Australian Film Festival Annual Report - Pete Tidemann

Australian Film Commission Annual Report 2001/02 1

The Australian Film Commission (AFC) is the Australian government’s agency for supporting the development of

film, television and interactive digital media projects and their creators. The AFC focuses its efforts on the

independent production sector – companies and individuals who are not affiliated with broadcasters or major

distribution and exhibition companies.

The AFC maintains offices in Sydney, Melbourne and Brisbane, and provides resources, mainly in the form of finance

and information, to people, projects, organisations and events for the purpose of development.

The Annual Report responds to the six objectives of the Corporate Plan, which specify the ways these resources are to

be delivered:

1. resource and facilitate the development of outstanding Australian film, television and interactive digital media

projects.

2. resource and facilitate the career development of writers, directors and producers who have the potential to make

a significant contribution in their chosen fields.

3. resource and facilitate the participation of Indigenous Australians in the Australian film, television and interactive

digital media industries.

4. resource and facilitate the participation of Australian practitioners and interactive digital media producers and

their programs in the global marketplace.

5. support activities and events which:

• provide the wider Australian community, including regional Australia, with opportunities to access screen

activities, and

• are critical to the development of the community of Australian filmmakers and interactive digital media

producers.

6. collect, analyse and disseminate high-quality information about the financing, production and performance of

Australian films and films made in Australia, and develop, and participate in the development of, industry policy

in consultation with stakeholders.

The AFC also administers the government’s Official Co-production Program and revenues from projects supported by

the Commercial Television Production Fund.

The Corporate Plan is available on the AFC website – www.afc.gov.au

ADOPTION OF REPORT OF OPERATIONS

The Commissioners of the Australian Film Commission are responsible under section 9 of the Commonwealth Authorities

and Companies Act 1997 for the preparation and content of a Report of Operations in accordance with Orders issued by

the Minister for Finance. The following Report of Operations was adopted by resolution of the Commission on

3 September 2002.

Maureen Barron

Chair

Australian FilmCommission

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ABA Australian Broadcasting Authority

AFC Australian Film Commission

AFI Australian Film Institute

AFTRS Australian Film Television and Radio School

AICC Australia International Cultural Council

ANAO Australian National Audit Office

ASDA Australian Screen Directors Association

ASL average staffing level

ATO Australian Taxation Office

ATOM Australian Teachers of Media

ATSI Aboriginal and Torres Strait Islander

ATSIC Aboriginal and Torres Strait Islander Commission

AWG Australian Writers Guild

CAAMA Central Australian Aboriginal Media Association

CICP Commission for International Cultural Promotion

CTPF Commercial Television Production Fund

d director

DCITA Department of Communications, Information

Technology and the Arts

DVC digital video camcorder

FACTS Federation of Australian Commercial Television

Stations

FAQ frequently asked question

FD Film Development (AFC)

FFC Australian Film Finance Corporation Limited

FTI Film and Television Institute (WA)

GATS General Agreement on Trade in Services

GST Goods and Services Tax

HDTV high-definition television

ICD Industry & Cultural Development Unit (AFC)

IDI Indigenous Drama Initiative

MEAA Media, Entertainment and Arts Alliance

MIFED a major market for sale of features rights, held in

Milan each year

MILIA a major event for the interactive digital media

content market, held in Cannes each year

MIPCOM one of two major markets for sale of TV rights,

held in Cannes each year

MIP-TV the second of the two major markets for sale of

TV rights, held in Cannes each year

MPDAA Motion Picture Distributors Association of

Australia

NESB non-English speaking background

NIDA National Institute of Dramatic Art

NIDF National Indigenous Documentary Fund

NIFWP National Indigenous Feature Writers Program

NIMAA National Indigenous Media Association of

Australia

NSWFTO New South Wales Film and Television Office

p producer

PBS Portfolio Budget Statement

PFTC Pacific Film and Television Commission

PDF Portable Document Format

PR&I Policy, Research & Information Branch (AFC)

SAFC South Australian Film Corporation

SBSI SBS Independent

SCA Screen Commerce Australia

SDA Screen Development Australia

SNA Screen Network Australia

SNIP Screen Network Information Providers

SPAA Screen Producers Association of Australia

SWG Statistics Working Group

VCA Victoria College of the Arts

w writer

WIFT Women in Film and Television

WTO World Trade Organization

Abbreviationsand Acronyms


Letter from the Chair 4

Governance Statement 6

Commissioner Profiles 8

Executive Overview 14

Organisation Chart as at 30 June 2002 18

Operations Reports

Film Development 20

Marketing 31

Industry and Cultural Development 36

Policy, Research and Information 43

Finance and Administration 51

Official Co-production Program 57

Statutory Reports 59

Appendices

Appendix 1 – Enabling Legislations 66

Appendix 2 – Awards Won by AFC-funded Films 68

Appendix 3 – AFC-funded Australian Films at International Festivals 72

Appendix 4 – Publications 80

Appendix 5 – Access and Equity 84

Appendix 6 – Performance Overview of ICD-funded Events and Activities 87

Appendix 7 – Applications Statistics 89

Appendix 8 – Assessors and Consultants 90

Appendix 9 – Industry Assistance 91

Financial Statements 117

Independent Audit Report 118

Statement by Commissioners 119

Statement of Financial Performance 120

Statement of Financial Position 121

Statement of Cash Flows 122

Schedule of Commitments 123

Schedule of Contingencies 123

Notes to and Forming Part of the Financial Statements 124

Index 144 CO

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The Hon Rod KempMinister for the Arts and SportParliament HouseCanberra

Dear Minister

It is my pleasure to present the AFC’s Annual Report for the year ended 30 June 2002, my fifth year asChair.

2001/02 saw the AFC consolidate and build on the changes to its staffing and programs effected over thelast two years, in particular its project and professional development funding programs and assessmentprocedures. Meanwhile, films and filmmakers supported by the AFC continued to make an impact. RabbitProof Fence (which received development support from the AFC) was released to critical acclaim andachieved significant commercial success; an AFC-funded animation Holding Your Breath was one of only15 films selected for the Shorts Competition at the Cannes International Film Festival; filmmaker Ivan Sen,received the Premiere First Movie Award at the prestigious Berlin International Film Festival for his AFC-supported feature Beneath Clouds; and Black and White (with script development support by the AFC)opened the Sydney Film Festival.

The government’s increased support to the industry announced by Senator Alston in September 2001(which comes into effect for the AFC in the 2002/03 financial year) recognised that the development workof the AFC over its 27 years had played a significant role in the Australian industry's success in recentyears. The additional $3 million in 2002/2003 and further $2 million in 2003/2004 will allow the AFC todirect more appropriate levels of funding to its existing programs and, in particular, script andprofessional development.

The AFC has also developed guidelines for its new Broadband Production Initiative based on a survey ofexisting activity and consultations with relevant industry organisations and key players. The AFC will useits allocated $2.1 million over three years to seed the development of innovative broadband content in theareas of youth, children and education. The AFC conducted seminars in all capital cities to launch the newfund and increase interest in the possibilities of broadband creative content production which wereattended by over 900 people. The AFC also published a major report looking at broadband activity inAustralia with an emphasis on case studies.

Australian films and Australian filmmakers performed strongly last year, both locally and internationally.Australian films enjoyed the highest ever return in dollar terms at the Australian box office in 2001 – anincrease from the previous record set the year before – and maintained market share against asubstantial overall increase in box office figures. Topping the list was Moulin Rouge, the third highestgrossing Australian film of all time (after Crocodile Dundee and Babe).

Australians and Australian films set records for international festival entries at the Berlin and Sundancefestivals and received Golden Globes, BAFTAs and a record 12 Oscar nominations. Australian directors,cinematographers and actors continue to make an impact internationally.

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Foreign production levels in Australia also increased, assisting Australian employment and infrastructuredevelopment. This trend is likely to continue with the government’s new tax rebate scheme comingonline. In the last year, the AFC undertook a major survey of foreign film and television drama productionin Australia, focusing on Australia as a production destination, employment patterns and the experienceof Australian crews working on foreign productions. This research, released in July 2002, clearly indicatesthat a significant proportion of Australian crew and infrastructure providers working across foreign andAustralian productions rely on foreign production to sustain their businesses.

Ongoing levels of foreign production can only be sustained where indigenous film industries havereached and can maintain a high level of sophistication and capability. With growth in the foreignproduction sector likely, careful management is needed to reap the economic benefits withoutjeopardising the cultural benefits Australians derive from the Australian industry. Furthermore, aweakening of the indigenous industry will put at risk many of the qualities that attract internationalproduction here in the first place.

During the last year Louise Staley’s term as Deputy Chair concluded on 30 April 2002 and Paul Hamra wasappointed Deputy Chair for three years. Bruce Moir and Kris Noble were both reappointed asCommissioners for a further three years and John Polson resigned due to international workcommitments.

Maureen BarronChair3 September 2002

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INTRODUCTIONThe AFC has established a number of governance

practices and procedures designed to facilitate

effective accountability, disclosure and

transparency.

The legal framework for these practices is set out in

the Australian Film Commission Act 1975 (the AFC

Act) and the Commonwealth Authorities andCompanies Act 1997 (the CAC Act). This legal

framework is supplemented by a number of other

internal protocols and measures which are

consistent with the ANAO publication, GovernanceArrangements for Commonwealth GovernmentBusiness Enterprises (June 1997).

THE COMMISSIONERSMembers of the Commission are appointed by the

Governor-General on the nomination of the Minister

for Communications, Information Technology and

the Arts and all Commissioners serve in a non-

executive capacity.

Under section 16 of the AFC Act, Commissioners can

be appointed for a period not exceeding five years.

Whilst re-appointment is permissible under this

provision, current government policy is for terms of

appointment to be generally of three years duration

or less.

The Chief Executive is appointed by the Commission,

but is not a member of the Commission.

The Commission is responsible for the governance

practices of the AFC. As part of the development and

training of Commissioners and senior management,

a half-day governance workshop was conducted in

December 2001.

Commissioners’ attendance at Commission and

Commission Audit Committee meetings is set out on

page 13.

Commissioners are paid such remuneration and

allowances as determined by the Remuneration

Tribunal, out of the monies of the AFC.

ROLE OF THE COMMISSIONThe Commission is responsible for performing its

functions and exercising its powers consistent

with the AFC Act.

The Commission sets the key objectives and

strategies through a Corporate Plan, reviewed

annually, which covers the following two-year

period.

COMMISSION AUDITCOMMITTEEA Commission Audit Committee has been

established to assist the Commission in the

discharge of its responsibilities.

During 2001/02 the Commission Audit Committee

consisted of Louise Staley (Chair, to 30 April 2002),

Maureen Barron, Bruce Moir and Kris Noble.

The Commission Audit Committee provides a

forum for communication between the full

Commission, senior management, and the AFC’s

internal and external auditors.

Pursuant to the Charter of the Commission Audit

Committee, the Committee must satisfy itself that

the internal management and accounting controls

are operating effectively, review the risk

management strategy, consider external audit

reports, monitor management’s implementation

of recommendations and regulatory compliance.

Attendance at Commission Audit Committee

meetings is on the invitation of the Committee.

The meetings are attended by the Chief Executive,

the Director, Finance & Administration and the

internal and external auditors.

GovernanceStatement


CONFLICTS OF INTERESTCommissioners who may have an actual, potential

or perceived conflict of interest in a matter under

consideration by the Commission or the

Commission Audit Committee are required to

make the nature of that interest known and, if

considered appropriate by the Chair or the

Commission, must not be present while the matter

is being considered. In such circumstances,

Commissioners do not exercise their vote.

Disclosure of such interests is recorded in the

minutes of the meeting.

EXTERNAL AUDITUnder section 8 of the CAC Act, the Auditor-

General is the external auditor of the AFC.

INTERNAL AUDITThe AFC maintains an internal audit function,

which reports to the Commission Audit

Committee. The current internal auditor is KPMG.

The role of the internal auditor includes

monitoring of the risk management plan,

assurance regarding the accuracy of financial and

management information, asset protection,

regulatory compliance and fraud control.

The audit strategies of the internal auditor are

subject to review by the Commission Audit

Committee on an annual basis. The internal audit

report of operations is reviewed twice a year by

the Commission Audit Committee.

RISK MANAGEMENTThe Commission is responsible for risk

management and monitors operational and

financial risks through the Commission Audit

Committee, with assistance from the internal

auditor.

The Commission is considering ways of enhancingthe current risk management framework to ensurean even greater degree of risk management andcontrol.

8 Commissioner Profiles

MAUREEN BARRON(Reappointed as Chair for three years to 1 November 2003)

Maureen Barron is General Manager Corporate forSouthern Star Group Limited. She has extensivebusiness expertise specialising in theentertainment industry.

Maureen has been a member of the CopyrightTribunal and is currently a member of theCopyright Law Review Committee and the Ministerfor Trade’s WTO Advisory Group.

LOUISE STALEY(Appointed for three years to 30 April 2002; appointed Deputy

Chair 10 August 2000)

Louise Staley runs her own regional brandingcompany based in south-west Victoria. Hercompany also undertakes specialist equityresearch for a leading stockbroker in Melbourne.Prior to starting her own business, she was aportfolio manager with a major fundsmanagement company.

Louise is a director of the Australian Institute ofFamily Studies where she is Chair of theAdministration and Finance Committee. She hasprofessional experience in financial and strategicmanagement of a variety of organisations andbusinesses. Louise was also Chair of the AFC’s AuditCommittee from 19 August 1999 to 30 April 2002.


PAUL HAMRA(Appointed Deputy Chair for three years to 25 June 2005)

Paul Hamra has worked in media, politics andcommunication for 18 years.

Paul’s early career included short periods insuburban press and radio, followed by a two-yearperiod with the then Liberal Leader of the SouthAustralian Opposition, the Hon John Olsen. Therefollowed a career in public relations consultancyworking for Adelaide-based GW Holden &Associates and then Michels Warren, a nationalfirm, based in South Australia.

In 1992 Paul opened Hamra Management inAdelaide and expanded the organisation toSydney and Melbourne over the following 10 years,advising his clients in the area of communication.Hamra Management was sold to Young & RubicamAdvertising in 2000 and Paul now works undercontract to manage the company as a subsidiaryof Young & Rubicam.

BRUCE MOIR(Reappointed for three years to 25 June 2005)

Bruce Moir has worked in Australian film andtelevision for 30 years. He is currently working as aconsultant in media-related areas. He was theManaging Director of Film Australia between 1989and 1997. Prior to that he was a producer of dramaat the South Australian Film Corporation (SAFC), aterm which included his production of the Logie-Award-winning mini-series, The Shiralee. Hisearlier career involved some 15 years in thedocumentary field, including directing, editingand producing, and five years as ExecutiveProducer of documentary/sponsored programs atthe SAFC. His National Film Board of Canada/FilmAustralia documentary co-production, Mr SymbolMan, won the AFI Award for Best Documentary in1975.

Bruce has served on the board of the SAFC andtwice on the Screen Producers Association ofAustralia (SPAA) Council, representing the featuredivision and the documentary sector. He wasappointed to the board of the AustralianMultimedia Enterprise Ltd investment bank when itwas established in 1995.

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KRIS NOBLE(Reappointed for three years to 25 June 2005)

Kris Noble is the Director of Drama and of NineFilms and Television at the Nine Network.

With 30 years experience in the film and televisionindustry, Kris has built a formidable reputation indrama and entertainment. From his beginnings asa cameraman to his present day roles in executiveproduction, his practical and creative abilitytogether with his extensive managementexperience have made him one of the industryleaders.

ROLF DE HEER(Reappointed for three years to 12 June 2004)

Rolf de Heer is a writer, producer and director offeature films. His first film, Tail of a Tiger (1984),gained both critical and commercial success. BadBoy Bubby (1993) won the Grand Special Jury Prizeand the International Film Critics Prize at the 1993Venice Film Festival, as well as four AFI awards.

The Quiet Room was selected for OfficialCompetition at the 1996 Cannes International FilmFestival as was Dance Me to My Song in 1998, whileThe Tracker marks a return to Venice in 2002. Rolfis currently working on Alexandra’s Project, histenth feature film.


HELEN LEAKE(Reappointed for three years to 2 May 2004)

Helen Leake’s knowledge of film, writing skills andbusiness experience has given her a successfulcareer in the Australian film industry as a featurefilm producer. Her credits include Black and White(2002) and Heaven’s Burning (1997).

ANTONIO ZECCOLA(Appointed for three years to 31 August 2003)

Antonio Zeccola is owner and Managing Director ofPalace Cinemas and Palace Films and has beeninvolved in the film industry for over 30 years.

Palace has grown to become one of Australia’sleading independent cinema operators, and with60 screens spanning 20 locations across five states,it is undoubtedly Australia’s most successfularthouse cinema company.

Antonio’s roots lie in pioneering the distribution offoreign films in Australia. Palace has alsodemonstrated its commitment to local product,with great support of Australian film through thedistribution of such titles as Chopper, The Sound ofOne Hand Clapping, Lantana, Dance Me to MySong and nine-times AFI-nominated film Head On.Palace Films also distributes international titlessuch as the Academy-Award-winning film SlingBlade and Academy-Award-nominated Bread andTulips. As well as his association with Italy’s IstitutoLuce and RAI Trade, Antonio is credited asExecutive Producer of Australian Rules which is oneof a ‘five Australian films’ deal to be distributed inEurope.


JOHN POLSON(Reappointed for three years to 2 May 2004;

resigned 2 April 2002)

John Polson has been a Sydney-basedactor–director since 1983, starting in the theatre.He has won and been nominated for numerousacting awards for the mini-series Vietnam andBarlow and Chambers, and the feature films BloodOath, The Sum of Us, Idiot Box, The Boys andothers. In 1990 he played Hamlet for the BellShakespeare Company.

John made his feature directorial debut in 1999with Siam Sunset.

John Polson is the founder (1993) and FestivalDirector of Tropfest, the world’s largest short filmfestival. In 1997 he received the Byron KennedyAward for his contribution to the Australian filmindustry.

Table 1: Commission Meetings Held 2001/02 and Commissioner Attendance

Maureen Barron, Chair " " " " " " "

1Louise Staley, Deputy Chair " " " " " " "

2Paul Hamra, Deputy Chair

3Bruce Moir " " " " " " "

4Kris Noble " " " " " " "

Rolf de Heer " " " " " " "

Helen Leake " " " " " " "

Antonio Zeccola " " " " " " "

5John Polson

✔ Present ● Apologies – received for all absences.

1 Louise Staley’s three-year term expired on 30 April 2002

2 Paul Hamra was appointed as Deputy Chair on 25 June 2002 for a term of three years

3 Bruce Moir’s term expired on 30 April 2002; renewed 25 June 2002 for a second term of three years

4 Kris Noble’s term expired on 30 April 2002; renewed 25 June 2002 for a second term of three years

5 John Polson was on approved absence from 30 September 2001 until his resignation on 2 April 2002

Table 2: Audit Committee Meetings Held 2001/02 and Commissioner Attendance

Maureen Barron " "

Louise Staley, Chair " "

Bruce Moir " "

Kris Noble " "

✔ Present • Apology

16/8

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5/9/

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16/1

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11/12

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5/2/

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20/3

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30/4

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KIM DALTON Kim Dalton has worked in the film industrysince 1974, first in Adelaide and Sydney, andthen in London. In 1980 he returned to Australiato work in Melbourne as an independentproducer and from 1984 to 1987 as GeneralManager of OPENChannel, during which time heco-produced the award-winning televisionmini-series, In Between.

In 1987 Kim formed his own productioncompany, Warner Dalton Pty Ltd, and co-produced the mini-series The Magistrate for theABC and UK and Italian broadcasters and atelemovie, Street Angels, for the ABC. In 1992Kim became the FFC’s Melbourne InvestmentManager and was involved in the financing ofnumerous television projects and feature filmsincluding Muriel’s Wedding and The Adventuresof Priscilla, Queen of the Desert. Following abrief period as General Manager of theAustralian Children’s Television Foundation in1994, Kim joined Beyond International Limitedin February 1995 as Manager of Acquisitions andDevelopment.

During his four and a half years at Beyond Kimwas involved in the development, financingand production of a large number of televisionand feature film projects. He was ExecutiveProducer of the children’s television series Li’lMonsters and the award-winning naturalhistory series Wild Ones. He has also beeninvolved in the acquisition and internationalrelease by Beyond of a number of feature filmsincluding the AFC-funded Love and OtherCatastrophes.

Kim joined the AFC as Chief Executive in August1999.

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TThe AFC’s work is central to the health andsuccess of the Australian film, televisionand digital interactive content production

industries. The AFC is integrally involved in thedevelopment of new projects through its scriptinvestment programs; practitioners through itsprofessional development programs; and morebroadly the industry itself through its funding offilm culture events, activities, organisations andpublications and through its policy, informationand research work.

In 2002/2003 the AFC will receive an additional$3 million and a further $2 million in 2003/2004as part of the government’s increased support tothe industry announced by Senator Alston inSeptember 2001. These additional funds will allowthe AFC to direct more appropriate levels offunding to its existing programs and inparticular, script and professional development.

The AFC has also developed guidelines for its newBroadband Production Initiative. The initiative ispart of the Broadband Content Fund announcedin 2001 by Senator Alston. The AFC will use itsallocated $2.1 million over three years to seed thedevelopment of innovative broadband content inthe areas of youth, children and education. Theseprojects will be hosted as a broadbandcomponent on ABC On line.

The AFC is confident this initiative will have anumber of important outcomes: ∑• six landmark broadband projects which will

challenge the existing boundaries of themedium and provide a showcase forAustralian talent in the area of interactivedigital content production;

• improve understanding of potential businessmodels;

• bring together the presently disconnectedcommunities of film and television and

interactive digital content producers; and • improve the connections between Australia’s

educational resource developers and thecreative expertise of Australia’s film andtelevision community.

A series of seminars was held in all capital citiesto launch the new fund and discuss anddemonstrate some of the possibilities of contentproduction for broadband delivery – these wereattended by over 900 interested practitioners.

In recent years the role of foreign production inAustralia has been controversial and surroundedby conflicting claims and arguments. Against thebackground of this debate, the AFC decided toundertake a research project looking at theconsequences for the local industry of the growthof the foreign production sector. The researchfocused on employment patterns in the industryand crew experiences and attitudes. The findingswere released in a report entitled Foreign Filmand Television Drama Production in Australia.Based on a survey of 160 Australians with recentexperience on foreign productions and interviewsconducted in Los Angeles with US producers whohad recently filmed in Australia, the researchhighlighted the extent to which the workpractices, attitudes and quality of Australiancrews and creative talent influences the decisionto film in Australia.

