPMENT


Prospero Productions World War ll Underwater Documentary 14,500

Electric Pictures AsiaPacificPowerGame Documentary 14,000

Goalpost Taylor Bugle Boy Feature 15,000

Macgowan Films Confessions of a Superman Feature 10,000

WBMC The Noble Path Feature 15,000

Southern Light Films Son of a Gun Feature 25,000


APPENDICES

Media World Pictures Kal Television Series 14,170


Animazing Productions RaffiJamesandtheSummerGirls Television Series 25,000

Taylor Media Hot Brekky Television Series 24,825

Impian Films Shallows Feature 25,000

The Penguin Empire The Decayed Feature 10,000

Bellavision Media The Unlikeliest Hero Feature 12,500

Light Corporation Strange Objects Feature 25,000

Nakatomi Pictures Skool Nite Feature 13,000

Factor 30 Films Tide of Souls Feature 25,000

TOTAL 287,995

MATCHED DEVELOPMENT


Joined Up Films True Blue Documentary 22,500

Little Star Productions Comic Book Heroes Documentary 15,000


APPENDICES

Prospero Productions Jazz Hands Documentary Series 15,000

Bardwell Partners Songs from the Inside Documentary 24,510

Perfectly Adequate Henry & Aaron Television Series 18,000

Mago Films The Waler: Australia’s Forgotten Anzacs Documentary 5,000

Vue DC The Crystal Boomerang Feature 15,000


Joined Up Films Who’s Been Sleeping In My House? Series 3 Documentary Series 25,000

Feisty Dame Productions A Few Less Men Feature 25,000

TOTAL 190,010

EMERGENCY DEVELOPMENT



Little Star Productions Comic Book Heroes Documentary Series 25,000

TOTAL 45,000


APPENDICES

WEST COAST VISIONS DEVELOPMENT


Taylor Media The Children Feature 50,000

TOTAL 50,000

SHORT FORM PRODUCTION INITIATIVES

Recipient Project Amount

TBC Short Form Production Initiative 190,000

TOTAL 190,000


APPENDICES

FEATURE NAVIGATOR

Recipient Project/Fund Format Amount

Australian Writers Guild (WA) Screen Australia contribution to Feature Navigator 2012, 2013 39,615

Australian Writers Guild (WA) Feature Navigator 2012 6,331

Jules Duncan Bogan Wedding Feature 20,000

TOTAL 65,946

TELENAVIGATOR

Recipient Fund Amount

Australian Writers’ Guild (WA) Tele-Navigator 2012 38,068

TBC Tele-Navigator 2013 70,000

TOTAL 108,068


APPENDICES

INDIGENOUS PRACTITIONER DEVELOPMENT

Recipient Project / Description Format Amount

Spear Point Productions Business plan development 3,000

Ramu Productions Pre-development workshop for Broomerang 3,000

Goolarri Media Enterprises 14th National Remote Indigenous Media Festival, 2012 5,000

SB Films Satellite Boy - PIAF Launch, 2012 - Perth 3,500

Dennis Simmons Ace of Spades - travel to St Kilda Film Festival, 2013 - Melbourne 1,500

TOTAL 16,000

INDIGENOUS PROJECT DEVELOPMENT


Dale Tilbrook Serpent Time Television Drama Series 8,500

Ramu Productions Broomerang Television Drama Series 15,000


APPENDICES

Regina Lee Indigenous feature script assessments and consultation, 2013 3,000

TBC Indigenous Feature Development, Stage 2 40,000

Wawili Pitjas Big Spirit Country Documentary 15,000

Wawili Pitjas Sovereignty Documentary 15,000

TOTAL 96,500

INDIGENOUS PRODUCTION

Recipient Project / Description Amount

Spear Point Productions Indigenous Short Drama Production Initiative 150,000

TBC Indigenous Animation Series Initiative 185,000

TOTAL 10,302


APPENDICES

INDIGENOUS MARKET PARTNER INITIATIVE


TBC ScreenWest/National Indigenous Television (NITV) Documentary Development and Production Initiative 250,000

TOTAL 250,000

INDIGENOUS INDUSTRY SUPPORT


Dot West WA Indigenous Filmmakers (WAIF) meeting Chairman, January 2013 200

Joined Up Films ScreenWest/ABC Indigenous Mini Documentary Initiative, Seasons production management 7,102

Media Ring Contribution to Media Ring (Reconciliation Industry Network Group), June 2013 3,000