This report seeks to illuminate the relationshipbetween domestic film and television productionand international projects attracted fromoffshore. The crew survey results did not supportthe view that there were two separate industrieswithin the Australian production industry ie onegroup who works mainly on foreign productionsand another who works on local productions. Itconcludes that careful management is needed toreap the economic benefits of foreign production

16 Executive Overview

without jeopardising the strength of the local

production industry. A healthy local production

industry provides great cultural benefits to all

Australians and is the foundation on which the

foreign production sector can continue to grow.

In 2001, the AFC and ScreenSound Australia

received funding from the National Council for

the Centenary of Federation to organise a

regional film festival tour ‘Big Screen 2001’. The

tour, which travelled to 22 regional centres and

screened a selection of Australian features,

documentaries and short films, proved so

popular that the AFC was given a special grant by

the Minister for the Arts and Sport to run a

second ‘Big Screen 2002’. Touring 18 regional

centres, this showcase of contemporary

Australian cinema and classic films from

ScreenSound’s collection is again proving a great

success among regional audiences. \The AFC’s

Embassy Roadshow, funded by the Australia

International Cultural Council is also in its second

year and proving very popular with Australia’s

international embassies. This makes available a

collection of recent Australian feature films and

shorts for programming as Australian film events

by Australian diplomatic missions. By June 2002,

18 countries had enjoyed a new Australian film

event.

The AFC’s Indigenous Unit curated a collection of

films written and directed by Indigenous

filmmakers as a gift by the Australian

government to the French government to

commemorate the bicentenary of Nicholas

Baudin’s journey to Australia. Screenings of the

films in Paris were extremely well attended. The

Indigenous Unit also provided production

funding to its first short feature during the year.

Wild Turkey has been written and will be directed

by Steven McGregor.

The film and television industry is integratedacross sectors with both economic and culturaloutcomes. It is important that governmentcontinues to monitor and respond to thechanging nature of our industry and the AFC isproud of its role in assisting government to dothis by the provision of ongoing data, analysisand policy development.

Australian content regulation continues todominate the AFC’s policy agenda. This year, theABA reviewed the Australian Content Standard forFree-to-air Television. The Standard plays acrucial role in supporting our production sectorand delivering cultural outcomes to Australianaudiences. It is important that it continues tooperate effectively and in a manner whichresponds to the changing nature of thebroadcasting market.

In addition to making a submission to the review,the AFC, in conjunction with specialist researchcentre Network Insight and legal firm AllensArthur Robinson, held a workshop on the review– Changing Standards for Australian Content onTV. The workshop raised greater awareness anddebate of the issues at stake under the currentreview. Speakers at the workshop represented awide range of perspectives from across thetelevision sector. The workshop was distinguishedby a frank exchange of views and particularlyencouraging was the common ground evidentbetween the broadcasters and the productionsector. The AFC subsequently published atranscript of the workshop proceedings whichwas launched at the ABA’s annual conference.

The AFC has also made representations to DCITAand the Department of Foreign Affairs and Tradeon Australia’s negotiating position in the currentWTO round, its negotiations on a free tradeagreement with Singapore and its forthcoming


free trade agreement with the US. These areissues which will continue to engage the film andtelevision industry and the AFC.

During 2001/02, several major additions weremade to the AFC’s website www.afc.gov.au. Theseincluded additions to the AFC’s Festival Profiles –now an indispensable tool for filmmakersplanning their international festival strategy –together with an online version of the AFC’sflagship publication Get the Picture. This containsa comprehensive collection of data on the film,television and interactive digital media industriesin Australia. Its extensive data sets are nowupdated on an ongoing basis. Since 2001, the AFChas also been progressively publishing itsproduction databases in searchable formatonline. These now include over 1,900 titlescovering feature films since 1990, TV drama since1990, documentaries since 1995 and shorts since1998.

The AFC’s scope of activities is immensely diverse.The continued success of Australian films locallyand internationally, the high rating performanceof Australian television drama anddocumentaries and the challenging work ofAustralia’s digital interactive content producersis a testament to the importance and therelevance of these activities.

Kim Dalton, Chief Executive

18 Executive Overview

EXECUTIVEChief ExecutiveKim Dalton

Executive AssistantPenny Tucker

Special ProjectsJeremy Bean

Industry & Cultural Development (ICD)Manager, Industry & Cultural DevelopmentSabina Wynn

ICD Project OfficerHelen Lovelock

ICD Administrative SupportSally Tulloch

LegalManager, Legal AffairsCatherine Waters

Legal CoordinatorRyan Loewy

Legal SecretaryMalina Reeves

MarketingManager, MarketingSabina Finnern

Marketing Officer, Industry Development (Melbourne)Frances Leadbeter

Marketing Officer, InformationKirsten Krauth

Marketing AssistantFiona Cleverly

Embassy Roadshow Coordinator (p/t)Brett Houghton

FILM DEVELOPMENT (FD)Director, Film Development (Melbourne)Carole Sklan

Deputy Director, Film Development Margaret Palmer

Executive Assistant (Melbourne)Sally Lynch

Film Development (FD)Project Manager (Brisbane)Owen Johnston

Administrative Assistant (Brisbane)Georgina Lawson

Project Managers (Melbourne)Peter KaufmannLucy MaclarenCristina Pozzan

Administrative Officer (p/t) (Melbourne)Vacant

Receptionist/Administrative Assistant (Melbourne)Liza Lakusa

Project Managers (Sydney)Lawrence JohnstonJulia Overton Duncan Thompson

AdministratorKate Hickey

Applications and Records OfficerJaunnie Ilolahia

Administrative OfficerRachel Sinclair

Administrative SupportVacant

IndigenousManager, Indigenous UnitSally Riley

Administrator, Indigenous UnitNicole Timbery

Organisation Chart as at 30 June 2002


POLICY, RESEARCH & INFORMATION(PR&I)Director, Policy, Research & InformationKim Ireland

Administrator (p/t)Annette Carruthers

Director’s AssistantCarla Austin

PolicyPolicy AdvisorCatherine Griff

Policy Research Assistant (p/t)Drew MacRae

Research & Information (R&I)Manager, Research & InformationRosemary Curtis

Assistant to Manager, R&I (p/t)Carolyn Osterhaus

Research CoordinatorHenry Barrkman (jobshare)Rebecca Mostyn (jobshare)

Research Assistants (p/t)Tess Deyl (Melbourne)Jenny GilchristSava Pinney

Information Services CoordinatorAnnabel Meehan

Enquiries Assistants (p/t)Tania Djipalo (Acting)Bronia Ivanbrook

PublishingPublishing ManagerMichelle Webster (Acting)

Publications Assistant (p/t)Fiona Jennings (Acting)

Website Assistant (p/t)Sava Pinney

FINANCE & ADMINISTRATION (F&A) Director, Finance & AdministrationRon Neale

FinanceManager, Finance & AccountingBetty Fehir

Financial AccountantJulie Self

Purchasing and Revenue Control OfficerCon Aclis

Accounting SupportMaria Bozzi

Information & CommunicationsTechnology (ICT)Manager, Information & Communications TechnologyJohn O’Keeffe

Database Development Manager Peter Toombs

Network and Systems AdministratorDennis Casali

Personnel & Administration (P&A) Manager, Personnel & AdministrationMary Suter

Records Management Review Project OfficerCarolyn Beveridge

Services CoordinatorJane Donnelly

Receptionists (p/t)Vacant

Services Support (Registry)Erik Holmberg


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The feature film The Hard Word tookadvantage of the AFC’s cashflow facility.It was written and directed by ScottRoberts and produced by Al Clark.

22 Film Development

2001/02 has been a period of consolidationfor the Film Development Branch, followingits restructure last year and the introduction

of new funding programs and assessmentprocesses. The branch continues to respond topractitioner input and fine-tune its approach tomeeting the AFC’s development objectives.

Assessment of applications to most fundingprograms is now handled in rounds, withpublished closing dates scheduled to spreadprogram funds equally throughout the year. Allapplications to a round are assessed by teams oftwo project managers, with the composition of theteams changing from round to round and acrossthe range of funding programs. External assessorsare now used only on high-volume rounds and forrounds requiring particular expertise.

The project manager team brings its jointrecommendations to the Project Committee, thebranch’s primary assessment mechanism. This is aregular weekly meeting of all seven projectmanagers chaired by the Director, FilmDevelopment, where recommendations are eitherendorsed or rejected before being passed on to theDirector, the Chief Executive or the Commissionersfor approval and delegation of funds.

The Film Development Branch is made up of threeunits:

• the Development Unit is responsible forproject development and professionaldevelopment funding programs in line withObjectives 1 and 2 of the Corporate Plan;

• the Indigenous Unit operates the Indigenousproject development and professionaldevelopment funding programs in line withObjective 3 of the Corporate Plan;

• the Administrative Unit is responsible for thebranch’s general administration.

The Marketing Unit is now a separate unit fromFilm Development but collaboration continues ona range of activities, particularly travel grants tofilmmakers. In addition, Film Development staffmeet with distributors and sales agents to sharelocal and international market intelligence on thecritical and commercial performance of Australianfeatures.

OVERVIEWLast year the branch received 1,057 fundingapplications from all states, with assessmenttaking place in offices in Sydney, Melbourne andBrisbane. The number of applications continues toexceed the branch’s ability to fund projectsdeserving support. In some programs the ratio offunding sought to funding available is as high as20:1.

Development StrategiesFor Australian filmmakers to translate their ideasand visions into images and stories, they need acreative skills base and technical expertise. Thebranch continues to devise programs in responseto industry developmental needs. The programsare strategic interventions to help practitionersengage with the creative and technologicalchallenges of an evolving screen industry.

Digital Interactive MediaThe branch continues to respond to the emergingchallenges of the new multi-platform mediaenvironment. In particular, a new BroadbandProduction Initiative has been devised to deploynew funds available in the 2002/03 financial yearfor the production of broadband content. Anational roadshow in all capital cities wasconducted in June 2002 to launch the new fundand increase awareness and interest in thepossibilities of broadband creative contentproduction.

FilmDevelopment

The first completed project in the DocumentaryOnline initiative with ABC New Media, A Year onthe Wing, was launched in June by the Ministerfor the Arts and Sport, Senator the Hon Rod Kemp.The four productions funded through this schemesuccessfully involved the creative collaboration oftraditional documentary filmmakers andinteractive media producers. Seewww.abc.net.au/docos/

Short FeaturesFunding of the development and production ofshort features, 50-minute narrative dramassuitable for television broadcast and/or theatricalrelease, is a significant strategy for the AFC. Itoffers an important development opportunity inlong-form narrative drama that is moremanageable creatively and financially than afeature film, providing a stepping stone betweenthe 10-minute short film and the challenges of thefeature. Short features identified the earlydirectorial promise of such filmmakers as GillianArmstrong, Phil Noyce and Peter Weir.

PROJECT DEVELOPMENT

OBJECTIVE 1: To resource and facilitate thedevelopment of outstandingAustralian film, television andinteractive digital media projects.

The AFC’s project development objective(Corporate Plan Objective 1) is primarily achievedthrough the funding of script development forfeature films, short features, documentaries andanimation. The programs aim to give writers,directors and producers the time and supportnecessary to achieve their projects’ full creativeand commercial potential.

Feature film development is provided by fourstrands that recognise the differing needs ofpractitioners at various stages of their careerdevelopment. In addition to draft-by-draftfunding for both established and consolidatingpractitioners, these strands also provide early seedfunding for established practitioners, and multi-

draft funding for teams able to attract matchingthird-party investment.

In 2001/02 this last strand attracted a total of$177,987 of matched funding from five third-partyinvestors against a total AFC investment of$125,000. Overall, the AFC received 342applications for feature film development this yearand approved 63, compared with 281 received and72 funded last year.

The support for the development of shortfeatures fills the developmental gap between ashort drama and a first feature film. Excluding theNew Screenwriters Program, the AFC received 50applications for short feature film developmentfunding this year and approved 12.

In keeping with the principle of offering programsappropriate to the stage of career development ofthe practitioner, the New Screenwriters Programnow supports first-time screenwriters in the writingof short feature films rather than feature films. Itwas felt that a short feature is a more achievablegoal for relatively inexperienced screenwriters. TheAFC received a total of 59 applications for the tworounds this year and approved 11.

A script by Elizabeth Mars, Martha’s New Coat,developed through the New ScreenwritersProgram, has been optioned by director RachelWard and producer Bryan Brown, and has receivedproduction funding from SBS and the AFC.

The AFC provides three programs fordocumentary development. In addition totraditional ‘draft’ funding, there is a ‘seedfunding’ strand for supporting projects at thevery earliest stage of development, as well as a‘quick response’ strand to provide funding fordocumentaries that need to shoot critical footageat short notice. The AFC received 153 applicationsfor documentary development funding this yearand approved 46, compared with 120 receivedand 29 funded last year.

An animation development program providessupport for short films and animation series.Projects longer than 25 minutes are also eligiblefor development support under the short featureand feature development programs. The AFC


received 27 applications and funded four shorts

and four series.

Revised guidelines for the interactive digitalmedia development program were made

available early in 2001/02. The AFC received 43

applications for development and funded 12.

Matched funding was also provided to three

projects which had raised contributions of $125,150

from third parties.

As well as funding for individual projects, Film

Development provides general developmentinvestment funding for producers, in recognition

of the chronic under-resourcing of producers and

the need for producers to drive the development

process. In features, 13 applicants received

between $10,000 and $70,000 in funding; in

documentary, four applicants received between

$20,000 and $43,750; and in television, 17

applicants received between $12,500 and $50,000.

PROFESSIONAL DEVELOPMENT

OBJECTIVE 2:To resource and facilitate the careerdevelopment of writers, directorsand producers who have thepotential to make a significantcontribution in their chosen fields.

The AFC’s professional development objective

(Corporate Plan Objective 2) is primarily achieved

through production investment in feature films,

short features, short dramas, documentaries,

animation and interactive digital media projects.

The AFC finances the productions of a few talented

filmmakers and interactive digital media producers

to realise their creative potential and to function as

a calling card in the industry. In the case of higher-

budget productions – feature films and some

documentaries – AFC investment has the effect of

launching careers or assisting people to reach a

new level of achievement. In the case of post-

production investment, AFC finance has the effect

of capitalising on work already done that might

otherwise not achieve the career benefits it

promises.

It is also important that filmmakers and interactivedigital media producers have the opportunity towork with others more experienced thanthemselves. The Consultant/Mentor Programprovides professional development opportunitiesby teaming emerging producers with moreexperienced producers in the context of an actualproduction. It also provides funding for emergingproducers and directors to work with establishedproduction companies and television networks.The AFC received 27 applications for the programthis year and approved 18. Invaluable attachmentshave been secured by filmmakers to Channel Fourand Lars Von Trier’s Zentropa Studios, and to localproductions such as Farscape and Young Lions.

Following the completion of the Million DollarMovie Accord for five feature films, the AFCintroduced a combined feature and short featureproduction fund to continue this form ofprofessional development. The program wasdesigned to use the limited funding available inconjunction with anticipated co-funding frombroadcasters and other state agencies. The AFCreceived 44 applications for feature and shortfeature production funding this year andapproved investment in seven projects.

Funded short features include The ThirteenthHouse (SA) (w: Scott Richards and Shaun Duncan,d: Shane McNeil, p: Kristian Moliere); RoyHöllsdotter Live (w/d: Mathew Saville, p: TrevorBlainey), which was co-funded with SBS and FilmVictoria; and Floodhouse (w/d: Miro Bilbrough, p:Peter Sainsbury), which was co-funded with SBSand the NSWFTO Regional Fund.

In the documentary production program, a low-budget production funding strand for emergingfilmmakers is complemented by a new stranddesigned to fully fund one well-establishedpractitioner per year in an ambitious or ground-breaking project that is unable to attractmarketplace support prior to production. The firstproject funded under this scheme, Rainbow Birdand Monster Man (w/d: Dennis Smith, p: JohnLewis), has sold to SBS, and secured local andinternational distribution through Beyond. Thenext project funded through this scheme is

24 Film Development

Anthem (w/d: Tahir Cambis, co-w: Helen Newman,

p: Ross Hutchens for Mediaworld).

Overall, the AFC received 44 applications for

documentary production funding this year and

approved 11.

Animation shorts funded by the AFC have proved

outstanding, gathering international awards and

festival selections. The 12 animations funded under

the Home Movies initiative were successfully

screened on SBS in January 2002. Overall, the AFC

received 23 applications for animation shortsproduction funding this year and approved four.

In addition Harvie, a 26-minute animation (w/d:

Adam Eliot, p: Melanie Coombs), was co-funded

with SBS and Film Victoria through the short

feature production fund.

Interactive digital media productions were

funded through the Documentary Online initiative

(a joint AFC/ABC Online project). The AFC received

117 applications and funded four through to full

production (see page 23).

HIGHLIGHTSWalking on Water (w: Roger Monk, d: Tony Ayres,

p: Liz Watts), which had development investment

from the AFC, won two awards at the Berlin

International Film Festival: Teddy Award for Best

Feature Film and Reader’s Prize of the Siegessäule,

in the Panorama Section.

Beneath Clouds (w/d: Ivan Sen, p: Teresa-Jayne

Hanlon), which had development investment from

the AFC, screened at festivals in Shanghai and

London, and won the Premiere First Movie Award

(for director Ivan Sen) and Piper Heidsieck New

Talent Award (for first-time actor Dannielle Hall)

at the Berlin Film Festival.

Rabbit Proof Fence (w: Christine Olsen, d: Phillip

Noyce, p: Phillip Noyce and Christine Olsen) has

been invited to the Edinburgh International Film

Festival for 2002. Writer, Christine Olsen, who

received development assistance from the AFC,

won the Scriptwriting Award and Community

Relations Commission Award at the 2001 NSW

Premier’s Literary Awards.


The feature film La Spagnola was fundedthrough the AFC’s Million Dollar Movies Accord.It was written and produced by Anna-MariaMonticelli and directed by Steve Jacobs. It hasscreened at a number of festivals including theToronto, Sydney, Brisbane, Melbourne,Rotterdam, Palm Springs, Singapore, SanFrancisco and Seattle International FilmFestivals. It also won an AFI Award, anif Award, the Audience Choice Award at theNashville Independent Film Festival and theAudience Choice Award at the Las PalmasInternational Film Festival.

26 Film Development

La Spagnola (w/p: Anna-Maria Monticelli, d:Steven Jacobs) was the last of the five feature filmsto be funded through the Million Dollar MovieAccord between the AFC and SBS Independent.Completed in March 2001, it was acquired for localdistribution by New Vision and for internationaldistribution by Fortissimo Film Sales. It won theAudience Choice Awards at Las PalmasInternational Film Festival and NashvilleIndependent Film Festival, and received officialselection for the Rotterdam, Singapore, Torontoand London film festivals. It has sold to 10countries and was released on 60 screens in France.

One Night the Moon (w: John Romeril, d: RachelPerkins, p: Kevin Lucas, Aanya Whitehead and PaulHumfress), the 50-minute musical drama co-funded by the AFC, ABC, NSWFTO, SAFC and OperaAustralia, has screened at nine international filmfestivals, won two AWGIES, two AFI and two FilmCritics’ Circle of Australia awards, and Best Musicalat the New York Independent Film and VideoFestival. It was picked up for local distribution,including theatrical release, by Dendy Films.

Indefinable Moods (w/d/p: Kathryn Smith), anexperimental animation, has been popular on thefestival circuit, screening at over 20 festivals andwinning the Silver Award at the USA Film Festival,Dallas.

The short film, Cheek to Cheek (w/d/p: BethArmstrong) has won nine international awardsincluding Best Women’s Short Film and anHonourable Mention for the Humanitarian Award atthe Cleveland International Film Festival, and BestShort Drama at the Magnolia Independent FilmFestival. Winning Best of Festival at Palm SpringsInternational Short Film Festival in 2001 made thefilm eligible for consideration for an AcademyAward nomination.

Australian digital practitioners also excelledoverseas. Debra Petrovitch’s Uncle Bill won the NewMedia Prize (New Media Competition) and LindaWallace’s lovehotel received an Honorary Mention(Video Competition) at Videobrasil InternationalElectronic Art Festival.

Home Movies, the AFC and SBS Independent

The feature film Rabbit Proof Fence wasproduced by Christine Olsen and Phillip Noyce,

directed by Phillip Noyce and written byChristine Olsen. It screened at the Edinburgh

International Film Festival and received twoawards at the NSW Premier’s Literary Awards.

initiative which funded 12 short animations,screened as a four half-hour series on SBS inJanuary 2002. Six films were selected to screen atthe Annecy International Animation Festival.Australia’s representation was second only to theUK and was higher than the US. Looking for Horses(w: Chrissie McMahon, d/p: Anthony Lawrence)received a Special Distinction at Annecy.

In addition, Holding Your Breath (w: Stuart Page,d: Anthony Lucas, p: Anthony Lucas, Edwina vonStiegler and Julia Lucas) was one of only 15 filmsselected for the Shorts Competition at the CannesInternational Film Festival. Living with Happiness(w/d/p: Sarah Watt) won the 2001 AFI award forBest Animation and won Best Film, Fiction under 15minutes at the 2002 Dendy Awards.

The AFC/ABC Documentary Online series(www.abc.net.au/documentaryonline) hasproduced four programs. The first to go online wasA Year on the Wing (w: Nell White and MemeMcDonald, d: Kate Clere, p: Nell White), which waslaunched on ABC Online on World EnvironmentDay, 5 June 2002.

The three other productions are: Long Journey,Young Lives (w/d: David Goldie, p: David Goldieand Sohail Dahdal), Homeless (w: Rosemary Hesp,d: Rob Wellington, Trevor Graham and RosemaryHesp, p: Trevor Graham and Rosemary Hesp) andThe Wrong Crowd (w/d/p: Debra Beattie).

INDIGENOUS PROGRAMS

OBJECTIVE 3:To resource and facilitate theparticipation of IndigenousAustralians in the Australian film,television and interactive digitalmedia industries.

The AFC, through its Indigenous Unit, assistsIndigenous Australians to participate in the film,television and interactive digital media industry.While Indigenous filmmakers may apply to anyAFC program, the AFC is concerned that there aredisproportionately low levels of participation byIndigenous Australians in the industry at a timewhen Indigenous Australian culture is revitalising

other art forms, particularly in internationalmarkets.

In fulfilling this objective (Objective 3), theIndigenous Unit provides Indigenous practitionerswith the opportunity to record and tell their ownstories, in turn giving them control over theircultural heritage and the way they are portrayed.

During the year the unit continued to support theprofessional development of Indigenouspractitioners by providing development andproduction investment funding for drama,documentary, interactive digital media andanimation projects varying in length from shortfilm through to feature film. The unit also providedtravel grants to practitioners who had a filmscreening in an international film festival, andfunding for practitioners to work as attachmentson feature films, short films and documentaries.

The Indigenous Unit also contributed to AFC policydevelopment issues relevant to its area, andassessed projects with Indigenous contentsubmitted to Film Development.

Project Development2001/02 saw a sustained level of developmentinvestment across a broad range of projects,including documentaries, short films, shortfeatures, television series and features.

Feature projects receiving development fundingthis year were: The Photographers Ghost(w: Brooke Andrew and Anne Loxley); Sweet WaterStolen Land (w: Phillip McLaren); and The Cross(w/d: Richard Frankland, p: John Foss).

Short features receiving development funding thisyear were: The Making of a Man (w/d: DarleneJohnston); Songs of the Sea (w: Archie Weller);Queen of Hearts (w/d: Dannielle MacLean); andWild Turkey (w/d: Steve McGregor, p: PriscillaCollins).

Short films receiving development funding this yearwere: Grange (w/d: Catriona McKenzie, p: AlineJacques); Stockman (w/d: Steve MacGregor,p: Priscilla Collins); Cobbers (w/d: Leah Purcell,p: Bain Stewart); and Junna (w: Dena Curtis).


Documentary projects receiving developmentfunding this year were: Searching for My SevenSisters (w/d: Mitch Torres, p: Priscilla Collins);Changing Times (w/d: Ursula Raymond, p: GraemeIsaac); Welcome to the Torres Strait (w/d: DonnaIves, p: Melanie Guiney and Fiona Cochrane); andDugong Hunters (d: Warwick Thornton and w/p:Jacqui Bethel).

Television series receiving development fundingthis year was: Mary G Show Series 3, which will beexpanded to include sitcom elements (d: Mark BinBakar, p: Joan Peters, Dot West).

Production Funding This year saw a significant increase in the level ofproduction investment and administration by theIndigenous Unit. The five films selected for theIndigenous Drama Initiative 3 (IDI3) went intoproduction, as did Mary G Show Series 2. Inaddition, the Indigenous Unit took over themanagement of the National IndigenousDocumentary Fund 5 (NIDF5). The NIDF waspreviously produced by the National IndigenousMedia Association of Australia (NIMAA). It isfunded by ATSIC and state agencies, with pre-salecommitments from SBSI. The Indigenous Unit alsofunded several projects for post-production.

The Indigenous Unit provided production fundingto its first short feature during the year: WildTurkey (w/d: Steve McGregor, p: Priscilla Collins).

Short films that received production funding thisyear were: Black Talk (w/d: Wayne Blair, p: Kyliedu Fresne); Flat (w/d: Beck Cole, p: Rachel Perkins,co-p: Darren Dale); Mimi, (w/d: WarwickThornton, p: Rachel Perkins, co-p: Darren Dale);Shit Skin, (w/d: Nicholas Boseley, p: KimbaThompson); and Turnaround, (w/d: SamSaunders, p: Priscilla Collins).

Documentary projects that received productionfunding through the National IndigenousDocumentary Fund were: Ngankari Way (w/d:Erica Glynn, p: Will Rodgers); Me & You (w/d:Mark Bin Bakar, p: Dot West); The Foundation(w/d: Troy Russell, w: Melissa Abraham, mentordirector: Michael Riley, p: Penny McDonald, assoc-

p: Melissa Abraham); and Big Girls Don’t Cry (w/d:Darrin Ballangary, p: Priscilla Collins). DesperateTimes, Desperate Measures (w/d: Rima Tamou, w:Jim Everett, p: Pauline Clague, co-p: Jim Everett)received AFC production funding.

Post-production funding was granted to the shortfeature One Night the Moon (w: John Romeril andRachel Perkins, d: Rachel Perkins, p: PaulHumfress, Kevin Lucas, Aanya Whitehead), thedrama Dancing in the Dust (w/d: Jenny LowdonKendall, p: Victorian College of the Arts), and thedocumentary Which Way (d: Ben Graetz, p: ScottWilliams).

Television series that received production fundingwas: Mary G Show Series 2 (w: Mark Bin Bakar, d:Des Kootji Raymond, Graeme Sward, p: Dot West,Joan Peters).

Online or interactive projects that receivedproduction funding were Bush Mechanics Online,where you can log on for advice from the bushmechanics themselves. Seewww.bushmechanics.com

Professional DevelopmentThe two productions selected for Fifty/Fifty, theinitiative that supports Indigenous practitionerswith at least one drama credit to work in the shortfeature format, were given further developmentfunding.

The Indigenous Unit also supported castingworkshops for two productions to developdirector–actor relationships, and providesupportive auditioning practice for Indigenousactors. The casting workshops also provided thebest possible casting options for directors RichardFrankland and Samantha Saunders, and added totheir professional development. Richard hasdeveloped a feature film project, The Cross (p.John Foss), and received prior support from theIndigenous Unit via production funding for hisshorts Harry’s War and No Way to Forget (bothproduced by John Foss). Samantha is a first-timedirector who has previously received developmentfunding for short scripts.

The AFC continued to support Indigenous

28 Film Development


practitioners with travel grants to attendinternational festivals and conferences, providing14 grants totalling $38,000 for attendance at ninedifferent festivals and events.

Attachments and training initiatives this yearenabled the empowering of Indigenouspractitioners in areas where there are shortages ofIndigenous representation. The attachmentsincluded: Darren Dale on a producing attachmentto Helen Leake on the feature film Black and White;Wayne Blair on a directing attachment to DonaldCrombie of Channel Nine’s MacLeod’s Daughters;Colin Richards on a cinematography attachment toAllan Collins on We of Little Voice; Troy Albert on acinematography attachment to Murry Lui on Me &You; Kimberley West on an editing attachment toMeredith Watson on Me & You; Henry Augustineon a sound recording attachment to BellaKenworthy on Me & You; Richard Frankland on adirecting attachment to Peter Sharp on BlueHeelers; Robyn Nardoo on a cinematographyattachment to Warwick Thornton on Mimi; JulieNimmo on a producing attachment to PennyRobbins on Australian Eye.

Mentor directors were provided by the AFC’sIndigenous Unit on two occasions this year. DarrinBallangary mentored Gina Rings on her short filmNgoppun, and Michael Riley mentored Troy Russellon the documentary The Foundation.

Richard Frankland’s attachment led to himdirecting an episode of Blue Heelers.

HighlightsFor the third Tudawali Awards (the Indigenous filmand television awards), the AFC Indigenous Unitinaugurated and sponsored an award called theBob Maza Memorial Award. It is awarded to anemerging acting talent for professionaldevelopment. The recipient was Ursula Yovichwhose credits include My Bed Your Bed andnumerous theatre performances, more recently inthe Company B production of the Jack Davis playThe Dreamers.

Ivan Sen’s debut feature Beneath Clouds won twoawards at the Berlin International Film Festival

The interactive website Bush Mechanics Onlinewas directed by Francis Kelly, co-directed bySteven Morton and written by Simon Fisher,Rita Cattoni, Neil Egan White and LiamCampbell. The site was designed by DonovanRice, Gordon Robertson, Charlie Lawrence,Robin Cave and Liam Campbell. It wasproduced for Warlpiri Media by Rita Cattoni andreceived AFC production investment funding.

Produced by Heather Croall and written anddirected by Peter Hodgson, We of Little Voicereceived AFC production investment funding. Itis part of the National Indigenous DocumentaryFund Series 5 (NIDF5).

2002. Ivan won the Premiere First Movie Award,and actress Danielle Hall won Best New Talent. FilmDevelopment supported the development ofBeneath Clouds. The Indigenous Unit supportedthe development of Beneath Clouds throughfunding an Acting and Casting Workshop and hadpreviously supported Ivan’s development as adirector by funding his two short films, Tears andWind.

Rachel Perkins’ short feature One Night the Moonwas selected for Sundance International FilmFestival.

Wayne Blair’s short film Black Talk won the awardfor Best Achievement for Original Screenplay at theSt Kilda Film Festival and was selected to screen atthe Sydney, Brisbane and Hawaii film festivals.

The Manager, Indigenous Unit, Sally Riley, andthree other Indigenous filmmakers – Rima Tamou,Wesley Enoch and Darlene Johnson – travelled toParis during the year for the official handover ofthe Baudin Commemorative Gift. An initiative ofthe Australia International Cultural Council, thegift comprised a collection of films written anddirected by Indigenous filmmakers, which waspresented to the French people through theauspices of the Centre National de laCinématographie, to commemorate thebicentenary of Nicholas Baudin’s journey toAustralia. The AFC’s ICD Unit coordinated thecollection, entitled ‘Explorations: Indigenous Filmsfrom Australia’, with the Indigenous Unit, and ascreening of some of the films took place in Parisat the handover ceremony. See also SpecialProjects in Industry and Cultural Development onpage 42.

30 Film Development

The short drama Mimi received AFC productioninvestment funding. It was written and directed

by Warwick Thornton, produced by RachelPerkins and co-produced by Darren Dale.


MA

RK

ETIN

GThe interactive website Homeless

received production investmentfunding through the AFC’s

Documentary Online Initiative. It wasproduced by Rosemary Hesp andTrevor Graham, directed by Trevor

Graham, Rob Wellington andRosemary Hesp and written by

Rosemary Hesp.

32 Marketing

W ithin the structure of the AFC, the

Marketing Unit is now integrated into

the Executive Branch. This new location

more accurately reflects the activities of the unit,

which, while maintaining close collaboration with

Film Development, services the national industry

as a whole and promotes all Australian programs

internationally.

OBJECTIVE 4: To resource and facilitate theparticipation of Australianpractitioners and interactive digitalmedia producers and their programsin the global marketplace.

The film, television and digital industries are

increasingly operating at a global level. Australian

practitioners are aware that seeking international

sales, co-finance and co-production opportunities

requires regular attendance at a variety of

international events. In recognition of this, the AFC

increased its support for international travel and

market participation.

In response to the large number of Australian films

and programs screening internationally, the

Marketing Unit supported more Australian

practitioners this year than ever before to travel

and present their work when it has been selected

to screen at key international festivals.

The AFC also provides targeted assistance for

international activities of Australian film

producers and interactive media practitioners in

the marketplace. The Marketing Unit also

organises an Australian representation at three

international markets and resources practitioners

to represent their own projects at these strategic

events.

Market RepresentationThe AFC provides a representative stand and anoperational base for Australian practitioners at anumber of international markets. The stand is afocus point for international enquiries aboutAustralian programs and talent, as well as ameeting and working environment for Australiansat the market.

In the last 12 months the AFC took a stand at thetwo principal television markets: MIPCOM 2001and MIP-TV 2002. There was also an AFC presenceat the Berlin Film Festival and the usual Australianoffice at the feature film festival in Cannes. Morethan 160 Australian practitioners attended MIP-COM and MIP-TV, and more than 145 attended theCannes Festival Market.

At each of the television markets the AFC againheld ‘Market Intelligence Breakfasts’ and‘Australian Drinks’ at the stand. This year it alsocollaborated with the National Screen Institute-Canada and coordinated the Australianparticipation at ‘Kickstart’, an internationalnetworking and information exchangeopportunity held on the eve of the market.

During the Cannes Film Festival 2002, the AFC heldtargeted lunches for selected key festivaldirectors, including Thierry Frémaux (Cannes),Piers Handling (Toronto) and Dieter Kosslick(Berlin), and international film critics, amongthem Alexander Walker, Evening Standard (UK),Kenneth Turan, LA Times and Michel Ciment,editor of the French industry magazine Positif,which was celebrating its 50th anniversary. Thelunches were co-hosted by the AustralianAmbassador in Paris, His Excellency Bill Fisher,who generously provided his chef from theEmbassy to give the lunches a truly ‘Australianflavour’. Several evening receptions hosted by theAFC enabled Australian producers to meet and

Marketing

network with international sales agents,distributors and festival selectors.

Last year the AFC initiated a co-productionbreakfast with different countries and it wasdeemed so successful that this year the idea waspicked up by the AFC’s Irish, Canadian and NewZealand partners, each of which hosted a reciprocalevent to enhance co-production opportunitiesbetween the producers of the respective countries.

See also Marketing and International Festivals inStatutory Reports on page 63.

Travel GrantsThe diversified Travel Grant Program found muchresonance with Australian practitioners. The eventstargeted by applicants have significantlyexpanded over the last few years, especially in thearea of interactive digital media.

Type A grants are for practitioners whose filmshave been selected in official competition or themain program of one of the nominated keyinternational festivals. This year the AFC approved46 Type A Travel Grants to individuals attending atotal of 30 different festivals.

Type B grants are for market-experiencedproducers with a slate of well-progressed projectsand eight were approved. Type C are forproducers attending an international marketplacefor the first time and the AFC funded 13 to get theirfirst experience at a key marketplace. Anadditional nine Travel Grants were approved fordigital practitioners to attend interactive markets.

Travel Grant recipients write a report on theirfestival or market attendance, and excerpts of thereports will be posted on the AFC website tomaximise the local benefit of the internationalmarket intelligence they gain. The most commonbenefits cited by Travel Grant recipients areexposure to international financing avenues, anoverview of what programs are produced and howAustralia fits into the international arena.

See also Appendix 9 – Industry Assistance startingon page 91.


The animated work Tales from the Powderoomreceived AFC production investment fundingand was produced by Richard Chataway andwritten and directed by Darren Burgess. Itscreened at the San Francisco InternationalLesbian and Gay Film Festival and the SydneyMardi Gras Film Festival where it won Best Filmat the My Queer Career Awards.

Industry SeminarsA national program of marketing seminars washeld during the year to provide industrypractitioners with information about festivals andthe national and international marketplace fortheir films.

Pre-market briefings were held in Sydney andMelbourne prior to MIPCOM 2001 and Cannes 2002as was the Short Films, Festivals and Marketingseminar which toured to other states prior to July2001. Aimed at emerging filmmakers the focus wasto encourage and equip practitioners with theknowledge to plan their own festival andmarketing strategies.

The Marketing Unit also devised a new initiativecalled ‘Let’s Do Lunch’. The program invitedfeature film teams (director, producer, writer) toparticipate in a lunch with one of Australia’s mostestablished producers, a distributor and apublicist to discuss marketing strategies andpublicity issues and providing an opportunity toask questions in small intimate groups. Theinitiative was trialled in Melbourne and Sydney,with nine teams selected in each city. This formatproved to be an effective method of givingfilmmakers access to industry professionals in aninformal and intimate environment andmaximising the preparation for the theatricalrelease of their next film.

Industry and Festival VisitorsThe AFC Marketing Unit invites and organises visitsof key international festival programmers andindustry delegations from other countries.

A delegation of 20 Canadian producers visitedAustralia in November 2001 and the AFC organisedan induction program which includedpresentations from free and pay TV broadcasters,sales agents, distributors, producers and fundingagencies. The program gave the Canadian guestsa thorough introduction to the Australian industryprior to their attendance at the SPAA conference.

This year also saw the return visit of internationalfestival selector Christian Jeune (Directeur duDépartement, Festival du Cannes), who travelled

34 Marketing

The feature Beneath Clouds received AFCdevelopment investment funding and took

advantage of the AFC’s cashflow facility. It wasproduced by Teresa-Jayne Hanlon and written

and directed by Ivan Sen. The film hasscreened at numerous international festivals

including the Berlin International Film Festival,where Ivan Sen won the Premiere First Movie

Award and the film’s lead actress, DannielleHall (above), won the Piper Heidsieck New

Talent Award.

to Perth, Adelaide, Brisbane, Melbourne andSydney talking about the festival and presenting aprogram of shorts which had screened in Cannesin prior years. The Marketing Unit also welcomedSteve Gravestock, Manager, Festival Programmingof the Toronto International Film Festival, toSydney and Melbourne in April 2002. It was thefirst time a Toronto International Film Festivalrepresentative had visited the country andresulted from contact with festival selectors inCannes.

A number of events were organised to maximisethe benefit of these visits, including public talksfor young filmmakers and lunches for moreexperienced practitioners. Screenings andindustry meetings were ideal opportunities for theinternational visitors to talk to the film communityabout their festivals and for Australianpractitioners to gain useful knowledge to theirmarketing strategies.

Website InitiativesThe Internet has become an important informationsource for most Australian film, television andinteractive media practitioners. Festival Profiles,an initiative which was launched last year on theAFC website at www.afc.gov.au, has had furtheradditions and developments and is now anindispensable tool for filmmakers planning theirfestival strategy. Each of the 50 profiles featuresthe screening history of Australian films at thefestival over the past 10 years, explanations of thevarious elements of the festival, submissiondeadlines and breakdowns of screening categoriesas well as links to the festival’s website. A FestivalDirectory Links page provides a comprehensivereference of listings of international festivals. Asubmission deadline calendar facilitates thestructuring of individual submission plans.

Embassy RoadshowThe Embassy Roadshow initiative funded by theAustralia International Cultural Council (AICC) hasbeen welcomed by Australian internationalembassies and posts. By June 2002, 18 countrieshad enjoyed a new Australian film event, withparticipating posts reporting in very positive

terms and expressing the desire to organiseanother event as soon as possible.

With an injection of additional funds from theAICC, the AFC was able to double the number ofprints and add new titles, enabling two EmbassyRoadshow events to be held in different countriesat the same time. New titles added were BetterThan Sex, Bootmen, Chopper, The Dish, Facing theMusic, Innocence, Mallboy, Siam Sunset, Year ofthe Dogs and Yolngu Boy, and the following 35mm shorts were also included: Confessions of aHeadhunter, Crack, Icarus, Intransit, Mohamed’sPassion and Restoration.

Funds were also received for a selection of 10 filmsfor Latin America which are being subtitled inSpanish.

Festival HighlightsIn 2001/02, a great number of Australian filmsenjoyed the spotlight at a range of internationalfestivals. The Berlin International Film Festivalselected an outstanding seven films (four features,one short feature and two shorts), equalled onlyby Toronto with five features and twodocumentaries who also screened the latestinternational films by Australians Gregor Jordan,Scott Hicks and Bruce Beresford. The EdinburghInternational Film Festival screened nine films fromAustralia (one feature, one documentary andseven shorts) and the Sundance Film Festivalfeatured seven films (one feature, one shortfeature, five shorts).

Shorts and animation festivals were alsoenthusiastic about the films coming from Australiawith Annecy selecting 15 animations, Aspen FilmFestival screening six shorts and Tampere ShortFilm Festival screening four shorts in competitionalong with an Australian sidebar showing anadditional 38 films. A large number of Australianfilms were selected for the Hawaii InternationalFilm Festival (five features, one short feature, onetelemovie, two feature documentaries and sevenshorts). The high number of Australian filmsscreened at Tampere and Hawaii is a direct resultof festival directors from both festivals visitingAustralia and meeting the filmmakers.


Produced by Trevor Blainey andwritten and directed by Matthew

Saville, the short feature filmRoy Höllsdotter Live was funded

through the AFC’s productioninvestment program.


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38 Industry and Cultural Development

OBJECTIVE 5:To foster activities and events whichprovide the wider Australiancommunity, including regionalAustralia, with opportunities to accessscreen activities, and to supportprojects which are critical to thedevelopment of the community ofAustralian filmmakers and interactivedigital media producers.

Complementing and fostering theproduction industry, the activitiessupported through the AFC’s Industry and

Cultural Development (ICD) program includefestivals and screenings, industry conferences andseminars, screen publications, books and journals,industry awards, interactive media screenings,production support and practitioner skillsdevelopment.

These activities are considered vital to thedevelopment of a unique, sustainable and vibrantindustry. A strong Australian film industry needs atalented and professional community offilmmakers contributing to it. It must also be ableto reach audiences and to engage with the broadAustralian community. These fundamentalrequirements are fostered by providingopportunities to both filmmakers and thecommunity to engage with screen activities in avariety of ways.

OVERVIEWThe ICD program provides funding supportthrough four funds: the Events and Activities Fund,the National Touring Exhibition Fund, the ICDInteractive Media Fund and the New Projects Fund.AFC funding only represents a small proportion ofthe total budgets of the events, activities andprojects supported. The film culture organisationssupported through ICD have been increasingly

successful in obtaining funding from alternative

sources and in generating their own sources of

income.

Performance SummaryIn 1994 the AFC established a set of performance

indicators for all ICD-funded projects, events and

activities, which allow for the collection of a wide

range of data on the output of this sector. Every

two years the AFC compiles a national survey of

activity funded by the ICD program based on this

data collection. See Appendix 6 – PerformanceOverview of ICD-funded Events and Actitivies on

page 87.

From this survey ICD can report that in 2001/02, the

ICD budget of $2,935,336 provided financial

assistance to 71 organisations, and supported 109

projects through grants to organisations. The

funding breakdown was:

• production resource support: $951,436

• festival and screening programs: $535,150

• touring festivals: $270,665

• awards: $219,900

• publications and journals: $181,908

• conferences and seminars: $181,260

• ICD sector resourcing/industry development:

$162,391

• interactive digital media: $154,094

• program salaries: $114,354

• research and information services: $50,002

• international promotions: $40,930

• organisation loans: $40,000

• ICD Unit resourcing: $22,746

• distribution services: $10,500.

The 2001/02 AFC funding allocation supported

seven awards ceremonies, 22 conferences and

seminar programs, four journals, four books, two

online publications, 28 festivals and screen events,

12 touring seasons, four interactive digital media

Industry andCulturalDevelopment

programs and the activities of two interactive

digital media organisations.

As a national agency the AFC supports programs

in all states and many regional centres. The ICD

Unit also contributed to and project-managed a

further 11 projects which were externally funded,

including:

• Brooklyn Academy of Music (BAM)’s Next

Wave Down Under Festival;

• Explorations: Indigenous Films from Australia,

a commemorative gift to France to celebrate

the bicentenary of explorer Nicolas Baudin’s

journey to Australia;

• CHOGM 2002 presentation;

• Women Working in Television;

• Big Screen 2002.

These are further described under Special Projectson page 41–42.

Review of ICD Funding GuidelinesDuring 2001/02, ICD conducted a review of its

funding guidelines, application processes and

reporting requirements. Recent funding recipients

were given the opportunity to provide feedback

on these processes and ICD also sought input from

other stakeholders and state funding agencies. As

a result, revised ICD funding guidelines were

issued in January 2002 and the application process

was streamlined and simplified to make assessing

of applications more effective and comparable.

ICD has also begun a review of its interactive

digital media funding. The objective of the review

is to ensure that ICD’s funding for interactive

media is consistent with and supports the

objectives of the AFC as expressed in the AFC’s

Corporate Plan and complements the principles

and guidelines of the AFC’s Film Development

Branch in the area of interactive and broadband

content development. The review will be

completed by the end of 2002 and will see new ICD

guidelines for digital media in place for 2003.


The short drama The Smell That Killed Himreceived AFC production investment fundingand was produced by Victoria Conners andwritten and directed by Mark Hanlin. It wasawarded The Australian CinematographersSociety’s Gold Award and Tripod Award.