TOTAL 10,302


APPENDICES

DIGITAL PRODUCTION


Prospero Productions Enter the Detention Centre 19,500

TOTAL 19,500

DIGITAL DEVELOPMENT


WBMC Four Quarters 15,000

Storyfire The Village 5,000

The Workshop Productions 209 Days 15,000

TOTAL 35,000


APPENDICES

DIGITAL INNOVATION FUND


Periscope Pictures Beneath The Waves 5,000

Cubbihouse Entertainment Busy Port City 5,000

Showrunner Productions Cardboard Kingdom: Dreamtime 5,000

WBMC Hamlet P.I. 15,000

TBC Digital Innovation Fund - Production (Phase 2) 50,000

TOTAL 80,000

DIGITAL PROJECT AND PRACTITIONER DEVELOPMENT


X Media Lab Jeff Gomez Transmedia Masterclass, 2013 7,500

Various recipients X Media Lab 2013, Lead Up Events 3,000


APPENDICES

X Media Lab X Media Lab Conference 2013 50,000

TOTAL 60,500

LOCATIONS SCOUTING COMMISSIONS


17 South WA Location recce 772

Ampco Films Shijiazhuang Animation Fair Delegation, China 9,500

Sunset Hospital Location image presentation of Sunset Hospital 1,020

Sunset Hospital Maintenance and repair 2012/13 8,664

Ausfilm International Ausfilm membership fees 11,617

Michael Wrenn Industry support and planning, 2012 488

Clayton Jauncey WA Location recce 5,600

Gecko Films and Unicorn Films WA Location recce 1,217

David Dare Parker Photographer Location and marketing materials, 2012/13 1,500

International Astronaut Productions WA Location recces 19,940


APPENDICES

John Fairhead WA Road Safety Legislation Update, 2012/2013 3,000

Megan Riley WA Location recce 400

Professional Film Crew (WA) Professional Film Crew (WA) website enhancement 2,000

Susie Campbell Provision production support services 170

Various recipients WA Location packs, 2012/13 348

Sandbox WA Animated Shorts Screening Shanghai Cultural Festival, 2013 900

Tim Burns Productions WA Location recces 1,395

Various recipients Locations and film services materials, 2012/13 430

Various recipients Industry support, China Gateway Project 1,016

Various recipients WA Location recce 4,166

Various recipients Locations and film services support, 2012 367

Various recipients Australia China Film Industry Forum, June 2013 1,213

TOTAL 75,722


APPENDICES

TRAVEL - ESTABLISHED PRODUCTION COMPANY


Joined Up Films 27,281

Filmscope 16,258

Prospero Productions 35,000

Electric Pictures 26,744

Artemis International 35,000

TOTAL 140,283

TRAVEL ASSISTANCE


WBMC MIFF 37º South 2012, Melbourne 1,500

8th In Line MIFF 37º South 2012, Melbourne 1,500

Factor 30 Films MIFF 37º South 2012, Melbourne 1,500

Taylor Media MIFF 37º South 2012, Melbourne 1,500


APPENDICES

Lauren Cleary AFTRS Course: The Assistant Director 2012, Sydney 1,100

Woss Group Film Productions Red Dog DVD Launch, USA 6,250

SB Films Satellite Boy Premiere, Toronto Film Festival 2012, Canada 4,600

Siamese 7th Shijiazhuang City Animation Expo and Trade Show 2012, China 1,800

Raging Pixel Productions 7th Shijiazhuang City Animation Expo and Trade Show 2012, China 1,800

Symphonic Pictures 7th Shijiazhuang City Animation Expo and Trade Show 2012, China 1,800

Vue DC 7th Shijiazhuang City Animation Expo and Trade Show 2012, China 1,800

Daniel Wood SPAA Conference 2012, Melbourne 1,000

Jules Duncan National Pitch Competition, SPAA Fringe 2012, Sydney 1,500

Perfectly Adequate TV Network Series Pitch Meeting, Los Angeles 3,827

Eoin O’Briain National Screenwriters Conference 2013, Melbourne 1,000

Interior Castle National Screenwriters Conference 2013, Melbourne 1,000

Jules Duncan National Screenwriters Conference 2013, Melbourne 1,000

WBMC National Screenwriters Conference 2013, Melbourne 1,000


APPENDICES

Dan Osborn National Screenwriters Conference 2013, Melbourne 1,000

Factor 30 Films National Screenwriters Conference 2013, Melbourne 1,500

Alan Carter National Screenwriters Conference 2013, Melbourne 1,000

Liz Kearney Transmission - AACTA Awards nominee 2013, Sydney 1,000

Zak Hilditch Transmission - AACTA Awards nominee 2013, Sydney 1,000

Goolarri Media Aaron Ginsburg Q&A and TV Writing for Half Hour Comedy Workshop 2013, Perth 1,000