The animated work Holding Your Breathreceived production investment funding underthe AFC’s Home Movies animation initiative. Itwas produced by Edwina von Stiegler, AnthonyLucas and Julia Lucas, directed by AnthonyLucas and written by Stuart Page. It screenedat the Cannes Film Festival and the AnnecyInternational Animated Film Festival.

SUPPORT FOR EVENTS ANDACTIVITIESThe events and activities supported by ICDprovide opportunities for audiences to seecurated and contextualised screen programs,recognising that a critical understanding of film,television and digital media is an integral part ofliteracy in the 21st century.

Our films, television and interactive mediadeserve knowledgeable, lively and criticallyaware audiences and the activities supportedboth stimulate debate and encourage criticalconsideration of and discourse about Australianand world cinema. They also provide access toskill development for Australian filmmakers andinteractive digital media producers and broadenthe creative influences on Australian work.

Also essential to industry development is thefostering of a range of activities includingconferences, industry seminars, awards,publications and special projects.

Awards ceremonies recognise and celebrate theachievements of the Australian film, televisionand interactive digital media industry and helppromote Australian films and programs toaudiences. In 2001/02, the AFC provided a 48 percent increase in funding to the Australian FilmInstitute for the Emirates AFI Awards andsupported a number of other industry awards.

ICD also supported a range of screenpublications. These publications stimulatedebate, encourage creative discourse andcreatively inform Australian filmmakers andaudiences.

ICD continued its support of Screen DevelopmentAustralia, the national network of developmentorganisations which consists of the five screenresource organisations, QPIX (Qld), the MediaResource Centre (SA), OPENChannel (Vic), the Filmand Television Institute (WA) and Metro Screen(NSW). These organisations provide professionaldevelopment opportunities to both entry-leveland early to mid-career practitioners. Productionsupport and advice, access to facilities andequipment hire, professional skills development,


The short drama The Projectionist received AFCproduction investment funding. It was produced

by Anna Messariti and written and directed byMichael Bates.

The animated work Unravelling was written,directed and produced by Ann Shenfield. It

received production investment funding underthe AFC’s Home Movies animation initiative. Ithas screened at numerous festivals including

the Annecy International Animated FilmFestival and Cracow International Short and

Documentary Film Festival.

exhibition opportunities, interactive digitalmedia development and practitioner networkingservices are delivered by these organisations andare pivotal to the development of a communityof Australian filmmakers.

This network is one of the AFC’s key platforms fordelivering early-career production and skillsdevelopment nationally. These organisationsreceive triennial funding based on three-yearstrategic and business plans that outline specificstrategies, targets and performance outcomes.

ICD-funded organisations received substantialsupport through the donation of computers andother hardware that is no longer utilised by theAFC. Over 20 organisations benefitted from thisassistance.

TOURING EXHIBITIONSAustralian audiences, particularly those living inregional areas, often have limited access to non-mainstream film programs. ICD’s touringprogram supports festivals to travel nationallyand specifically to reach regional audiences.

In 2001/02 ICD-funded touring programs wereseen in the following centres:

• ACT: Canberra;• NSW: Albury, Armidale, Bowral, Byron Bay,

Dubbo, Gunnedah, Huskisson, Kempsey,Laurieton, Leeton, Lismore, Mudgee,Newcastle, Oberon, Orange, Sawtell, Sydney,Tamworth, Taree, Wagga Wagga,Wollongong;

• NT: Alice Springs, Darwin, Katherine;• Qld: Brisbane, Bundaberg , Cairns, Ipswich,

Mackay, Malanda, Mount Isa, Normanton,Townsville, Yeppoon;

• SA: Adelaide, Mt Gambier, Port Lincoln, PortPirie, Robe, Victor Harbour, Whyalla;

• Vic: Ballarat, Eaglehawk, Geelong, Leongatha,Melbourne, Mildura, Shepparton,Wangaratta, Yarram;

• Tas: Devonport, Hobart, Launceston;• WA: Albany, Broome, Bunbury, Geraldton,

Karratha, Newman, Northam, Parabadoo,Perth, Port Hedland.

INTERACTIVE MEDIA FUNDINGThe ICD funding program for interactive digitalmedia aims to explore cultural and aesthetic issuesinvolved in content creation within the Australianinteractive digital media community and toshowcase a diverse selection of national andinternational interactive digital media projects.

As described on page 39, ICD began a review ofthis funding program in 2001/02; the review is duefor completion by the end of 2002.

SUPPORT FOR NEW PROJECTSThe New Projects Fund provides opportunities fornew initiatives and specifically targets projectsthat have yet to establish themselves as regularevents, or are once-only events. This year, newprojects supported included the Judith Halberstamnational lecture tour, the Adelaide Fringe Festival’sMirrorball screenings, the Message SticksIndigenous Film Festival and Conference,masterclasses and film workshops in Byron Bayand Darwin, the Moving Objects puppetry andanimatronics conference in Melbourne, theReelDance on Tour project and special workshopsattached to the Australian Effects and AnimationFestival.

SPECIAL PROJECTSDuring this year, ICD was involved in a number ofspecial projects which have delivered significantcultural and development outcomes both inAustralia and internationally.

Australia International Cultural Council(AICC)The AFC is a member of the Australia InternationalCultural Council, established in 1998 by theMinister for Foreign Affairs, the Hon AlexanderDowner. The AICC draws together leaders fromgovernment, the arts community and businesswith a common interest in more effectiveinternational promotion of Australian arts andculture. The AICC is charged with devising andmonitoring a series of rolling three-year strategicplans for international cultural promotion and artsexport that effectively coordinate the activities of


government agencies and the cultural community.

Its strategy seeks to project a broad and diverse

image of Australia which advances our foreign

and trade policy interests and promotes the

export of Australian cultural products.

During 2001/02, the AFC curated a major three-

week film festival as part of the BrooklynAcademy of Music’s Next Wave Down UnderFestival. BAM’s brief to the AFC was to focus on a

program of films that would both reflect

Australia’s cultural diversity and showcase

contemporary Australian films to American

audiences. Leading Australian film commentator

Paul Byrnes was engaged to co-curate this festival

with BAM on behalf of and in consultation with

the Australian Film Commission.

The AFC devised a month-long schedule of

screenings featuring 19 features, six

documentaries, 10 short films, 11 animation films,

11 Indigenous films and an archival program. The

AFC and BAM were extremely pleased to secure

Lantana as the opening night film for the festival,

as well as the presence of the following actors and

filmmakers: Kerry Armstrong (Lantana), Jan

Chapman (producer, Lantana), Rachel Griffiths

(Muriel’s Wedding and director, Tulip), Chris

Haywood (Newsfront), Ana Kokkinos (director,

Only the Brave), Anthony LaPaglia (Lantana and

Looking for Alibrandi), Susie Porter (Better ThanSex) and David Wenham (Better Than Sex).

Another AICC-funded project was the curation of

a collection of Indigenous films, entitled

‘Explorations: Indigenous Films from Australia’, as

a gift to the French people to commemorate the

bicentenary of Nicholas Baudin’s journey to

Australia. The ICD Unit managed this project with

the AFC’s Indigenous Unit. For details, see

Highlights under Indigenous Programs, page 29.

CHOGM PresentationAs part of the AICC’s involvement in the

Commonwealth Heads of Government Meeting

(CHOGM) 2001/02, the AFC curated a video

compilation of recent Australian films that was

presented to delegates as a gift.

Women Working in TelevisionFor the past four years the AFC has supported theWomen Working in Television project, which aimsto provide opportunities for women acrossAustralian television to advance their careers.Undertaken by the AFC in partnership with theNine Network, the Seven Network, Network Ten,ABC, SBS, FACTS and SPAA, the project hasconcentrated on increasing opportunities fornetworking. The project has a national focus, andin the last financial year delivered eight groupnetworking lunches (four in Sydney, two inMelbourne, one in Brisbane and one in Adelaide)concentrating on the topics of mentoring,documentary filmmaking, women inmanagement, networking and balancing workand family.The project also produced a booklet on work andfamily entitled Visions of Balance – jugglingfamily with work in television. This booklet isprovided free to women and men working intelevision through the networks and is alsoavailable from the AFC website.

Big Screen: A Celebration of AustralianCinemaFollowing the success of Big Screen 2001, the AFCreceived funding from the federal government toagain work in partnership with ScreenSoundAustralia to run a regional film festival tourthroughout 2002. Big Screen 2002 was launched inWarrnambool by the Minister for the Arts andSport, Senator the Hon Rod Kemp, and securedClaudia Karvan and Charles ‘Bud’ Tingwall aspatrons. The tour will travel to 18 regional centresthroughout 2002 and showcase contemporaryAustralian cinema alongside classic films fromScreenSound’s archives.



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NRainbow Bird and Monster Manreceived AFC documentary productioninvestment funding and was producedby John Lewis and written and directedby Dennis K Smith. It was awarded theThe Australian CinematographersSociety’s Silver Award.

44 Policy, Research and Information

OBJECTIVE 6:To collect, analyse and disseminatehigh-quality information about thefinancing, production andperformance of Australian films andfilms made in Australia, and todevelop, and participate in thedevelopment of, industry policy inconsultation with stakeholders.

The role of the Policy, Research &Information Branch is to fulfil Objective 6 ofthe Corporate Plan, and to manage the

publications program, website development andenquiry service in line with this objective and forthe benefit of the whole organisation.

The aim is to assist high-quality decision makingat all levels of the industry by providing the bestpossible information, and to use the AFC’sknowledge base and analysis of the industry tocontribute to the development of industry andgovernment policy.

The AFC has an international reputation for itsindustry research and is regarded as setting thestandard for information output and qualitythrough its flagship publications Get the Picture,now in its sixth print edition and available for thefirst time online, and the National Survey ofFeature Film and Television Drama Production,now covering 12 years of production. Policyreports are also published regularly on specifictopics of concern to the industry. These researchand policy publications have become essentialreferences for industry practitioners and policymakers in the public and private sectors, anddistinguish the AFC as Australia’s premier policybody for the film and television productionindustry.

Another regular publication is AFC News which thisyear ceased print publication and continues as amonthly email newsletter. The AFC website

(www.afc.gov.au) and Screen Network Australiagateway site to Australian film and televisionresources (www.sna.net.au) are key vehicles fordisseminating information to the industry and thepublic. In responding to the increasing use of theInternet, the AFC has shifted from its traditionalreliance on printed information towards a morecontinuous publication model using acombination of print and the Internet.

POLICYThe AFC provides policy advice to government,other film agencies, the industry and the public onissues impacting on the screen content industries.It analyses key developments, carries out research,and commissions reports from independentconsultants. The Policy Unit regularly preparesreports, briefing papers and conferencepresentations for use by AFC management and toaid the AFC’s participation in industry andgovernment forums.

The Policy Unit liaises closely with the Departmentof Communications, Information Technology andthe Arts (DCITA) and other relevant governmentdepartments, and provides input into their policydevelopment. The AFC hosts a monthly meeting ofthe Film and Television Production Industry Group,which has representation from Commonwealthgovernment screen bodies, peak industryorganisations, unions and public broadcasters.

Policy Research and PresentationsAFC policy publications are available on the AFCwebsite at www.afc.gov.au

Foreign film and television drama production inAustralia: A research report was published on thiscontroversial topic during the year. The researchexamined the reasons that foreign productionscome to Australia, investigated the perceptions ofcrew capacity and depth and the experience of

Policy, Researchand Information

Australian crew working on foreign productions. Itis the first investigation of foreign production froman employment perspective. The report illuminatesthe complex, sometimes competing, but ultimatelysynergistic and mutually beneficial relationshipbetween domestic film and television productionand international offshore projects.

Broadband and new media: AFC Chair MaureenBarron addressed a workshop hosted by NetworkInsight on Australian content in new media inOctober 2001, where she released the AFC report,Broadband Media in Australia: Tales from theFrontier by Marion Jacka, published as one of theScreen Industry, Culture and Policy Research Series.The research draws on published Australian andinternational sources as well as interviews with keylocal industry personnel. The study was the firstcomprehensive coverage of developments in newmedia production in Australia and has been verywell received. As of 30 June 2002, there had been5,934 downloads of the report from the AFCwebsite.

AFC Chief Executive Kim Dalton delivered a paper toDCITA’s OZeCulture conference in May 2001 on apanel entitled Paying Your Way: Digital Contentand Industry Development. The paper outlined thethinking behind the AFC’s Broadband ProductionInitiative and emphasised the need for thegovernment to recognise the growing culturalsignificance of the Internet and commit to levels ofAustralian content. Kim Dalton is a member of theboard of Telstra’s Broadband Fund, announced inJune 2001.

Pay television: The AFC, in collaboration withMurdoch University, has been awarded anAustralian Research Council Linkage Grant to funda PhD scholarship on pay television in Australia.The project, to be completed over three years, aimsto explore the emergence of pay television inAustralia and its cultural and industrial outcomes,especially with regard to Australian content.

Television commercial production: AFC PolicyAdvisor Catherine Griff delivered a presentation atDCITA’s annual Communication Research Forum inSeptember 2001, based on a survey undertaken by


The short drama Hey Sista received AFCproduction investment funding. It was producedby Jackie McKimmie and written and directedby Jan Cattoni.

Produced by Tom Zubrycki and written anddirected by Gary Doust, Making Venus receivedAFC documentary production investmentfunding. It received a special mention for theSydney Film Festival’s FIPRESCI Jury prize.

the AFC on television commercials. In addition to

providing benchmark statistics on this under-

researched sector of the industry, the paper

highlighted the importance of retaining existing

Australian content regulations for television

advertising.

Policy SubmissionsAFC policy papers and submissions are available on

the AFC’s website at www.afc.gov.au

Australian Content Standard Review: The review

by the Australian Broadcasting Authority (ABA) of

the Australian Content Standard for Australian

drama, documentaries and children’s programs has

been a key platform of the AFC’s policy work. The

AFC made a detailed submission to this review and

argued that the current regulatory regime provides

little incentive for free-to-air networks to

commission higher-budget drama. We

recommended greater diversity be achieved by

increasing the rewards to networks for high-end

production. In a supplementary submission on

documentary, the AFC made the case for the

retention of the current documentary sub-quota.

World Trade Organization (WTO): The WTO has

been a key policy interest over the year. AFC Chair

Maureen Barron, as a member of the Minister for

Trade’s WTO Advisory Panel, attended the WTO

Doha Conference in November 2001.

The AFC and FFC delivered a joint submission to the

Department of Foreign Affairs and Trade’s (DFAT)

public consultation on Australia’s negotiating

objectives for the WTO Doha round of multilateral

trade negotiations (August 2001). The submission

argued for explicit acknowledgement of the special

status of culture in the texts of the General

Agreement on Trade in Services (GATS) and a right

under GATS for Australia to maintain, adapt and

introduce new measures that support the creation

of cultural goods and services. The AFC expanded

on these arguments in a June 2002 submission to

the public consultation following the WTO

Ministerial Conference in Doha, again requested by

DFAT. This submission was endorsed by the FFC,

Film Australia and a wide range of industry bodies.

ScreenWest Review Submission: In its submissionto the Western Australian Ministry for Culture andthe Arts, the AFC supported the adequate fundingof ScreenWest to ensure the agency’s ability topromote the development of projects andprofessionals in Western Australia.

Policy EventsAFC Policy held two information and discussionevents during the first half of 2002. One dealt withthe success of Australian films at the box office in2001 and the second with the ABA’s Review of theAustralian Content Standard.

Australian films at the box office: A backgroundpaper was published in January 2002 to coincidewith the release of domestic box office results forAustralian films in 2001. Australian films earned$63.5 million or 7.8 per cent of the total Australianbox office, maintaining market share despite anoverall increase in box office takings. This analysiswas widely covered in the media.

The AFC hosted an industry forum as part of thePopcorn Taxi series in Sydney in March 2002. Titled‘Australian Films at the Box Office’, the eventsought to analyse the performance of Australianfilms at the box office in the context of a complex,globalised film industry. Panellists debated casestudies of recently released Australian featurefilms.

Australian content workshop: The AFC hosted aworkshop on 15 March 2002, ‘Changing Standardsfor Australian Content on TV’, in collaboration withRMIT University research group Network Insightand legal firm Allens Arthur Robinson. The eventprovided a forum for key stakeholders to respondto the review by the ABA into the AustralianContent Standard for free-to-air television. Atranscript of the workshop was published andlaunched at the May 2002 ABA Conference and isavailable on the AFC website.


RESEARCH AND INFORMATION The Research & Information (R&I) Unit manages anumber of ongoing data collection programs thatprovide the research basis for AFC publications. Itoversees data analysis, writing and printpreparation for many of these publications,including the flagship National Survey of FeatureFilm and TV Drama Production and Get the Picture.

R&I’s Information Services Program answers adiverse range of enquiries from filmmakers, otherorganisations and the public, manages thegateway website Screen Network Australia and isresponsible for writing and updating a series ofinformative handouts and FAQs.

Research ActivityGet the Picture: Research for Get the Picture, theAFC’s comprehensive collection of data on the film,television, video and interactive digital mediaindustries in Australia, culminated in thepublication of the sixth print edition in January2002, with an online edition launchedsimultaneously to provide continuously updatedand more extensive data tables.

Since the launch of Get the Picture Online, researchactivity has been ongoing. Updates to 30 Junehave included: cinema industry data for 2001, topfilms at the box office, video industry data for2001, top renting and selling titles, demographicdata on cinema audiences, Academy Awards andCannes Festival screening, games industry data,hours broadcast by public broadcasters,documentary production, program expenditure bycommercial free-to-air broadcasters, and the latestdata on trade in audiovisual royalties. See the AFCwebsite at www.afc.gov.au/

National Survey of Feature Film and TV DramaProduction: The AFC’s annual drama productionsurvey was published in November 2001 afterextensive consultation with key agencies andproduction companies. The report is available onthe AFC website at www.afc.gov.au

Key findings include:

• A total of 34 feature films and 62 televisiondrama programs (independent and in-house)


The short drama Whispering in the Darkreceived AFC production investment funding. Itwas produced by Aida Innocente and writtenand directed by Lynne B Williams.

were made in Australia in 2000/01; totalexpenditure in Australia increased by 6 percent to $608 million.

• Overall, the value of Australian dramaproduction activity dropped by 11 per cent to$319 million. Although Australian TV dramaproduction remained steady, Australianfeature production fell by 35 per cent.

• The average cost per hour of Australian TVdrama fell to its lowest level in four years (lessthan $200,000 per hour), with the number ofhours produced rising by 16 per cent to 782.

• Spending by foreign drama productions inAustralia rose by $87 million to $191 million, justabove the record level reported in 1998/99.

• Spending by co-productions in Australiaremained relatively steady at $105 million ($109million in 1999/2000).

A focus section on TV drama genres was added tothis year’s survey. This shows comedy andcontemporary dramas as the ‘growth’ genres overthe last four years.

Cinema industry and Australian box office share:R&I liaised with the Motion Picture DistributorsAssociation of Australia (MPDAA) to compile a listof Australian films released in 2001 and their boxoffice results, and worked with the AFC’s PolicyUnit in preparing the background paper onAustralian box office share released in January2002 (see page 46). Extensive research wasundertaken to compile a table of cinemaadmissions data from 1900 to 2001. Due to bepublished in the second half of 2002, the workpulls together data from a range of sources,providing the longest run of figures on this area.

Development benchmarks: R&I provided anupdate of some of the benchmarks compiled forthe AFC’s 2000 report Development: A Study ofAustralian and International Funding and Practicein the Feature Film Industry, including a ‘strikerate’ for AFC development investment, incidence ofdirector/writers in Australia, US and UK and totalnumber of scripts developed.

Government funding research: Publication of this10-year compilation of government funding data

was extended to later in 2002 to allow further fine-tuning of data sets and to update to 2000/01.

ABS industry surveys: The Australian Bureau ofStatistics (ABS) released several key surveysrelevant to the film and TV industries in 2000,including Film and Video Production andDistribution (cat. no. 8679.0), Radio and TelevisionServices (cat. no. 8680.0), Motion PictureExhibition (cat. no. 8654.0) and Video HireIndustry (cat. no. 8562.0).

The data from these surveys, particularly thesurvey of film and video production, has beencrucial in informing industry and governmentthrough the 1990s. Compiled every three yearssince 1993/94, the data has provided standardindicators such as income, expenditure, profitmargin and employment, facilitating comparisonwith other industries and tracking growth throughthe 1990s.

The production industry data reveals, for example,an increase of 91 per cent in income fromproduction services and 80 per cent from post-production services in the three years from 1996/97to 1999/2000. The growth was largely in NSWconfirming the impact of Fox Studios which openedin late 1995.

In response to strong lobbying from the AFC andother industry representatives, the ABS hasretained its three-year schedule for the productionand television surveys, rather than moving to everysix years as originally planned.

Data ManagementData collection for production databases: R&I’songoing data collection program resulted in 665new films being added to the AFC’s productiondatabases during the year. Updating of existingdata such as status of projects and sales contactscontinues. The databases are used to compile salescatalogues of Australian films and programs (seeInformation Provision below) as well as for analysisin the national drama and documentaryproduction surveys.

Particular effort was focused on tracking hard-to-locate documentaries and shorts that had screened


on television: 369 titles (61 per cent) wereidentified. Data sources used in the AFC’s releasedatabase were reviewed with a view tostreamlining data collection.

Information ProvisionEnquiry service: The AFC provides a full-timeindustry enquiry service. In 2001/02 R&I staffresponded to 6,908 enquiries, up 23 per cent onlast year.

Most of the enquiries are from Australia (92 percent) and most are from the film, television andvideo industry. The breakdown of this year’s clientbase remains almost identical to last year’s.

Share of requestsType of client 2000/2001 2001/02

Film/TV/video industry 62% 62%

General public 16% 17%

Education 7% 7%

Media 4% 3%

Government 3% 3%

Legal 3% 3%

Multimedia 2% 2%

Other 5% 3%

Information handouts and FAQs: The AFC’sinformation series includes guides to the industry,careers and developing and scripting films. Thesewere all updated during the year. Two handouts,Overview and Information for Filmmakers, wererevised and merged into one to simplifyinformation provision.

Film catalogues: The AFC uses its productiondatabases to compile sales catalogues of Australianfilms and programs for distribution at keyinternational film and television markets, anddirectly to buyers.

Since 2001 the AFC has also been progressivelypublishing its production databases in searchableformat online. This year, TV drama since 1990,documentaries since 1995 and shorts since 1998were added to the existing catalogue of featurefilms since 1990. The databases contain over 1,900titles, with information on sales contact, cast,credits, gauge, synopsis and year.