DavisonBros. Productions Pixar Artist’s Masterclass 2013, Melbourne 1,000

Tenille Kennedy Odin’s Eye Internship, Cannes Film Festival Market 2013, France 4,000

Christopher Hetherington MIPCOM 2012, France 6,250

Digital Media Arts MIPCOM 2012, France 4,000

Seaflower Holdings Beijing Conference and Forum 2012, China 1,000

Impian Films Film London Production Finance Market 2012, UK 5,250

Zac Toons American Film Market 2012, USA 4,716

WBMC Ausfilm Week and American Film Market 2012, USA 4,795

Vue DC Ausfilm Week and American Film Market 2012, USA 6,250


APPENDICES

Mago Films World Congress for Science and Factual Producers 2012, USA 5,000

WBMC SPAA Conference 2012, Melbourne 1,500

Zac Toons SPAA Conference 2012, Melbourne 1,500

Feisty Dame Productions SPAA Conference 2012, Melbourne 1,500

Media World Pictures SPAA Conference 2012, Melbourne 1,500

Mediabox Productions Asian Television Forum 2012, Singapore 2,460

WBMC Screen Singapore 2012, Singapore 2,436

Vue DC Business travel 2012, China 5,480

WBMC Interaction 13 2013, Canada 3,620

Zac Toons Kidscreen Summit 2013, USA 4,796

Nicholas Dunlop AIDC 2013, Adelaide 1,000

Bardwell Partners AIDC 2013, Adelaide 1,500

Christopher Hetherington AIDC 2013, Adelaide 1,500

Spear Point Productions AIDC 2013, Adelaide 1,500

Juicy Films AIDC 2013, Adelaide 1,500

Mago Films AIDC 2013, Adelaide 1,500


APPENDICES

Jag Productions AIDC 2013, Adelaide 1,500

Vue DC Business travel March 2013, China 6,220

Storyteller Digital MIPTV 2013, France 6,106

Showrunner Productions MIPTV 2013, France 5,411

Feisty Dame Productions Cannes Film Festival Market 2013, France 6,250

Impian Films Cannes Film Festival Market 2013, France 6,250

CM Film Productions Cannes Film Festival Market 2013, France 6,250

WBMC Cannes Film Festival Market 2013, France 4,444

Taylor Media Cannes Film Festival Market 2013, France 6,250

Christian Horgan Enterprises Cannes Film Festival Market 2013, France 4,000

Maya Kavanagh Cannes Film Festival Market 2013, France 4,000

Respiro Films Eleven Thirty - St Kilda Film Festival 2013, Melbourne 360

Factor 30 Films Producer Collaboration Sessions, AusFilm 2013, USA 6,250

Vue DC Producer Collaboration Sessions, AusFilm 2013, USA 6,250

Taylor Media Producer Collaboration Sessions, AusFilm 2013, USA 6,250

Filmscope Producer Collaboration Sessions, AusFilm 2013, USA 6,250

Woss Group Film Productions Producer Collaboration Sessions, AusFilm 2013, USA 6,250


APPENDICES

Vue DC Australian-China Film Industry Forum: Australian Delegation 2013, Shanghai 4,100

CM Film Productions Australian-China Film Industry Forum, Australian Delegation 2013, Shanghai 4,100

Zac Toons Australian-China Film Industry Forum, Australian Delegation 2013, Shanghai 2,030

WBMC Australian-China Film Industry Forum, Australian Delegation 2013, Shanghai 1,900

Melbourne International Film Festival

MIFF 37° South - Post Script and Direct 2013, Melbourne 2,350

Stuart Campbell MIFF 37º South - Post Script and Direct 2013, Melbourne 1,500

Renee Petersen MIFF 37º South - Post Script and Direct 2013, Melbourne 1,500

Paul Komadina MIFF 37º South - Post Script and Direct 2013, Melbourne 1,500

Ben Young MIFF 37º South - Post Script and Direct 2013, Melbourne 1,500

Antony Webb MIFF 37º South - Post Script and Direct 2013, Melbourne 1,500

Aaron McCann MIFF 37º South - Post Script and Direct 2013, Melbourne 1,500


APPENDICES

Jules Duncan MIFF 37º South - Post Script and Direct 2013, Melbourne 1,500

Turbine Midnight CCG Expo, Shanghai Animation Market Delegation 2013, Shanghai 10,000