The short drama Turn Around received AFCproduction investment funding. It was producedby Jenny Day and written and directed bySamantha Saunders.

continued to expand its industry resources in2001/02. During the year 154 new sites were addedto the directory, taking the total number of sitesaccessible via SNA to over 500. The number ofwebsites linking to Screen Network Australiaincreased from 300 in July 2000 to 522 in June 2001,and to 704 in June 2002. Visits to the site this yeartotalled 124,110 peaking at 15,517 a month.

Coordination and CollaborationThe AFC works with other agencies to coordinatethe provision of information to industry andgovernment. It is a member of the CulturalMinisters Council’s Statistics Working Group (SWG),which works closely with the Australian Bureau ofStatistics in the publication of new and ongoingdata series. In 2001/02, SWG contributed fundingto a range of data collection and disseminationactivities including household expenditure onculture, in a revised edition of the AustralianCulture Leisure Classification.

The AFC also participates in the Screen NetworkInformation Providers (SNIP) group, an informalnetwork of film collectors and providers ofspecialist information on the screen industries.

The AFC collaborates with an extensive list ofagencies in the compilation of reports on theAustralian film industry. This year the AFC workedwith or provided information to the followingagencies and individuals in the compilation andinterpretation of data:

• statistical agencies such as the AustralianBureau of Statistics, European AudiovisualObservatory, Screen Digest and the AmericanFilm Marketing Association;

• analysts such as Malcolm Long & Associatesand the Allen Consulting Group;

• government agencies, including the FFC and allstate film agencies;

• journalists; and• organisations such as the Screen Producers

Association of Australia (SPAA) and the Media,Entertainment and Arts Alliance (MEAA).

Mini-editions of the catalogues were alsopublished in print and online, focusing on themost recent titles in each format. The TV Dramaand Documentaries catalogues were combined.

AFC News: One print issue of the newsletter AFCNews was produced in 2001/02 – in March 2002(Number 195). After the last printed edition in July2002 (Number 196) AFC News will be a monthlyemail newsletter. Over the year print subscriptionsdecreased from 6,000 to 5,400 while emailsubscriptions increased from 600 to 900. Theonline distribution list has been steadilyincreasing.

AFC Website: In 2001/02 the number of visits to theAFC website increased 37 per cent from 225,238 in2000/01 to 308,424 in 2001/02. The average numberof visits per month was 25,702 which representsaround 845 visits a day, excluding staff. Thenumber of visits per month showed a generalupward trend: the lowest was 19,015 in July 2001and the highest was 45,259 in May 2002.

The number of online pages accessed increased 11per cent to 1,153,785 however the number ofdownloads from the site almost tripled over theyear to 227,353. This reflects the increased numberof publications which the AFC has made availableonline in Portable Document Format (PDF) ratherthan relying on traditional print distribution. Thesite averaged almost 19,000 downloads per monthor 623 per day. The number of downloads permonth showed a general upward trend: the lowestwas 9,377 in July 2001 and the highest was 36,607in May 2002.

The AFC began to rebuild its website during 2001 inresponse to the increasing complexity of theexisting site. The redesigned site will enable easieraccess to the AFC’s extensive information resources.As the major industry information provider, theAFC’s aim is to ensure that all AFC clients canmaximise their use of the AFC’s online resources.The redesigned website is due to be launched bythe end of the 2002/03 financial year.

Screen Network Australia (SNA): The AFC’s ScreenNetwork Australia – www.sna.net.au – a gatewayto Australian film and television on the Internet,


Megan Heyward’s interactive digitalmedia CD-ROM Of Day, Of Night

received AFC production investmentfunding. It was selected for the

Stuttgart Filmwinter Festival.


FIN

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FINANCE AND ACCOUNTSThe AFC is administered under the Australian FilmCommission Act 1975. The CommonwealthAuthorities and Companies Bill 1997 came intoforce in 1997/98 replacing many of theaccountability provisions previously coveredwithin the Australian Film Commission Act 1975.

The AFC had cash on hand of $2,779,911 at 30 June2002, comprising $1,479,911 categorised as ‘Cash’and $1,300,000 as ‘Investment – Other’ (termdeposits). This included $1,062,000 carried forwardfor the Commercial Television Production Fund.The 2002 figure is a significant reduction on the$4,353,476 balance as at 30 June 2001. All FilmDevelopment program funds were fullycommitted, with the balance of funds unspentcomprising contracts not able to be executed by30 June and payments waiting on final delivery.

The operating result before abnormal items for2001/02 was an operating surplus of $1,257compared to a surplus of $481,694 in 2000/01.After a capital use charge of $556,000 payable tothe government, equity was $5,052,078 comparedto $5,606,821 in 2000/01.

The chart on the right shows the changes in thecomposition of the AFC’s assets over the past threeyears.

Total cash receipts during 2001/02 were $21,904,228,made up of a Government Appropriation of$16,853,000, Goods and Services Input Tax Creditsrefunded from the Australian Taxation Office of$1,049,360 and other cash receipts of $4,001,868.These receipts comprised production investmentrecoupment, profit on production investments,buyout of script developments, recoupment ofloans, interest earnings on funds, and sales ofpublications. In addition, support was receivedfrom various agencies to assist in the funding ofspecial AFC initiatives. The significant externally

funded initiatives in 2001/02 were EmbassyRoadshow, Brooklyn Academy of Music FilmFestival, Big Screen and the Baudin Indigenous FilmFestival and Gift.

The chart on page 53 shows the comparative levelof cash receipts (including appropriation andgeneral receipts) for the past 10 years.

Total AFC cash expenditure of $22,873,793 in2001/02 was made up of $4,052,073 in salaries andrelated expenditure, $3,645,521 in otheradministrative expenditure, $225,292 in purchasesof plant and equipment and $14,950,907 inprogram expenditure. This program expenditurecomprises equity investments, loans, grants,underwriting, cultural organisation assistance,research, database development, marketing andfestival expenditure. In addition the capital usecharge paid to the government was $604,000,compared to $629,000 in 2000/2001.

The chart on page 54 provides an analysis of the

52 Finance and Administration

Finance andAdministration

Composition of AFC Assets

$7 000

$6 000

$5 000

$4 000

$3 000

$2 000

$1 000

$01999/00 2000/01 2001/02

CashInvestments – Other

ReceivablesInvestments

Plant and EquipmentOther

$000s


Receipts – 10 Years

$25 000

$20 000

$15 000

$10 000

$5 000

$0

1992/93 1993/94 1994/95 1995/96 1996/97 1997/98 1998/99 1999/00 2000/01 2001/02

AppropriationGeneral Receipts

AFC’s total level of cash expenditure separated

into employee, administrative and program

expenditure, for the past 10 years. It should be

noted that expenditure for 2000/01 and 2001/02 is

GST inclusive. The AFC has reviewed its accounting

treatment for statutory reporting purposes in

respect to salaries and superannuation for

employees working on specific program related

activities and functions. As a result, this

expenditure has been reclassified as employee

expenditure instead of program expenditure from

the 2000/01 financial year.

The AFC also provides assistance to filmmakers and

organisations by acting as guarantor for bank

loans. The total loans under guarantee by the AFC

were reduced to $50,000 at 30 June 2002

compared to $87,500 in bank guarantees at 30

June 2001. No new guarantees were provided in

2001/02.

Detailed information relating to 2001/02 can be

found in the AFC Financial Statements (pages

117–143).

Revenue Control The AFC maintains a large portfolio of projects for

which it has provided investment or loan funding.

Although many of these projects are no longer

active, the AFC still receives a regular flow of

returns from some of its older projects as well as

more recent ones. Revenue for projects that have

been written off in the financial statements isincluded as income in the AFC’s Statement ofFinancial Performance.

The AFC conducts regular reviews of active projectsto ensure that marketing reports have beenprovided and that the AFC has received its share ofany revenue due from local and international sales.

A total of $3,550,069 in project revenue wasreceived during 2001/02 ($3,012,815 in 2000/01).This was made up of $510,778 in investmentrecoupment, $1,342,402 in recovery of projectswritten off, $97,132 in profit, $1,037,154 in loanrepayments, $28,872 in other miscellaneousproject receipts and $533,731 in funding fromexternal agencies for AFC program initiatives.

Disbursements The AFC is the disbursement agent for over 400

projects, although a significant number have been

inactive for many years.

The AFC is generally the disbursement agent for

films in which it provides the major investment. A

separate trust account is maintained to receive

returns and to pay expenses and disburse funds to

investors in accordance with each production

agreement.

During the year $1,041,885 was paid out from the

Disbursement Trust Account ($869,692 in

2000/2001).

Audit CommitteeThere were two meetings of the Audit Committee,

chaired by AFC Deputy Chair Louise Staley (see

table on page 13).

The Audit Committee reviews and reports to the


Expenditure – 10 Years

$25 000

$20 000

$15 000

$10 000

$5 000

$0

1992/93 1993/94 1994/95 1995/96 1996/97 1997/98 1998/99 1999/00 2000/01 2001/02

ProgramAdministrative

Employee

Commission on the AFC’s financial reporting, theinternal and external audit processes, and theinternal control systems established bymanagement and the Commissioners.

STAFFING OVERVIEWThe AFC has an office located in Melbourne, arepresentative in Brisbane and its head office inSydney.

AFC employment policy encourages movementbetween the AFC and the film community byidentifying staffing positions that requireexperience and currency in the film, television andinteractive digital media industry. The AFC offersemployment contracts for film practitioners of upto three years. This system of flexible staffingarrangements allows the AFC to attract and retainpeople with the right mix of skills to sustainorganisational success in a dynamic industryenvironment. It also allows the flexibility to employtemporary and part-time staff to cope with periodsof work overload and one-off projects.

At 30 June 2002 the AFC employed a total of 45 full-time and 17 part-time staff in administrative andprogram areas. Over the year the average staffinglevel (ASL) was 59.2. The estimated ASL for 2002/03is 59.

The branch break up of staff is:

Branch Full-time Part-time

Film Development 16 1

Industry & Cultural Development 3 1

Marketing 4 1

Policy, Research & Information 5 14

Finance & Administration 11 –

Executive (incl. Legal) 6 –

Workplace DiversityThe AFC is committed to promoting and supportingdiversity in the workplace by recognising, valuingand promoting in its people a range of abilitiesand skills. The value placed on attracting,developing and retaining a skilled work force isreflected in the comprehensive range of staffingpolicies and programs introduced, including those

aimed at fostering a safe, healthy and non-discriminatory working environment and providingsupport for individual staff development.

The AFC is committed to ensuring that no employeeor group of employees is subjected to any form ofemployment discrimination and encouragesemployees to treat colleagues and members of thepublic with courtesy and sensitivity to their rights,duties and aspirations. The AFC does not tolerateany form of workplace harassment.

Occupational Health and Safety (OHS)The AFC continues to maintain a commitment totake all reasonably practicable steps to ensure thehealth and safety at work of its employees and will,as far as possible, protect the health and safety ofits contractors and the general public. To supportthis commitment, additional ergonomic officechairs were purchased as required for staff duringthe year.

The AFC continues to provide its staff with access toconfidential professional counselling to assist withpersonal or work-related problems through theprovision of an external employee assistanceprogram.

Performance ManagementThe AFC introduced a Staff Performance Planningand Development Scheme during this year. Thescheme allows staff to participate in a two-wayprocess designed to improve performance,communication and feedback, identify and achieveprofessional and organisational development andprovide opportunities for improved work practices.It was developed through a consultative processand all staff participated in workshops to facilitatetheir understanding of the scheme.

CORPORATE OVERVIEWThe AFC’s Corporate Plan was approved by theMinister in 2001/02.

Access and EquityAccess and equity data sheets are used to collectinformation from applicants for AFC funding. In2001/02 the AFC's Industry and Cultural


Development, Film Development, Indigenous andMarketing programs received 1,291 applications forproject funding; 861 projects (with 1,430individuals attached) provided access and equitydata. The full applicant breakdown can be foundin Appendix 5.

Indemnity and Insurance PremiumsThe AFC’s Comcover premium covers the normalgeneral and property risks as well as directors’and officers’ liability. Workers Compensation isinsured through COMCARE AUSTRALIA.

The AFC can at times provide bank loanguarantees and underwriting as a form ofassistance. Any underwritten projects are includedwithin project commitments in the Schedule ofCommitments and the guarantees are included inthe Schedule of Contingencies.

INFORMATION ANDCOMMUNICATIONSTECHNOLOGY UNITThe AFC’s areas of IT were combined to create anew Information and Communications TechnologyUnit within the Finance and AdministrationBranch. As well as covering the AFC’s network andsystems, the unit now includes responsibility forPABX and voicemail systems, databasedevelopment and technical support anddevelopment of online services.

Network SystemsThe AFC purchased replacement networkinfrastructure to provide a switched network to alldesktops and systems. Hardware was alsopurchased to upgrade the AFC’s server for deliveryof the Finance One accounting package. TheHoneywell finance system was officiallydecommissioned, with final modules migrated tothe Finance One system.

Desktop SystemsUpgrades to the AFC’s desktop system continuedwith the base system now the Apple iMac. Workwas completed to introduce a standard operatingenvironment for AFC desktop and laptopcomputers.



OFF

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MKurtal – Snake Spirit received AFC

documentary development investmentfunding and was written and

produced by Nicole Ma and directedby Nicole Ma and Michelle Mahrer.

It had been awarded ATOM awardsfor Best Indigenous Resource

and for Best Short Form.

58 Official Co-production Program

The AFC administers the Australiangovernment’s Official Co-productionProgram through its Legal Affairs Unit. The

unit provides information to the industry about theprogram and reviews applications for official co-production status. Treaties and Memorandums ofUnderstanding currently in place are set out below.

Applications for projects that comply with therelevant Treaty or Memorandum of Understandingare considered by the AFC’s Co-productionCommittee, which comprises the Chief Executive,the Manager, Legal Affairs and the Director, Policy,Research & Information. The Committee makes arecommendation on each application to theCommission members, who make a provisionaldecision on the project’s official co-productionstatus. Final approval is granted when both theAFC and the competent foreign authority haveapproved the production as eligible for official co-production status.

The AFC also convenes an Industry Advisory Panel

which meets with the AFC’s Co-productionCommittee quarterly to discuss policy issues whicharise regarding the program. This panel consists ofa representative from each of the Australian Guildof Screen Composers, the Australian ScreenDirectors Association, the Australian Writers Guild,the Media Entertainment and Arts Alliance and theScreen Producers Association of Australia.

Treaties and Memorandums ofUnderstanding currently in forceCountry Treaty or MOU* Date signed

France MOU 15 May 1986

United Kingdom Treaty 12 June 1990

Canada Treaty 23 July 1990

Italy Treaty 28 June 1993

New Zealand MOU 23 December 1994

Israel Treaty 25 June 1997

Ireland Treaty 4 February 1998

Germany Treaty 17 January 2001

* Memorandum of Understanding

Official Co-productionProgram

Co-productions granted provisional co-production status in 2001/02Co-producing

Project country Company Date approved

FEATURES

Ned Kelly UK Kelly Gang Films Pty Ltd (Australian) 30 April 2002Sunshine Films Limited (UK)

ANIMATION

Yakkity Yak Canada Kapow Pictures Pty Ltd (Australian) 20 March 2002 Studio B Productions (Canadian)

Quads – Series 2 Canada Media World Features Pty Ltd (Australian) 30 April 2002 Nelvana Limited (Canadian)

Seaside Hotel France Yoram Gross – EM.TV Pty Ltd (Australian) 25 June 2002Tele Images Kids (French)

DOCUMENTARIES

Cowboy of the Sea: A France Film Projects Pty Ltd (Australian) 5 February 2002 Man Among Sharks Media Video Compagnie (French) TELEVISION SERIES

Guinevere Jones Canada Crawford Productions Pty Ltd (Australian) 16 August 2001 Original Pictures Inc (Canadian)

The Saddle Club Canada Crawford Productions Pty Ltd (Australian) 11 December 2001 Series 2 Protocol (Saddle Club) Productions 2 Inc (Canadian)


The short film Gypsy Circus, written anddirected by Jannean Arkinstall and produced byAndrew McInally, received AFC productioninvestment. It has screened at a number offestivals including the Brief Encounters ShortFilm Festival.

STA

TUTO

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TSThe documentary The Foundation

received AFC production investmentfunding. It was directed by Troy

Russell, produced by PennyMcDonald and written by Melissa

Abraham and Troy Russell. It is part ofthe National Indigenous Documentary

Fund Series 5 (NIDF5).

60 Statutory Reports

COMMENTS BY THEOMBUDSMANDuring 2001/02 no reports were made by theOmbudsman under section 15 of the OmbudsmanAct 1976 (Cwlth), nor is the AFC aware of any reportsmade by the Ombudsman concerning the AFC undersections 16 (reports to the Prime Minister), 17(reports to Parliament) or 19 (annual and additionalreports) of the Act. The Ombudsman has notrecommended any Acts of Grace payments.

DECISIONS OF COURTS ANDADMINISTRATIVE TRIBUNALSThere were no judicial decisions nor decisions ofadministrative tribunals handed down during theyear which have significantly affected or which inthe view of the Secretary of the Department ofCommunications, Information Technology and theArts could significantly affect the operation of theAFC in the future.

FREEDOM OF INFORMATIONThe AFC did not receive any requests pursuant to theFreedom of Information Act 1982 (Cwlth).

Initial enquiries concerning access to documentsmay be made to the Freedom of Information Officer,150 William Street, Woolloomooloo NSW 2011.

A statement of the documents in the AFC’spossession, which are customarily made available tothe public upon request free of charge, and ofdocuments available for purchase by the public, arecontained in Appendix 4 – Publications on page 80.

PRIVACYDuring 2001/02, the AFC was not served with anycopies of reports by the Privacy Commissioner undersection 30 of the Privacy Act 1988 (Cwlth), nor anycopies of determinations by the PrivacyCommissioner under section 52 of the Act (following

investigation of a complaint under section 36). ThePrivacy Commissioner made no determinationsunder section 72 of the Act (to disregard a breach ofan Information Privacy Principle).

EFFECTS OF MINISTERIALDIRECTIONS Section 8 of the Australian Film Commission Act 1975(Cwlth) provides that:

The Minister may, by writing under his hand, givedirections to the Commission with respect to theexercise of its powers or the performance of itsfunctions but shall not give such a direction withrespect to a particular project.

Where the Minister gives a direction under thissection he shall, within 15 sitting days after givingthe direction, lay before each House of Parliament acopy of the direction together with his reasons forgiving the direction.

During 2001/02 the Minister did not exercise hispowers under Section 8 of the Act.

CONTINGENCY LIABILITYSTATEMENT AS AT 30 JUNE 2002As required by section 6, sub-section (4) of theAustralian Film Commission Act 1975, the followingstatement is furnished:

a) no new guarantee were provided by theCommission during the year ended 30 June2002;

b) the limit that the Treasurer has approved for thispurpose is $1,000,000; and

c) the total amount subject to guarantee as at 30June 2002 is $50,000.

StatutoryReports

Quantity: Between 100 and 125 feature films indevelopment with AFC support.

Minimum of 10 writers, producers and directorsprovided with production opportunities.

Quality: More than 6 AFC-developed feature filmsproduced per year.

Minimum of 10 per cent of general non-project-specific support to producers to be repaid over a 3-year period.

At least 50 per cent of feature films or short featuresmade with AFC production investment achieveAustralian theatrical or television release.

At least 75 per cent of short dramas, animationsand interactive media titles supported by the AFCachieve festival exposure.

Quantity: Minimum of 60 filmmakers supported.

Quality: A minimum of 80 per cent of recipients oftravel assistance report specific benefits from thetravel.

An 80 per cent satisfaction rating from peopleattending seminars held in Sydney, Melbourne,Adelaide, Brisbane and Perth each year dealing withfestivals and markets.

Quantity: Programs delivered in each capital cityand at least 20 regional centres each year.

Quality: Achievement of benchmarks in providingproduction experience opportunities agreed withorganisations providing the opportunities.

Achievement of benchmark attendance for curatedscreen events and one-off screenings agreed withevent organisers.

Achievement of benchmarks for practitionersparticipating in professional development activitiesagreed with organisations providing the activities.


PORTFOLIO BUDGET STATEMENT (PBS)Performance Indicators

OUTCOME: An internationally competitive Australian film and television production industry, whichenhances Australia’s cultural identity.

Quantity: 110 projects in active development with the AFC.

Approved funding in 39 separate productions over the financialyear.Quality: 7 AFC-developed feature films went into productionover the year.

To date 26 separate repayment instalments have been madeagainst 24 individual titles.

89 per cent of feature films and short features made with AFCproduction investment achieved Australian theatrical ortelevision release.

78 per cent of short dramas and animations supported by theAFC achieved festival exposure.

Quantity: 76 filmmakers supported.

Quality: 90 per cent of recipients of travel assistance reportedspecific benefits from the travel.

85–100 per cent of respondents rated seminars held in Sydneyand Melbourne as good, very good or excellent. 50–100 per centof participants in ‘Let’s do lunch’ seminars in Sydney andMelbourne rated them as good or excellent.

Quantity: At least 4 programs or events delivered in eachcapital city, and 31 programs delivered in 85 regional centres.

Quality: Achievement of 60 per cent of benchmarks in providingproduction experience opportunities as agreed with theorganisations providing the opportunities.

649,154 people attended curated screen events and one-offscreenings, exceeding benchmark of 400,000 attendances.

31,919 places provided for practitioners participating inprofessional development activities, exceeding benchmark of4,000 places.

INDICATORS PERFORMANCE 2001/02

Output 1.1: Investment in film and television projects and professional development of filmmakers

Output 1.2: Participation of Australian filmmakers and their programs in the global marketplace.

Output 1.3: Investment in screen organisations, events and activities which develop Australian filmmakers andprovide access to Australian audiences.

62 Statutory Reports

Administered Expenses (Including third party outputs)

The AFC has no administered expenses. nil nil nil nilTotal Administered Expenses nil nil nil nil

Price of Agency OutputsOutput 1.1: Investment in film and television projects 10,246 11,866 (1,620) 13,105and professional development of filmmakersOutput 1.2: Participation of Australian filmmakers and 1,358 980 378 1,289their programs in the global marketplaceOutput 1.3: Investment in screen organisations, events 2,874 2,849 25 2,967and activities which develop Australian filmmakers and provide access to Australian audiencesOutput 1.4: Policy development and information services 2,375 1,158 1,217 3,150Total revenue from government (appropriations) 16,853 16,853 0 20,511for agency outputs 95.5% 87.9% 93.1%

Revenue from other sources Output 1.1: Investment in film and television projects 787 1,753 (966) 1,103and professional development of filmmakersOutput 1.2: Participation of Australian filmmakers and 5 179 (174) 90their programs in the global marketplaceOutput 1.3: Investment in screen organisations, events 3 362 (359) 320and activities which develop Australian filmmakers and provide access to Australian audiencesOutput 1.4: Policy development and information services 2 29 (27) 5Total revenue from other sources 797 2,323 (1,526) 1,518Total for outcome 1 17,650 19,176 (1,330) 22,029(Total price of outputs and admin expenses)

(1)Budget2001/02

$000

(2)Actual Expenses

2001/02$000

Variation(Column 1 minus

Column 2)

Budget2002/03

$000

Resources for PBS Outcome

Quantity: AFC data publication migrated to onlinedelivery, including:

• ∑feature film, television drama and documentarylists;

• key data sections of Get the Picture, includingbox office and awards for Australian productions;

• the National Survey of Feature Film and TV DramaProduction:

in accordance with the Government Online strategy.

Quality: The National Survey quoted in theAustralian Bureau of Statistics yearbook, theAmerican Film Marketing Association’s Factbookand Screen Digest.

AFC submissions referenced in all reports frommajor inquiries.

At least 400,000 successful requests for specificpages of the AFC website per year.

Quantity: Searchable databases of feature films since 1990, TVdrama since 1990, documentaries since 1995 and shorts since1998 all now available online. Catalogues of titles in productionor recently completed also available for downloading as PDFdocuments.

All sections of Get the Picture available online since February2002.

National Survey of Feature Film and TV Drama Production2000/01 published online in November 2001.

Quality: National Survey of Feature Film and TV DramaProduction 2000/01 quoted in Screen Digest December 2001.Australian Bureau of Statistics and American Film MarketingAssociation both obtained latest data for their publications.PR&I data used in a range of books and reports published in thereview period.

Submissions made to: World Trade Organization (WTO) FourthTrade Policy Review of Australia (jointly with FFC); WTO’s DohaRound of Trade Negotiations; Australian Broadcasting Authority’sReview of the Australian Content Standard (includingsupplementary submission on documentaries in response torevised figures from the ABA).

Total of 432,534 successful sessions for AFC administered websites(a session represents one visit to the AFC website, for anunlimited period and representing unlimited visits to differentpages over the period). Total comprises: 308,424 sessions on theAFC website (total of 1,153,785 pages requested; and 227,353guidelines, forms, reports etc. downloaded); and 124,110 sessionsrecorded by Screen Network Australia.

INDICATORS PERFORMANCE 2001/02

Output 1.4: Policy development and information services.


SERVICE CHARTERThe AFC’s Service Charter describes the range ofservices and service standards clients can expect.

In 2001/02 the AFC recorded 75 compliments andtwo complaints. The most common complimentsrelated to the assistance provided, promptness,courtesy and the extent and appropriateness of theinformation provided by the AFC.

Marketing and International FestivalsThe following Australian marketing supportmaterials were compiled in 2001/02:

• Cannes Catalogue of New Australian Films• Mini Features Catalogues (three editions)• TV Drama & Documentaries Catalogue (two

editions)• Shorts Catalogue• Australian Distributors and Broadcasters (two

editions)• International Agents for Australian Feature

Films (two editions)• International Agents for Australian TV Programs

(two editions)• UK Distributors of Australian Feature Films (two

editions)• US and Canadian Distributors of Australian

Features Films (two editions)• Festival Profiles (online only)• AFC Frequently Asked Questions (FAQ):

Australians at the Academy Awards (annualedition, online only); Australians at Cannes(annual edition, online only); Australians atVenice (annual edition, online only).

The AFC attended Cannes, MIPCOM, MIP-TV andBerlin festivals to assist with advice andpromotions. See page 31 for a full report ofmarketing activities.

General EnquiriesIn 2001/02 R&I staff responded to 6,908 enquiries,up 23 per cent on last year. Most of the enquiriesare from Australia (92 per cent) and most are fromthe film, television and video industry. See page 49for a full report.

Funded OrganisationsThe AFC continued its consultation with the fundedcultural organisations on the development ofminimum standards and codes of practice forservice obligations. By the end of the 2001 calendaryear, the 12 organisations required to provide aservice charter had done so.

COMMONWEALTH DISABILITYSTRATEGYThe AFC commissioned consultants, who arespecialists within the disability sector, to undertakean examination of disability access pertinent to theAFC in 2001/02.

The focus of the Disability Access Project has beenon reviewing processes and procedures of the AFCfor accessibility. To place the AFC’s role in context,and to understand the issues facing people withdisabilities wishing to use the AFC's services, theconsultants interviewed a number of people withdisabilities who have experience in the film andtelevision industry.

Outcomes of the project include recommendationsto improve the accessibility of information, fundingand other AFC services. The project considers thebenefits of taking a 'diversity' approach todisability and how this can be an integratedapproach to improve the quality of the AFC’s workin this area, consistent with organisation-widephilosophy and objectives.

These recommendations will be used to formulatethe AFC’s plan for meeting performancerequirements as part of the CommonwealthDisability Strategy. The AFC will work towardsformulating and implementing its plan over thenext 12 months, with a view to reporting on its levelof performance in its Annual Report 2002/03.


AP

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ESThe interactive website A Year on theWing received production investmentfunding through the AFC/ABCDocumentary Online Initiative. It wasproduced by Nell White, directed byKate Clere and written by Nell Whiteand Meme McDonald.

66 Appendices

ENABLING LEGISLATIONSFunctions and Purposes of the AFC

Section 5 of the Australian Film Commission Act1975 lists the functions of the AFC as:

s5.(1) (a) to encourage, whether by theprovision of financial assistance orotherwise, the making, promotion,distribution and broadcasting ofAustralian programs;

(b) to promote and distribute anyprograms;

(c) subject to the approval of the Minister,to provide financial assistance to aState or an authority of a State for thepurchase by it of:

(i) Australian programs that are of aneducational nature and ofnational interest or importance;and

(ii) rights in respect of any suchprograms; and

(d) to encourage, whether by theprovision of financial assistance orotherwise, the proper keeping ofrecordings in archives in Australia.

(1A) In the performance of its functions, theCommission shall give special attention tothe encouragement of:

(a) the making of experimental programsand programs of a high degree ofcreativeness; and

(b) the making and appreciation ofAustralian programs and otherprograms as an art form.

(2) The functions of the Commission specified inparagraphs (1)(a) and (b) may beperformed within or outside Australia.

(3) The Commission may carry out a matterwithin the functions specified in paragraph(1)(b) by commissioning a person toundertake that matter.

(4) The Commission may perform its functionsto the extent only that they are not in excessof the functions that may be conferred onthe Commission by virtue of any of thelegislative powers of the Parliament and, inparticular, may perform its functions:

(a) by way of expenditure of moneys thatare available for purposes of theCommission in accordance with anappropriation made by theParliament;

(b) by way of, or in relation to, trade andcommerce with other countries,among the States, between Territoriesor between a Territory and a State;

(c) for purposes related to broadcastingservices;

(d) so far as they relate to the collectionof statistics;

(e) for purposes related to externalaffairs; and

(f) for purposes in relation to a Territory.

Powers of the AFCSection 6 of the Australian Film Commission Act1975 lists the powers of the AFC:

s6.(1) The Commission has power to do all thingsnecessary or convenient to be done for or inconnexion with the performance of itsfunctions and, without limiting thegenerality of the foregoing, has power –

(a) to guarantee the repayment of, andpayment of interest on, loans(including bank overdrafts);

(b) to provide financial assistance to

Appendix 1

persons concerned with the making,promotion, distribution orbroadcasting of Australian programsunder arrangements that entitle theCommission to receive a share of theproceeds derived from the sale, hire,distribution or broadcasting of theprograms;

(c) to acquire rights in respect ofprograms;

(d) to accept gifts, devises, bequests andassignments made to the Commission(whether on trust or otherwise); and

(e) to act as trustee of moneys,recordings or other property vested inthe Commission upon trust, or to acton behalf of the Commonwealth or anauthority of the Commonwealth in theadministration of a trust relating toprograms or to matters connectedwith programs.

(2) The power of the Commission to giveguarantees is subject to such limits as theTreasurer determines as to the total amountof moneys (other than interest) the paymentof which may at any time be the subject ofsuch guarantees.

(3) Notwithstanding anything contained in thisAct, any money, recordings, or otherproperty held by the Commission upon trustshall be dealt with in accordance with thepowers and duties of the Commission astrustee.

(4) The Commission shall set out in its annualreport prepared and furnished to theMinister under Section 44 a statement of –

(a) the guarantees given by theCommission under paragraph (1)(a)during the year to which the reportrelates;

(b) the limits that the Treasurer hasdetermined under sub-section (2);and

(c) the total amount the subject of theguarantees referred to in paragraph(a).


AFC-funded films are defined as those projects thathave received investment at development,production or post-production stage from theAFC’s Film Development Branch or Indigenous Unit.Projects developed under the General DevelopmentInvestment Program are also included.

DOCUMENTARIESBlack Chicks TalkingDirector Brendan Fletcher, Leah PurcellEvent Sydney Film FestivalDate June 2002Country AustraliaAward Second, Top Ten Documentaries at Dendy Opera Quays Section

Facing the DemonsDirector Aviva ZieglerEvent United Nations Association of Australia Media Peace AwardsDate October 2001Country AustraliaAward Best Television – Dee Cameron

In Difficult TimesDirector Stephen FrostEvent Australian Guild of Screen Composers AwardsDate December 2001Country AustraliaAward Best Music for a Documentary – Ross Mclennan

Kurtal – Snake SpiritDirectors: Nicole Ma, Michelle MahrerEvent Australian Teachers of Media AwardsDate May 2002Country AustraliaAward Best Indigenous Resource – Nicole Ma and Michelle Mahrer

Event Australian Teachers of Media AwardsDate May 2002Country AustraliaAward Best Short-Form Documentary – Nicole Ma and Michelle Mahrer

Least Said, Soonest MendedDirector Steve ThomasEvent United Nations Association of Australia Media Peace AwardsDate October 2001Country AustraliaAward Increasing Awareness and Understanding of Women’s Rights

and Issues – Steve Thomas

Making VenusDirector Gary DoustEvent Sydney Film FestivalDate June 2002Country AustraliaAward Special Mention – FIPRESCI Jury; Sixth, Top Ten Documentaries

at Dendy Opera Quays Section

Schtick HappensDirector Maciek WszelakiEvent St Kilda Film FestivalDate May 2002Country AustraliaAward Best Documentary

Speed CityDirector Kim Mordaunt, Sylvia WilczynskiEvent Phoenix Film FestivalDate April 2002Country United StatesAward Copper Wing Award – Best Documentary Short Film

Tokyo Bound – Bondage Mistresses of JapanDirector Susan LambertEvent Australian Cinematographers Society (ACS) Awards – NSW/ACTDate November 2001Country AustraliaAward Silver – Helen Barrow, Documentaries Section

A Wedding in RamallahDirector Sherine SalamaEvent Sydney Film FestivalDate June 2002Country AustraliaAward Fourth, Top Ten Documentaries Screened at State Theatre

Section

FEATURESBeneath CloudsDirector Ivan SenEvent Berlin International Film FestivalDate February 2002Country GermanyAwards Piper Heidsieck New Talent Award – Dannielle Hall,

International Competition Section; Premiere First Movie Award– Ivan Sen, International Competition Section

Getting the Dirt on TrishDirector Sue BrownEvent Melbourne Underground Film FestivalDate August 2001Country AustraliaAward Best Female Director – Sue Brown

He Died with a Felafel in His HandDirector Richard LowensteinEvent Australian Cinematographers Society (ACS) Awards – Victoria/

TasmaniaDate October 2001Country AustraliaAward Silver – Andrew De Groot, Feature Cinema Section

Event London Australian Film FestivalDate March 2002Country United KingdomAward Audience Award

Event New York International Independent Film & Video FestivalDate February 2002Country United StatesAwards Grand Jury Prize, Best Feature Section; Best Actor in a Feature

Film – Noah Taylor; Best Supporting Actress in a Feature Film –Romane Bohringer

68 Appendices

Appendix 2AWARDS WON BY AFC-FUNDED FILMS

1 July 2001 – 30 June 2002

La SpagnolaDirector Steve JacobsEvent Australian Film Institute AwardsDate November 2001Country AustraliaAward AFI Award for Best Original Music Score – Cezary Skubiszewski

Event Independent Filmmakers’ (if) AwardsDate November 2001Country AustraliaAward Award for Best Sound Design – Andrew Plain

Event Las Palmas International Film FestivalDate March 2002Country SpainAward Audience Choice Award, Official Selection Section

Event Nashville Independent Film FestivalDate June 2002Country United StatesAward Audience Choice Award, Features Program Section

The Monkey’s MaskDirector Samantha LangEvent Australian Screen Sound GuildDate October 2001Country AustraliaAward Feature Film Soundtrack of the Year

MulletDirector David CaesarEvent Australian Cinematographers Society (ACS) Awards – NSW/ACTDate November 2001Country AustraliaAward Gold – Robert Humphreys, Feature Film Cinema Section

Event Australian Screen Sound GuildDate October 2001Country AustraliaAward Best Achievement in Sound for a Feature Film – Dialogue and

ADR Editing

Event Australian Writers’ Guild (AWGIE) AwardsDate September 2001Country AustraliaAward David Caesar, Feature Film – Original Section

Event Film Critics’ Circle of AustraliaDate February 2001Country AustraliaAward Best Original Screenplay – David Caesar; Best Supporting

Actor – Andrew S Gilbert

Event Shanghai International Film FestivalDate June 2002Country ChinaAward Best Director – David Caesar, Panorama Section

Walking on WaterDirector Tony AyresEvent Berlin International Film FestivalDate February 2002Country GermanyAward Teddy Award for Best Feature Film, International Panorama

Section; Reader’s Prize of the Siegessäule, InternationalPanorama Section

SHORT FEATURE One Night the MoonDirector Rachel PerkinsEvent Australian Cinematographers Society (ACS) Awards – NSW/ACTDate November 2001Country AustraliaAward Gold – Kim Batterham, Fiction Drama Shorts Section

SERIESMary G ShowEvent Western Australian Screen AwardsDate February 2002Country AustraliaAward ScreenWest Outstanding Achievement for a TV Series – Goolari

Media Enterprises, Industry Awards Section

INTERACTIVEDream KitchenDirector Leon CmielewskiEvent Australian Teachers of Media AwardsDate July 2001Country AustraliaAward Best Multimedia – Leon Cmielewski and Josephine Starrs

JuvenateDirector Andrew Hutchinson, Michelle Glaser, Marie-Louise XavierEvent Stuttgart Filmwinter FestivalDate January 2002Country GermanyAward Honorable Mention CD Rom, International Competition, New

Media Section

Uncle BillDirector Debra PetrovitchEvent Videobrasil International Electronic Art FestivalDate September 2001Country BrazilAward New Media Prize, Competitive New Media Show Section

MINI-SERIESCybergirlDirector Mark De Friest, Michael CarsonEvent Australian Film Institute AwardsDate November 2001Country AustraliaAward AFI Award for Best Children’s Television Drama – Jonathan M

Shiff, Daniel Scharf (for ‘One’)

Event Australian Teachers of Media AwardsDate May 2002Country AustraliaAward ATOM Commendation – Outstanding Children’s Entertainment

SHORTSBartlebyDirector Miro BilbroughEvent Bilbao International Festival of Documentary & Short Films Date November 2001Country SpainAward Silver Mikeldi for Fiction, Competition Section

The Big HouseDirector Rachel WardEvent Australian Film Institute AwardsDate November 2001Country AustraliaAward AFI Award for Best Short Fiction Film – Rachel Ward

Event Film Critics’ Circle of AustraliaDate February 2001Country AustraliaAward Best Australian Short Film – Rachel Ward


Black TalkDirector Wayne BlairEvent St Kilda Film FestivalDate May 2002Country AustraliaAward Best Achievement with an Original Screenplay – Wayne Blair

Cheek to CheekDirector Beth ArmstrongEvent Cleveland Film FestivalDate March 2002Country United StatesAwards Best Women’s Short Film; Honorable Mention – Humanitarian

Award

Event Corto Imola International Short Film FestivalDate October 2001Country ItalyAward Best Short Fiction, International Competition Section

Event Magnolia Independent Film FestivalDate February 2002Country United StatesAward Best Short Drama, Drama and Comedy Shorts Section

Event Palm Springs International Short Film FestivalDate August 2001Country United StatesAward Best of the Festival

Event Rhode Island International Film FestivalDate August 2001Country United StatesAward Grand Prize Best Short

Event St Louis Film FestivalDate November 2001Country United StatesAwards Best International Short; Best of the Festival

Dad’s ClockDirector Dik JarmanEvent Dendy Awards for Australian Short FilmsDate June 2002Country AustraliaAward Yoram Gross Animation Award

Event St Kilda Film FestivalDate May 2002Country AustraliaAward Best Use of Digital Technology

Episodes in DisbeliefDirector Ann ShenfieldEvent Australian Teachers of Media AwardsDate July 2001Country AustraliaAward Best Experimental Production – Ann Shenfield

Hey Sista!Director Jan CattoniEvent Warner Roadshow Studios 16th Queensland New Filmmakers

AwardsDate April 2002Country AustraliaAwards Best Open Film – Jackie McKimmie; Best Film with a

Reconcilliation Theme – Jackie McKimmie

In Search of MikeDirector Andrew LancasterEvent Cork Film FestivalDate October 2001Country IrelandAward Outlook Award for Best Short

Event Melbourne Queer Film & Video FestivalDate March 2002Country AustraliaAward Specially Commended – Andrew Lancaster, City of Melbourne

Oz Shorts Section

Indefinable MoodsDirector Kathryn SmithEvent Prix Leonardo Film & TV FestivalDate November 2001Country ItalyAward Silver Award

Event Rhode Island International Film FestivalDate August 2001Country United StatesAward First Prize – Experimental category

Event USA Film Festival, DallasDate April 2002Country United StatesAward Best Animated Short, Shorts Competition Section

Into the DarkDirector Dennis TupicoffEvent Golden Gate Awards – San Francisco Film SocietyDate April 2002Country United StatesAward Certificate of Merit, Film & Video, Animation Section

Living with HappinessDirector Sarah WattEvent Australian Film Institute AwardsDate November 2001Country AustraliaAward AFI Award for Best Short Animation – Sarah Watt

Event Dendy Awards for Australian Short FilmsDate June 2002Country AustraliaAward Best Film, Fiction under 15 Minutes Section

Looking for Horses Director Anthony LawrenceEvent Annecy International Animated Film FestivalDate June 2002Country FranceAward Special Distinction – Short Films, Competition Section

Event Melbourne International Animation FestivalDate June 2002Country AustraliaAward Best Australian Film (shd) – Anthony Lawrence

Event St Kilda Film FestivalDate May 2002Country AustraliaAward Best Animation

70 Appendices

lovehotelDirector Linda WallaceEvent Videobrasil International Electronic Art FestivalDate September 2001Country BrazilAward Honorary Mention, Competitive Video Screening Section

One Night The MoonDirector Rachel PerkinsEvent Australian Cinematographers Society (ACS) Awards (National)Date May 2002Country AustraliaAward Distinction – Kim Batterham, Telefeatures, TV Drama & Mini

Series Section

Event Australian Film Institute AwardsDate November 2001Country AustraliaAwards AFI Award for Best Cinematography in a Non-Feature Film –

Kim Batterham; AFI Award for Open Craft in a Non-feature Film– Mairead Hannan, Kev Carmody, Paul Kelly

Event Australian Writers’ Guild (Awgie) AwardsDate September 2001Country AustraliaAwards John Romeril (with Rachel Perkins), Television Original Section;

John Romeril (with Rachel Perkins), Feature Film Section

Event Film Critics’ Circle of AustraliaDate February 2001Country AustraliaAwards Unique Achievement in the Combination of Sound, Image and

Music – Rachel Perkins; Best Music Score – Mairead Hannan,Kev Carmody, Paul Kelly

PaDirector Neil GoodridgeEvent Cartoons on the Bay International Festival of Television

AnimationDate April 2002Country ItalyAward Pulcinella Award for Best Short Film, Shorts Competition

Section

Event Zagreb World Festival of Animated FilmsDate June 2002Country CroatiaAward Nagrade Award – Best Debutante Film, Official Competition

Short Section

PurgatoryDirector Michael FrankEvent Kaleidoscope – Metro Screen Film and Video FestivalDate October 2001Country AustraliaAward Best Cinematographer – Franc Biffone

The Smell That Killed HimDirector Mark HanlinEvent Australian Cinematographers Society (ACS) Awards – Victoria/

TasmaniaDate October 2001Country AustraliaAward Gold – Geoffrey Hall ACS, Fiction Drama Shorts – Cinema & TV

Section

Event Australian Cinematographers Society (ACS) Awards (National)Date May 2002Country AustraliaAward Tripod – Geoffrey Hall, Fiction Drama Shorts Section

Sparky D Comes to TownDirector Maciek WszelakiEvent Australian Film Institute AwardsDate November 2001Country AustraliaAward AFI Award for Best Screenplay in a Short Fiction Film – Kris

Mrksa

Event WetfestDate September 2001Country AustraliaAward Fed on Film, Open Section

Summer of ’77Director Wendy ChandlerEvent St Kilda Film FestivalDate May 2002Country AustraliaAward Best Achievement in Special Effects

Tales from the PowderoomDirector Darren BurgessEvent Sydney Mardi Gras Film Festival – My Queer Career AwardsDate February 2002Country AustraliaAward Best Film – Darren Burgess

Wait ‘Til Your Father Gets HomeDirector Martin WilsonEvent Australian Screen Sound GuildDate October 2001Country AustraliaAward Best Achievement in Sound for a Short Film

Event Australian Teachers of Media AwardsDate May 2002Country AustraliaAward Best Short Fiction – Martin Wilson & Angie Smith, General

Section

Event New York Festivals Date August 2001Country United StatesAward Best Short Drama

Event Western Australian Screen AwardsDate February 2002Country AustraliaAward Inside Film Magazine People’s Choice Award, Emerging Sector.

Gebre Awards Section

TELEMOVIESThe Road from CoorainDirector Brendan MaherEvent Australian Cinematographers Society (ACS) Awards – NSW/ACTDate November 2001Country AustraliaAward Gold – Tristan Milani, Telefeature & TV Drama Section

Event Australian Cinematographers Society (ACS) Awards (National)Date May 2002Country AustraliaAward Distinction – Tristran Milani, Telefeatures, TV Drama & Mini

Series Section

Event Australian Screen Sound GuildDate October 2001Country AustraliaAward Best Achievement in Sound for a Drama – Telemovie/Mini-

series


72 Appendices

AFC-funded films are defined as those projects that have received investment at development,production or post-production stage from the AFC’s Film Development Branch or Indigenous Unit.Projects developed under the General Development Investment Program are also included.