Zac Toons CCG Expo, Shanghai Animation Market Delegation 2013, Shanghai 10,000

Vue DC CCG Expo, Shanghai Animation Market Delegation 2013, Shanghai 10,000

TOTAL 260,801

SKILLS DEVELOPMENT - PROFESSIONAL PLACEMENTS, ATTACHMENTS AND MENTORSHIPS


Annabelle Fouchard Producer Attachment to Thomas Mai at FanDependent, Fox Studios, Sydney 3,000

Bridget Curran SBS Online Digital Internship, SBS Studios, Sydney 20,000

Barbara Connell 3 to 1 Digital Crowdfunding Initiative, Script Mentor 2,499

TOTAL 25,499


APPENDICES

COURSES / WORKSHOPS


Various Writing Hour Long Drama For TV and Writing Half Hour Comedy for TV workshops, January 2013 1,598

Various Digital Workshop, February 2013 705

Various Directing Masterclass, February 2013 1,678

Venn Producers Networking Event, February 2013 218

Various Inspired Leadership and the Role of the Creative Producer Seminar, June 2013 133

Various Film Financing Forum, Cinefest OZ, August 2013 22,533

TOTAL 26,865

RESOURCE ORGANISATIONS


Australian Writers’ Guild (WA) 43,000

Australian Director’s Guild (WA) 6,000


APPENDICES

Film & Television Institute 347,520

Film & Television Institute FTI Strategic Review 10,000

Film & Television Institute WA Screen Awards, 2013 25,000

TOTAL 431,520

INNOVATION FUND


ReAngle Pictures Girt by Sea Documentary 50,000

TBC ABC Short Arts Documentary Initiative 50,000

TOTAL 100,000

POST PRODUCTION AND PROMOTION FUND


Cinema Des Antipodes Satellite Boy, French subtitling costs, 2013 Feature 2,961

Cinema Des Antipodes Drift, French subtitling costs, 2013 Feature 2,961

Mat De Koning and Brooke Silcox Meal Tickets Documentary 50,000


APPENDICES

Various CCG Expo Shanghai Animation Market Delegation 2012/13, translation and event costs, Shanghai 9,500

TOTAL 65,422

AUDIENCE AND INDUSTRY ENGAGEMENT PROGRAM


Revelation Film Festival Revelation Perth International Film Festival 2013 55,000

Flickerfest Flickerfest 2013 7,000

Association of Screen Professionals PAC Script Lab 2013 8,000

Geographe French Australian Festivals CinefestOZ 2013 55,000

RTRFM We the Keepers, Music Documentary Festival 2013 10,000

National Film & Sound Archive Black Screen WA Tour 2013, Pilbara Region 5,000

Australian Teachers of Media (ATOM) ATOM Awards and WA Tour 2013/14 5,000

TOTAL 145,000

TOTAL 2012/13 FUNDING COMMITMENTS 12,112,983


APPENDICES

FRONT COVER(From the top, left to right)

These Final Hours; 8th in Line Productions Pty Ltd. Photo by David Dare Parker.

Yagan, Spear Point Productions.

An Accidental Soldier, Goalpost Taylor Pty Ltd.

Drift, World Wide Mind Films.

Serangoon Road, Great Western Entertainment.

The Turning, Arena Media Pty Ltd.

Australia: Life on the Edge, Prospero Productions.

Desert War, Electric Pictures.

Image Credits

PAGE 4 An Accidental Soldier, Goalpost Taylor Pty Ltd.

PAGE 5

Zak Hilditch holding AACTA Award, AACTA Awards 2013.

PAGE 6 The Bombing of Darwin: An Awkward Truth, Artemis International Pty Ltd.

PAGE 7 Desert War, Electric Pictures

PAGE 21 Satellite Boy, SB Films Pty Ltd.

PAGE 25 These Final Hours, 8th in Line Productions Pty Ltd. Photo by David Dare Parker.

PAGE 26 Ngurra Wanggagu, from the Seasons Indigenous mini documentary initiative.

PAGE 27 Yagan, Spear Point Productions Pty Ltd.

PAGE 28 Factory 293, Meaning Maker.

PAGE 29 Get Your Shorts On! event at Revelation Perth International Film Festival. Photo by Alison Rodrigues.

PAGE 31 The Turning, Arena Media Pty Ltd.

148 SCREENWEST ANNUAL REPORT | 2012 /2013

Documents

ANNUAL REPORT 2012/2013 - Screenwestscreenwest.wa.gov.au/wp-content/uploads/2016/05/... · and March of 2013. The film, which stars Ewan McGregor, Brenton Thwaites and Alicia Vikander