Date Country

DOCUMENTARIES

AT SEA (dir. Penny Fowler-Smith)

Tampere International Short Film Festival March 2002 Finland

BLACK CHICS TALKING (dir. Brendan Fletcher, Leah Purcell)

Tribeca Film Festival May 2002 United States

BLACK HARVEST (dir. Bob Connolly, Robin Anderson)

Margaret Mead Film & Video Festival November 2001 United States

BUSH MECHANICS SERIES (dir. David Batty, Francis Kelly)


CANNIBAL TOURS (dir. Dennis O’Rourke)


THE DIPLOMAT (dir. Tom Zubrycki)

Hollywood Film Festival August 2001 United States

Hong Kong International Film Festival March 2002 China


Wine Country Film Festival USA July 2001 United States

FIRST CONTACT (dir. Robin Anderson, Bob Connolly)


GAMPA (dir. Julie Raffaele)

Moondance Film festival January 2002 United States

HACKTIVISTS (dir. Ian Walker)

Banff Television Festival June 2002 Canada

HALF LIFE (dir. Dennis O’Rourke)


HEPHZIBAH (dir. Curtis Levy)

Mumbai International Film Festival for Documentary, February 2002 India Short & Animation Films (formerly Bombay)

IN DIFFICULT TIMES (dir. Stephen Frost)

International Festival of Films on Art March 2002 Canada

Parnu Documentary and Visual Anthropology Film Festival July 2001 Estonia

JOE LEAHY’S NEIGHBOURS (dir. Bob Connolly, Robin Anderson)


Appendix 3INTERNATIONAL SCREENINGS OF AFC-FUNDED FILMS

1 July 2001 – 30 June 2002


Date Country

MUCH ADO ABOUT SOMETHING (dir. Mike Rubbo)


London Australian Film Festival March 2002 United Kingdom

Montreal International Festival of New Cinema and New Media October 2001 Canada


Taos Talking Picture Festival April 2002 Mexico

Toronto International Film Festival September 2001 Canada

Victoria Independent Film & Video Festival February 2002 Canada

Virginia Film Festival October 2001 United States

MY ONE LEGGED DREAM LOVER (dir. Penny Fowler-Smith, Christine Olsen)

Mumbai International Film Festival for Documentary, February 2002 IndiaShort & Animation Films (formerly Bombay)

ORIENTATIONS: CHRIS DOYLE, STIRRED NOT SHAKEN (dir. Rick Farquharson)

Helsinki Film Festival September 2001 Finland

OUT OF OUR MINDS (dir. David Carlin)

Cork Film Festival October 2001 Ireland

PARADISE BENT ... BOYS WILL BE GIRLS IN SAMOA (dir. Heather Croall)

Out in Africa South African Gay & Lesbian Film Festival February 2002 South Africa

SHADOW PLAY: INDONESIA’S FORGOTTEN HOLOCAUST (dir. Chris Hilton)



It’s all True – International Documentary Film Festival April 2002 Brazil


STEEL CITY (dir. Catherine Marciniak, Aviva Ziegler)


A WEDDING IN RAMALLAH (dir. Sherine Salama)

Hot Docs – Canadian International Documentary Festival April 2002 Canada

FEATURES

AUSTRALIAN RULES (dir. Paul Goldman)

Sundance Film Festival January 2002 United States

BENEATH CLOUDS (dir. Ivan Sen)

Berlin International Film Festival February 2002 Germany

Cinema des Antipodes – Cannes May 2002 France


Shanghai International Film Festival June 2002 China

DIARIES OF VASLAV NIJINSKY (dir. Paul Cox)

International Film Festival Rotterdam January 2002 Netherlands

Istanbul International Film Festival April 2002 Turkey


Moscow International Film Festival June 2002 Russia

Oslo International Film Festival November 2001 Norway

Philadelphia Festival of World Cinema April 2002 United States

Raindance Film Festival October 2001 United Kingdom

San Francisco International Film Festival April 2002 United States


HE DIED WITH A FELAFEL IN HIS HAND (dir. Richard Lowenstein)

Fort Lauderdale International Film Festival October 2001 United States


Montreal World Film Festival August 2001 Canada

New York International Independent Film & Video Festival April 2002 United States

Vancouver International Film Festival September 2001 Canada

HILDEGARDE (dir. Di Drew)



INNOCENCE (dir. Paul Cox)

Cinefest – Sudbury International Film Festival September 2001 Canada

Hof International Film Festival October 2001 Germany

Jerusalem Film Festival July 2001 Israel

Roger Ebert’s Overlooked Film Festival April 2002 United States

JET SET (dir. Jonathan Ogilvie)


LA SPAGNOLA (dir. Steve Jacobs)

International Film Festival Rotterdam January 2002 Netherlands

Las Palmas International Film Festival March 2002 Spain


London Film Festival November 2001 United Kingdom

Maui Film Festival June 2002 United States

Nashville Independent Film Festival June 2002 United States

New Zealand Film Festival July 2001 New Zealand

Palm Springs International Film Festival January 2002 United States

San Francisco International Film Festival April 2002 United States

Seattle International Film Festival May 2002 United States

Singapore International Film Festival April 2002 Singapore


THE LAST WAVE (dir. Peter Weir)

Atlanta Film & Video Festival May 2002 United States

THE MONKEY’S MASK (dir. Samantha Lang)

Austin Gay & Lesbian International Film Festival August 2001 United States

Chichester Film Festival August 2001 United Kingdom

Dallas Out Takes Gay and Lesbian Film Festival November 2001 United States

Hawaii International Film Festival November 2001 United States

Inside Out – Toronto Lesbian and Gay Film Festival May 2002 Canada

Out in Africa South African Gay & Lesbian Film Festival February 2002 South Africa

Out Takes – New Zealand Lesbian & Gay Film Festival May 2002 New Zealand

Outfest Film Festival July 2001 United States

Philadelphia International Gay & Lesbian Film Festival July 2001 United States

74 Appendices

Date Country

MUGGERS (dir. Dean Murphy)

Leeds International Film Festival September 2001 United Kingdom

MULLET (dir. David Caesar)

Edinburgh International Film Festival August 2001 United Kingdom


International Film Festival Mannheim-Heidelberg November 2001 Germany


Minneapolis and St Paul International Film Festival April 2002 United States


Pusan International Film Festival November 2001 Korea

Shanghai International Film Festival June 2002 China

Vancouver International Film Festival September 2001 Canada

MY MOTHER FRANK (dir. Mark Lamprell)

Calcutta (Kolkata) International Film Festival November 2001 India

PICNIC AT HANGING ROCK (dir. Peter Weir)


RADIANCE (dir. Rachel Perkins)

Bermuda International Film Festival April 2002 Bermuda

SILENT PARTNER (dir. Alkinos Tsilimidos)

Athens International Film & Video Festival September 2001 United States


Singapore International Film Festival April 2002 Singapore


US Comedy Arts Festival February 2002 United States

WALKING ON WATER (dir. Tony Ayres)



Seattle International Film Festival May 2002 United States

INTERACTIVE

DREAM KITCHEN (dir. Leon Cmielewski)

Videobrasil International Electronic Art Festival September 2001 Brazil

JUVENATE (dir. Andrew Hutchinson, Michelle Glaser, Marie-Louise Xavier)

Stuttgart Filmwinter Festival January 2002 Germany

Transmediale – International Media Art Festival Berlin February 2002 Germany

OF DAY, OF NIGHT (dir. Megan Heyward)

Stuttgart Filmwinter Festival January 2002 Germany

UNCLE BILL (dir. Debra Petrovitch)

Impakt Festival for Audio-Visual Arts October 2001 Netherlands


SHORT FEATURES

FEELING SEXY (dir. Davida Allen)


Women Make Waves Festival August 2001 Taiwan


Date Country

ONE NIGHT THE MOON (dir. Rachel Perkins)

Arizona International Film Festival April 2002 United States




Kansas City Filmmakers Jubilee April 2002 United States

Mill Valley Film Festival October 2001 United States

Moscow International Film Festival June 2002 Russia


SHORTS

ABOVE THE DUST LEVEL (dir. Carla Drago)

Dallas Out Takes Gay and Lesbian Film Festival November 2001 United States

ADA (dir. Lee Whitmore)

Annecy International Animated Film Festival June 2002 France

BARE (DIR. DEBORAH STRUTT)

Austin Gay & Lesbian International Film Festival August 2001 United States

Corto Imola International Short Film Festival October 2001 Italy

Festival of New Film & Video – Split September 2001 Croatia

Mecal European Short Film Festival September 2001 Spain

Vancouver Queer Film and Video Festival August 2001 Canada

BARTLEBY (dir. Miro Bilbrough)

Bilbao International Festival of Documentary & Short Films November 2001 Spain


THE BIG HOUSE (dir. Rachel Ward)



New York Expo of Short Film and Video December 2001 United States

Outfest Film Festival July 2001 United States


BIRD IN THE WIRE (dir. Phillip Donnellon)

Aspen Shortsfest April 2002 United States

Atlantic Film Festival September 2001 Canada

Brief Encounters Short Film Festival November 2001 United Kingdom

Circuit Off – Venice International Short Film Festival June 2002 Italy

Cleveland Film Festival March 2002 United States

Inter-Film Festival – Berlin November 2001 Germany

Sao Paulo International Film Festival October 2001 Brazil

BROTHER (dir. Adam Elliot)

Cinematexas International Short Film & Video Festival September 2001 United States

Stuttgart International Animation Festival March 2002 Germany


CHEAP BLONDE (dir. Janet Merewether)


Uppsala International Short Film Festival October 2001 Sweden

76 Appendices

Date Country

CHEEK TO CHEEK (dir. Beth Armstrong)


Corto Imola International Short Film Festival October 2001 Italy

Los Angeles International Short Film Festival October 2001 United States

Magnolia Independent Film Festival February 2002 United States



Palm Springs International Short Film Festival August 2001 United States

Portland International Film Festival February 2002 United States

Rhode Island International Film Festival August 2001 United States

St Louis Film Festival November 2001 United States

CONFESSIONS OF A HEADHUNTER (dir. Sally Riley)


FIKE – International Short Film Festival of Evora November 2001 Portugal

DAD’S CLOCK (dir. DIK JARMAN)


Cracow International Short & Documentary Film Festival May 2002 Poland

Toronto Worldwide Short Film Festival June 2002 Canada

Zagreb World Festival of Animated Films June 2002 Croatia

DANCING IN THE DUST (dir. Jenny Lowdon Kendall)


EPISODES IN DISBELIEF (dir. Ann Shenfield)


FACES 1976 – 1996 (dir. Sue Ford)


FIVE HUNDRED ACRES (dir. Lucy Lehmann)


FLOATING WORLD (dir. Toula Anastas)


GIRL’S OWN STORY, A (dir. Jane Campion)


HARRY’S WAR (dir. Richard Frankland)


HERE I SIT (dir. Alyson Bell)


HOLDING YOUR BREATH (dir. Anthony Lucas)


Cannes Film Festival May 2002 France

THE ILLUSTRATED AUSCHWITZ (dir. Jackie Farkas)



Date Country

IN SEARCH OF MIKE (dir. Andrew Lancaster)


Clermont-Ferrand International Short Film Festival February 2002 France

Cork Film Festival October 2001 Ireland


London Lesbian and Gay Film Festival March 2002 United Kingdom

Out Takes – New Zealand Lesbian & Gay Film Festival May 2002 New Zealand

Shorts International Film Festival November 2001 United States


The New Festival / The NY Lesbian and Gay Film Festival June 2002 United States


Turin Gay & Lesbian Film Festival April 2002 Italy

INDEFINABLE MOODS (dir. Kathryn Smith)

Ajijic Festival Internacional de Cine November 2001 Mexico

Anima Mundi – International Animation Festival July 2001 Brazil

Ankara International Film Festival November 2001 Turkey

Atlanta Film & Video Festival May 2002 United States

Banff Festival of Mountain Films October 2001 Canada

Big Bear Lake Film Festival September 2001 United States




Medi@terra – International Art and Technology Festival and Symposium September 2001 Greece

Nantucket Film Festival June 2002 United States


Palm Springs International Short Film Festival August 2001 United States

Prix Leonardo Film & TV Festival November 2001 Italy

Rhode Island International Film Festival August 2001 United States

Silverlake Film Festival September 2001 United States


USA Film Festival, Dallas April 2002 United States

Victoria Independent Film & Video Festival February 2002 Canada

Women in the Director’s Chair – Annual International March 2002 United StatesFilm and Video Festival

INTO THE DARK (dir. Dennis Tupicoff)


St. Petersburg “Message To Man” International Documentary, June 2002 RussiaShort and Animated Films Festival


78 Appendices

Date Country

LIVING WITH HAPPINESS (dir. Sarah Watt)



Maui Film Festival June 2002 United States


New Directors New Films March 2002 United States




LOOKING FOR HORSES (dir. Anthony Lawrence)



LOST (dir. Jo Kennedy)

FIKE – International Short Film Festival of Evora November 2001 Portugal

Odense International Film Festival August 2001 Denmark

LOVE BIRDS (dir. Fiona Trigg)

Brief Encounters Short Film Festival November 2001 United Kingdom

Durango Film Festival March 2002 United States

LOVEHOTEL (dir. Linda Wallace)



PA (dir. Neil Goodridge)


Cartoons on the Bay International Festival of Television Animation April 2002 Italy

Florida Film Festival June 2002 United States

Taos Talking Picture Festival April 2002 Mexico


PACT (dir. Scott Patterson)

Uppsala International Short Film Festival October 2001 Sweden

PASSIONLESS MOMENTS (dir. Jane Campion, Gerard Lee)


PEEL (dir. Jane Campion)


PRETTY PENNY (dir. Shane Luther)


PURGATORY (dir. Michael Frank)

First International Internet Film Festival “King Nobel” October 2001 Belgium

ROAD (dir. Catriona McKenzie)



Portobello Film Festival July 2001 United Kingdom

SATURDAY NIGHT, SUNDAY MORNING (dir. Rima Tamou)



Date Country

SPARKY D COMES TO TOWN (dir. Maciek Wszelaki)




Los Angeles International Short Film Festival October 2001 United States


Telluride Indiefest December 2001 United States

SUNRISE AT MIDNIGHT (dirº. SEAN O’BRIEN)

Clermont-Ferrand International Short Film Festival February 2002 France

SUPER GLUE AND ANGEL’S WINGS (dir. Jane Cole)


THE SURFACE (dir. Marcus Bergner)

European Media Art Festival April 2002 Germany

TALES FROM THE POWDEROOM (dir. DARREN BURGESS)

San Francisco International Lesbian & Gay Film Festival June 2002 United States

TEARS (dir. Ivan Sen)


TRAPPED (dir. Trudy Hellier)

Odense International Film Festival August 2001 Denmark

TWO BOB MERMAID (dir. Darlene Johnson)


THE UNIQUE ONENESS OF CHRISTIAN SAVAGE (dir. Jennifer Ussi)

Kristiansand International Children’s Film Festival April 2002 Norway

Moondance Film festival January 2002 United States

Sprockets – Toronto International Film Festival for Children April 2002 Canada

UNRAVELLING (dir. Ann Shenfield)


Arcipelago International Festival of Short Films and New Images May 2002 Italy

Cracow International Short & Documentary Film Festival May 2002 Poland

WAIT ‘TIL YOUR FATHER GETS HOME (dir. Martin Wilson)

Atlantic Film Festival September 2001 Canada

Boston International Film Fest September 2001 United States

Festival of Festivals October 2001 United States


WIND (dir. Ivan Sen)



TELEMOVIES

THE ROAD FROM COORAIN (dir. Brendan Maher)


80 Appendices

Date Country


Appendix 4PUBLICATIONS

Guidelines, Pro Formas and StandardAgreements• Film Development and Marketing

AFC Indigenous Unit Objectives and Functions

AFC Power of Attorney

AFC Requirements for Script Investment

A–Z Budget Forms

Bridging Loan Agreement

Broadband Production Initiative FundingGuidelines

Buyout Agreement

Consent to Assignment

Consultant/Mentor Program Application Form

Film Development and Marketing FundingGuidelines

Film Development Project Investment Agreement(12 standards)

Film Production Investment Agreement (sixstandards)

General Development Investment Agreement(three standards)

General Development Investment ProgramApplication Form

Grant Agreements for Production and PostProduction (three standards)

Guidelines for Script Readers

Indigenous Drama Initiative DevelopmentApplication Form

Interactive Digital Media Program ProjectDevelopment Application Form

Marketing Loan Program Application Form

New Screenwriters Program: Information forApplicants

Post Production Agreement (two standards)

Pro Forma Actors Workshop Agreement

Pro Forma Consultant’s Agreement

Pro Forma Consultant Director Agreements

Pro Forma Consultant Producer Agreement

Pro Forma Personal Release

Pro Forma Researcher’s Agreement

Pro Forma Script Editor’s Agreement

Pro Forma Writer’s Agreement (two standards)

Production, Budgeting and Film ManagementManual, The

Production Funding Program Application Form

Project Development Program Application Form

Reader’s Agreements (two standards)

Standard Script Layout

Travel Grant Program Selection Criteria andApplication Form

• Co-productions

Official Co-production Program Guidelines

Application for Official Co-production Status

Development Investment in Projects BeingDeveloped as Official Co-productions

Films Co-production Agreement Between theGovernment of Australia and the Governmentof Canada

Administrative Arrangement Governing Franco-Australian Film Relations Between theAustralian Film Commission and CentreNational de la Cinematographie of Ministry ofCulture of the French Republic

Films Co-production Agreement Between theGovernment of Australia and the Governmentof Germany

Films Co-production Agreement Between theGovernment of Australia and the Governmentof Ireland

Films Co-production Agreement Between theGovernment of Australia and the Governmentof the State of Israel

Films Co-production Agreement Between theGovernment of Australia and the Governmentof Italy

Memorandum of Understanding Regarding theCo-production of Films Between the AustralianFilm Commission and the New Zealand FilmCommission

Films Co-production Agreement Between theGovernment of Australia and the Governmentof the United Kingdom of Great Britain andNorthern Ireland

‘You’ve Got a Friend’: Official International Co-productions

• Industry and Cultural Development

Industry and Cultural Development FundingGuidelines

ICD Assessors Guidelines

ICD Assessors Agreement

ICD General Purpose Grant Agreement

ICD Interactive Media Grant Agreement

ICD New Projects Grant Agreement – Company

ICD New Projects Grant Agreement – Individual

ICD Special Purpose Grant Agreement

ICD Touring Exhibitions Grant Agreement

ICD Travel Grant Agreement

ICD Underwriting Agreement

Other Publications• Free Publications

AFC Annual Report

AFC News

AFC Frequently Asked Questions (FAQ):

1. Careers in Film, Television and Interactive Media

2. I’ve Got a Great Idea for a Film

3. Australian Actors, Directors andCinematographers Working Overseas (onlineonly)

4. Australians at the Academy Awards (onlineonly)

5. Australians at Cannes (online only)

6. Cinema Industry Data (online only)

7. Australians at Venice (online only)

Australian Film and Television: Information forFilmmakers

Best Practice: 1 International Guests for EventOrganisers

Bush Track Meets the Information Superhighway,The

DVC Seminar Transcript

Facts About Child Care

Get the Picture Online: Essential Data on AustralianFilm, Television, Video and Interactive Media(free online, hard copy available)

GST Manual: Film and Television Industry and theNew Tax System, The

Guide to Screen Studies Resources in Australia

Hands On: New Technology in DocumentaryMaking

Interactive Digital Media: Where to Get Money,Information, Advice (online only)

National Survey of Feature Film and TV DramaProduction 2000/01

National Survey of Screen Culture Activity1990–1994

National Survey of Screen Culture Activity1995–1996

National Survey of Screen Culture Activity 1999–2000

Overview of the Australian Film Commission

Recent International Awards for Australians andAustralian Films

Ups and Downs of Childcare

Visions of Balance: Juggling Family with Work inTelevision

What is a Synopsis – Outline – Treatment? Dramaand Documentary

82 Appendices


• Policy

AFC Submission to the Department of ForeignAffairs and Trade’s Public Consultations onWTO Doha Round of Trade Negotiations(online only)

AFC Submission to the Department of ForeignAffairs and Trade’s Public Consultations onWTO Fourth Trade Policy Review, August 2001(online only)

AFC and FFC Submission to ABA’s Investigation intoExpenditure Requirement for Pay TVDocumentary Channels (online only)

Australian Films 1999 Box Office Share (online only)

Australian Films at the Box Office 2001

Australian Film Industry Produces a Record-breaking Performance 2000 (online only)

Australian Television Commercial ProductionCompanies Survey (online only)

Broadband Media in Australia: Tales from theFrontier

Changing Standards for Australian Content on TV.

Convergence Review – AFC Submission (onlineonly)

Development: A Study of Australian andInternational Funding and Practice in theFeature Film Industry (online only)

Further Multilateral Trade Negotiations,Submission to the Department of ForeignAffairs and Trade, May 1999 (online only)

Pay TV Drama Expenditure Requirement (onlineonly)

Productivity Commission (online only)

Report on Film and Television Production Industry(online only)

Response to the ABA’s Proposed StandardNovember 1998 - Review of the AustralianContent Standard, December 1998 (onlineonly)

Review of Broadcasting Legislation: Response toProductivity Commission Draft Report (onlineonly)

Review of Broadcasting Legislation:Supplementary Submission to the ProductivityCommission (online only)

Review of Digital Television Format Standards(High Definition Television). AFC Response toOptions Paper, August 1999 (online only)

Review of the Australian Content StandardSubmission to the Australian BroadcastingAuthority (online only)

Submission to the Australian BroadcastingAuthority’s (ABA) Review of the AustralianContent Standard, 1998 (online only)

Submission to the Cultural Ministers Council (CMC)investigation into Public Broadcasting inAustralia, June 2001 (online only)

Submission to the Inquiry of the SenateEnvironment, Recreation, Communications andthe Arts Legislation Committee, on retaining,repealing or redrafting Paragraph 160(d) ofthe Broadcasting Services Act 1992 – November1998 (online only)

Submission to the Joint Standing Committee onTreaties Inquiry into the MultilateralAgreement on Investment (MAI), August 1998(online only)

Supplementary Comments to the ABA’s Review ofthe Australian Content Standard (online only)

Supplementary Submission to the AustralianBroadcasting Authority’s Review of theAustralian Content Standard: Documentary(online only)

• Promotional Publications

Cannes Catalogue of New Australian Films

Mini Features Catalogue

TV Drama & Documentaries Catalogue

Shorts Catalogue

84 Appendices

• Marketing Publications

Australian Distributors and Broadcasters

Delivery Items: A Guide for Film and VideoProducers

Distributing Australian Films: A Survey of CurrentMarket Conditions And Distributors’Perceptions (online only)

What’s On in Film

International Agents for Australian Feature Films

International Agents for Australian TV Programs

Marketing Short Films Internationally

Non-Theatrical Distribution in North America

UK Distributors of Australian Feature Films

US and Canadian Distributors of Australian FeatureFilms

• Publications for Sale

Back of Beyond: Discovering Australian Film andTelevision

Broadband Media in Australia: Tales from theFrontier

Career Paths in the Australian Film Industry: ASurvey of AFI Award Nominees 1988–1993

Crossing the Digital Threshold

Don’t Shoot Darling: Women’s IndependentFilmmaking in Australia

The Electric Bookshop: Research into Current andFuture Markets for Interactive MultimediaPublications on CD-ROM

Get the Picture: 1st, 2nd, 3rd, 4th, 5th and 6thEditions – Essential Data on Australian Film,Television, Video and Interactive Media

Hidden Pictures

Low Means Low: Collected Papers from the LowBudget Feature Seminar

Maximum Vision: Large-format and Special-venueCinema

More Long Shots: Australian Cinema Successes inthe 90s

Other Spaces: Marketing, Distribution andExhibition of Interactive Art

Shared Visions: Women in Television

TV and Cinema Advertising Production in Australiaand New Zealand

‘Well I Heard It on the Radio and I Saw It on theTelevision ...’


ACCESS AND EQUITYFollowing is an analysis of access and equitycharacteristics for applicants to AFC funding in2001/02. See Appendix 7 – Application Statisticson page 89 for a breakdown of applicationstatistics by gender.

Individual FundingTotal number of applications in 2001/02 decreasedslightly from 2000/01 and the proportion ofapplicants born in Australia also dropped.

The proportions of applicants from other countrieschanged significantly from last year. Applicantsfrom Africa and Oceania (excluding Australia)doubled. There were slight increases in applicantsfrom Asia and America, however Europeanapplicants dropped slightly.

An analysis of successful applicants is consistentwith last year’s proportions, with 74 per cent bornin Australia and 26 per cent born overseas.

A comparison of AFC figures to country of birthdata obtained via the Census for the film andvideo production industry shows similarproportions, with the exception of Aboriginal andTorres Strait Islander people and other Australians.

AFC Applicants Advising BirthplaceInformation, 2001/02

Place of birth

Africa 43 3.0% 1.4%

America 42 2.9% 2.2%

Asia (incl. Western Asia)3 63 4.4% 3.5%

Australia

Australians other than Aboriginal and Torres Strait Islander people 952 66.6% 72.8%

Australian Aboriginal and Torres Strait Islander people4 86 6.0% 0.5%

Total (Australia) 1,038 72.6% 73.3%

Europe 189 13.2% 15.0%

Oceania (excl. Australia) 55 3.8% 4.0%

Source: Compiled by AFC Research & Information.

Notes: 1. Based on analysis of 1,430 applicants to Film Development, Marketing,

Indigenous and Industry and Cultural Development programs in2001/02. Figures are for individual applicants; there may be severalapplicants per project.

2. People working in the Australian film and video production industry:Australian Bureau of Statistics Census of Housing and Population 1996.

3. Due to low numbers involved, the Middle East category has beenincluded in Asia for reasons of confidentiality.

4. 85 per cent of the figure for Indigenous Australians relates toIndigenous Unit Initiatives.

Organisational FundingOf the 82 applications received in 2001/02 by theIndustry and Cultural Development Unit, 74 weremade by organisations and eight by individuals.Access and equity forms were included in 74 of theapplications, giving a 90 per cent return rate forthe forms. Of the 82 applications 67 wereapproved for funding. Some organisations appliedfor several different projects over the year, andwhen duplicates were excluded, data wascompiled on a total of 51 different organisationsand eight individuals.

Appendix 5

% of peopleworking in theAustralian film

and videoproduction

industry2No.1

AFC applicants

• Information on ICD-funded Organisations

Organisations with an equal opportunity policy:49 (96 per cent).

Organisations with programs specifically designedto enhance the participation of people from anon-English speaking background, people ofAboriginal or Torres Strait Islander descent,women, or people with disabilities, in the screenindustry: 33 (65 per cent).

Non-English Speaking Background

Board Members 10%Staff 11%Membership 3%

Aboriginal and Torres Strait Islander


Women


Please note: most organisations were unable togive the breakdown of their membership.

86 Appendices


PERFORMANCE OVERVIEW OFICD-FUNDED EVENTS ANDACTIVITIES

These findings are based on events and activitiesfunded in 2001 from January to December by theAFC through the Industry & Cultural Development(ICD) Unit:

(a) Income and ExpenditureThe ICD Unit provided a total of $2,618,504 to56 organisations to deliver industrydevelopment and cultural activities for thefilm, television and interactive digital mediaindustries in 2001. The total income earned byorganisations in delivering these activities was$20,529,497, with AFC grants representing only12 per cent of the total income. Earned incomeincluded box office, conference fees, awardsentry fees, subscriptions, advertising revenue,sponsorship, membership fees, training coursefees, and facility and equipment hire fees, andmade up 49 per cent of total income. Cashsponsorship represented 15 per cent of thetotal income, and in-kind sponsorshiprepresented 14 per cent of total income.

(b) Management and StaffingForty-one organisations provided data abouttheir boards of management and staffinglevels. The number of full-time staff was 138,part-time staff totalled 261, and 1,258 peopleworked as volunteers or on work experience.There were 319 board members.

Top 10 Funding Approvals for 2001Organisation Amount Approved %

Australian Film Institute 532,399 20

Film and Television Institute (WA) 252,000 10

OPENChannel (Vic) 251,126 10

Media Resource Centre (SA) 196,100 7

Metro Screen (NSW) 157,300 6

Sydney Film Festival and 108,500 4Travelling Film Festival (NSW)

QPIX (Qld) 102,500 4

dLux media/arts (NSW) 85,000 3

Experimenta Media Arts (Vic) 85,000 3

Australian Teachers of Media (ATOM) 70,511 3– Metro Magazine and ATOM Awards

Top 10 funding approvals for 2001 1,840,436 70

ICD total budget 2,618,504 100

(c) Membership and Membership ServicesTwenty-five of the 41 organisations weremembership based, and had a total of 25,495members. Eighteen organisations published aprint newsletter, with a total combineddistribution of 20,052.

(d) PublicityThere were 793 press releases issued and thesegenerated 4,335 press and online articles,radio interviews and TV items about screenindustry and cultural development events andprograms.

(e) Professional DevelopmentA total of 1,513 people attended 134 shortcourses and a further 55 people attended fivefull-time courses held by the screen resourceorganisations. In 2001, income fromprofessional development accounted for$672,465, or 3 per cent of total income.

Appendix 6

(f) Regional Touring FestivalsAs a national funding agency the AFC supportsprograms in all states and many regionalcentres. The ICD Unit funded 21 touringfestivals, which attracted audiences of 69,947in the capital cities and 55,560 in 73 regionalcentres. A total of 797 films were screened,including 84 Australian features, 196Australian shorts, 20 Australian documentariesand 16 Australian animation and experimentalworks.

(g) Film Festivals and Screen EventsFilm festivals and screen events in the majormetropolitan centres were attended by a totalof 488,800 people, and 2,477 films werescreened. At these events, 116 Australianfeature films, 148 Australian documentariesand 749 Australian short films were shown.The film festivals and events presented 70international guests and 275 Australianfilmmakers and special guests.

(h) Conferences and SeminarsTwelve industry conferences were attended by3,865 people and a further 15,507 peopleparticipated in 218 industry seminars.

(i) Award CeremoniesSix major industry awards ceremonies wereattended by 3,786 people, with an estimatedtelevision audience of 1 million viewing theChannel Seven broadcast of the AFI Awards.The if Awards were broadcast to an audienceof 500,000 on SBS Television, and repeatscreenings on pay television channelShowtime reached an audience of 32,000. Afurther 11 awards ceremonies, associated withfestivals and other events, were attended by5,010 people. Film screenings associated withall awards ceremonies attracted 13,063 people.

(j) ProductionIn 2001, there were 9,747 units of film andvideo equipment hire, which constituted atotal of $1,125,397 of revenue, or 5 per cent oftotal income. A total of 414 film and videoproductions received production subsidies tothe value of $438,951.

(k) Interactive MediaThirty-three interactive digital mediaproductions were assisted by subsidies fundedby six organisations. Two industry awardsevents included awards for interactive digitalmedia works. The ICD Unit also funded twointeractive conferences, with a total audienceof 950, at which there were five internationalguests. There were 50 seminars on interactivedigital media with a total audience of 2,789,and 87 interactive digital media trainingcourses and workshops attended by a total of749 people. ICD funded 67 interactive digitalmedia screening events with a total audienceof 37,050 showcasing a total of 277 works byAustralian and overseas digital practitioners.

(l) Publications ICD funded four journals and two onlinemagazines. The total circulation was 143,614.ICD also funded one book, Straight Roads andCrossed Lines, a survey of Australian filmculture, of which 300 copies were distributed.

88 Appendices


APPLICATIONS STATISTICSFilm Development and ProductionProgramDevelopment1 Female Male Joint2 Total

Applicants 196 346 200 742

Approvals 55 74 55 184

Production Female Male Joint2 Total

Applicants 63 87 120 270

Approvals 8 9 21 38

Gender application statistics reflect the sex of the principal creative team(writer, director, producer) at the time of application.

1. Covers all development programs including interactive digital mediaand general development investment applications.

2. ‘Joint’ refers to applications from both female and male applicants.

Market ExpansionTravel Grants/AFC Delegations Female Male Joint1 Total

Applications 43 76 5 1242

Approvals 29 49 1 76

1. ‘Joint’ refers to an application by more than one person, irrespective ofgender.

2. 8 applications were withdrawn.

Marketing Loans: Female Male Joint1 Total

Applications 5 6 1 12

Approvals 4 3 1 8

1. ‘Joint’ refers to applications from both female and male applicants.

Industry and Cultural DevelopmentFemale Male Org Total

Applicants 4 4 74 82

Approvals 1 3 63 67

Indigenous Representation

Female Male Joint/Org Total

Development

Applicants 8 8 6 22

Approvals 6 3 5 14

Decisions pending 2 4 –

Production

Applicants 2 1* 9 12

Approvals 2 – 8 10

Decisions pending – – 1

Interactive Media

Applicants – – 1 1

Approvals – – 1 1

Travel Grants

Applicants 4 6 2 12

Approvals 3 6 2 11

Attachment

Applicants 5* 6 – 11

Approvals 3 6 – 9

Decisions pending 1 – –

Training

Applicants 1 – – 1

Approvals 1 – – 1

Mentor/director

Applicants – 1 – 1

Approvals – 1 – 1

Special events

Applicants – – 1 1


Workshops

Applicants 1* – 1 2


* one application withdrawn

Appendix 7

90 Appendices

ASSESSORS AND CONSULTANTSAssessors

• Film Development Branch Script and BudgetAssessors

Karin Altmann (Picture Palace), Miro Bilbrough,Shelley Birse, Rosemary Blight (RB Films), MichaelBrindley (Picture Palace) Anna Broinowski, SusieCampbell (Animazing Productions), Trish Carney (InPosse), Sue Castrique, Mark Chapman (Big IslandPictures), Ann Darrouzet (Westside Film &Television), Kristen Dunphy (Kanangra Productions),Adam Elliot (Adam Elliot Pictures), Wain Fimeri, PatFiske (Bower Bird Films), Sophie Jackson (ArcadiaPictures), Gabrielle Jones, Andrew Kelly, KellyLefever (Near Life Productions), Kim Lewis (FootprintFilms), Helen Lovelock (Green Island Films), JoMartino (Plump’N Rosy Productions), Barbara Masel,Stuart McDonald, Stuart Menzies (December Films),Kathryn Millard, Helen Panckhurst (Panckhurst

Productions), Tim Pye (Spider Ink), Mira Robertson,Julie Ryan (Vertigo Productions), Joan Sauers,Vincent Sheehan (Porchlight Films), Sam Thompson,Danny Vendramini (Roxy Films), Liz Watts(Porchlight Films), Sarah Watt (Sarah WattProductions) and Tom Zubrycki (Jotz Productions).

• Indigenous Representation Assessors

Miro Bilbrough, Jenny Day, Erica Glynn, KellyLefever, Helen Panckhurst, Jared Thomas, Liz Watts.

• Industry & Cultural Development Unit Assessors

Diane Cook, Tony Grierson, Cynthia Mann andSandra Sdraulig.

ConsultantsThe AFC engages consultants with specialist skillsto assist with defined projects where the tasksinvolved cannot be performed by existing staff.

The following list comprises AFC consultants paid$10,000 or more during 2001/02.

Appendix 8

Name

Alison White Designs

Blake Dawson Waldron

Catherine Gray EditorialServices

Cudjurie Films

Directions in Management

Entertainment Insights

Fran Lanigan

Ironclad Networks

KPMG

Open City Inc

Peter Reuter & Associates

The Quay Connection

Sandstar Films

Safety and Communications

Scarlett Pictures

Trout Films

Woomera Net

WWW.espace.com

Project

Online design and layout of Get the PictureLegal services for AFI Taskforce

Editorial services

Supervising producer on National IndigenousDocumentary Fund 5

Staff development and management workshops

Survey and analysis: Foreign Production Report

Coordination of Broadband Production Initiativeseminars

Online database development and technical assistancefor website

Accountancy services for AFI Taskforce

Design, translation and printing of Baudin GiftCatalogue

Statistical analysis

Curation of Australian films for BAM (Brooklyn Academyof Music) Film Festival and Berlin Film Event 2002

Policy submissions: various projects

Industrial law advice

Indigenous Drama Initiative 3

Film Development rationale paper and BroadbandProduction Initiative Guidelines

Website development services

Website programming

Agreed Cost ofConsultancy

42,643

12,344

39,903

36,916

31,843

13,866

11,352

16,533

19,310

34,865

63,035

26,400

15,375

22,911

40,492

68,882

57,185

17,127

Advertised

No

No

No

No

No

No

No

No

No

No

No

No

No

No

No

No

No

No

Reason for Consultancy

Specialist services not available in-house



Specialised production expertise


Expertise in policy research and analysisrequired

Events management and film publicityexpertise

Website programming expertise required|



Specialised statistical expertise


Expertise in drafting policy submissionsrequired.


Specialised production expertise


Website development expertise required

Website programming expertise required


FILM DEVELOPMENT

DEVELOPMENT

FEATURES PROJECT DEVELOPMENT STRAND A52 Card Pick Up Liz Doran 10,000 I

A Desert Buddy Movie Puncture Pty Ltd 13,000 3,000 I

A Kind of Hush 3 Monkey Films Pty Ltd 17,000 I

A Shade of Grey Carlo Petraccaro and Rimute Daugalis 10,000 I

Aftertaste Megan Harding and Anna Reeves 10,000 I

And Then There Was One Sarah Burns 16,330 I

Angels of Darlinghurst The Art Exploiters Pty Ltd 3,000 I

Blokes Lis Hoffmann 8,500 I

Burning Time Nicholas Flanagan 3,000 I

Cable Edward Street Films Pty Ltd 4,000 I

Car City Melodrama Pictures Pty Ltd 3,700 I

Catch Sarah Brill 7,000 3,000 I

Clean Time Alex Broun 10,000 I

Cold Feet Tony Laumberg 10,200 I

Come with Me Marion Lee 8,350 I

Conceiving Venus Alana Valentine and Yves Stening 17,000 I

Conversations between Lovers Jacinta Legge-Wilkinson 3,000 I

Desert Chapman Films Pty Ltd 14,250 3,750 I

Dirty Witness Venero Armanno 13,500 4,500 I

Dogsbody Karen Radzyner and Jason Harty 4,400 3,500 I

First Son Fable Films Pty Ltd 14,000 4,000 I

The Forest Fitzroy Films Pty Ltd 10,000 7,000 I

Initiations Carolyn Johnson and Sandra Lepore 13,000 3,300 I

Introducing Horror Hospital Arcadia Pictures Pty Ltd 12,200 3,000 I

Isabel Rat Connie Steinhart 13,650 I

Josh Jarmon Red Rover Productions Pty Ltd 3,000 I

Lennie Cahill Shoots Through Paul Oliver 10,000 I

Long Way to Freo Hydra Hamlet Pty Ltd 10,000 I

Mad Dogs and Englishmen Paul Payne and Mark Naglazas 8,900 6,650 I

Malkie’s Giantkillers Steven Moriarty 3,400 I

Martha’s New Coat Elizabeth Mars 13,000 I

Max B Mainsail Productions 12,850 I

Mechta Michelle Congues 12,000 4,400 I

Melt Matt Carroll Films Pty Ltd 10,000 6,000 I

Onotoa Nick Stevens 14,400 I

Paradise Shane T Hall 15,000 2,600 I

Pool Days Joel Anderson 6,500 3,850 I

Powderworks Kieran Darcey-Smith 16,300 I

Preservation Della Churchill and Sofya Gollan 2,000 I

Quarantine Bronwyne Smith and Stephen McGlashan 13,450 I

Appendix 9INDUSTRY ASSISTANCE

Title Applicant 2001/02 Future Years Type*

Rainbow Run Christine Langtree 1,000 I

Reasons to Be Cheerful Annabelle Murphy 13,500 3,000 I

Rock ‘n’ Roll Peter McLennan 2,709 I

Rose of Paris Annika Glac 8,500 I

Roy Höllsdotter Live Rectro Active Films Pty Ltd 4,500 I

Salt Priscilla Cameron 3,200 I

Satellite Boy CAAMA Productions Pty Ltd 17,000 I

Shooting the Breeze Kirk Dodd 11,500 I

Snap Lemur Films 7,000 3,000 I

The Space Between Lynne Vincent McCarthy 18,000 I

Space Travel Kathleen O’Brien 2,350 650 I

Taxpayers Edstrong Productions Pty Ltd 14,300 I

The Thirteenth House Smoking Gun Productions Pty Ltd 3,000 I

Tiger Mountain David Nerlich 3,000 I

Time’s Arrow Emil Stern 17,900 I

Transit Anna Broinowski and Della Churchhill 3,020 440 I

Unlocked Fitzroy Films Pty Ltd 16,750 4,250 I

Wish You Were Here Sandstar Films Pty Ltd 3,000 I

Wishnet F-Reel Pty Ltd 1,500 I

Strand A Editing Fees Australian Film Commission 1,535 3,464 S

396,514 229,984FEATURES PROJECT DEVELOPMENT STRAND B

The Beach of Falsea Amanita Pty Ltd 3,000 I

Blue Lady Screentime Pty Ltd 10,000 I

Bruised Laurie McInnes 3,000 I

Deb and Debba Jigsaw Entertainment Pty Ltd 10,000 I

Exquisite Corpse Kurrajong Films Pty Ltd 3,000 I

The Fate of Iris Lust Edgecliff Media Pty Ltd 1,000 I

I Want My Money Back Stephen MacLean 3,000 I

The Feng Shui Junkie Late Saturday Films Pty Ltd 10,000 I

The Home Song Stories Big and Little Films Pty Ltd 13,000 2,000 I

Impro Feature Rogue Productions Pty Ltd 14,000 1,000 I

Kid Snowball John Brumpton 10,300 I

Lump Sum Scorpion Script Services Pty Ltd 3,000 I

Mother Browne Rescued Films Pty Ltd 3,000 I

Nancy Takes the Stick Flat Rock Pictures Pty Ltd 3,000 I

The Nether Regions Canelot Pty Ltd 10,000 I

Obelia Rumbalara Films Pty Ltd 10,000 I

The Roseville Story Lea-Ha-Ha Pty Ltd and Too True Films Pty Ltd 3,000 I

Shiver TOI-TOI Films Pty Ltd 10,000 I

The Surfer Retozan Pty Ltd 7,000 3,000 I

Triple Zed Enjoy Entertainment Pty Ltd 10,000 5,000 I

Untitled Japanese Project Ellipsis Productions Pty Ltd 7,000 3,000 I

Wetware Jon Hewitt 7,000 3,000 I

127,300 43,000


92 Appendices

*Note: Funding Types are I = Investments, L = Loans, G = Grants, S = Special AFC Initiative

FEATURES PROJECT DEVELOPMENT STRAND C

Bennelong b.j. films Pty Ltd 40,000 10,000 I

Blackbelt Palm Beach Pictures Pty Ltd 20,000 I

The Book of Revelation Wildheart Zizani Pty Ltd 37,000 3,000 I

Brothers in Arms Martin Brown Films Pty Ltd 13,000 2,000 I

Love Me Tender Rogue Productions Pty Ltd 3,000 I

The Murder of Maggie Sykes A Nice Picture Company Pty Ltd 24,000 I

Rowan of Rin Rin Films Pty Ltd 46,000 I

93,000 105,000FEATURES PROJECT DEVELOPMENT STRAND D

All Stiff and Blue Lizzette Atkins Productions Pty Ltd 4,000 I

The Armidale Armidale Productions Pty Ltd 24,500 3,500 I

The Atomic Drop Darnley House Productions 19,000 5,000 I

Axe Fall Lynne Vincent-McCarthy 19,200 I

The Beautiful Woman Anna Kannava 12,500 I

Beyond Paradise Frontline Films Pty Ltd 20,000 5,000 I

The Bigger the Sin Vertigo Productions Pty Ltd 15,000 3,000 I

Black and White B & W Productions Pty Ltd 2,700 I

Bodies in the Yard The Laker-Merewether Film Company Pty Ltd 6,075 1,500 I

Bright Futures Huzzah Productions Pty Ltd 3,000 I

Bruised Laurie McInnes 19,000 6,000 I

Clean Straw for Nothing Lovell Films Pty Ltd 18,000 I

Dirty Girls Athem Pty Ltd 20,000 I

Dreamtime Alice Jan Chapman Films Pty Ltd 4,000 25,000 I

The Eye of the Storm Paper Bark Films Pty Ltd 20,000 I

Farley’s Reef Porchlight Films Pty Ltd 18,600 6,400 I

The Film Wintertime Films Pty Ltd 18,500 I

Fire and Ice Grand Bay Films Pty Ltd 18,000 5,000 I

Floodhouse Eidolon Pty Ltd 3,000 I

Her and Her Bloody Opera Sonja Armstrong Productions Pty Ltd 3,000 I

I Want My Money Back Stephen MacLean 13,600 I

In the Grip of the Grape Piccolo Films Pty Ltd 24,200 I

Irresistible Irresistible Films Pty Ltd 23,900 1,100 I

Isabelle the Navigator Figurehead Films Pty Ltd 25,000 I

Japanese Story Gecko Films Pty Ltd 850 I

John Flemming Lurline Eleven Pty Ltd 16,000 I

Johnno Puck Films Pty Ltd 15,050 I

King Hit Mandala Films Pty Ltd 17,150 4,350 I

Love Me Tender Rogue Productions Pty Ltd 7,410 3,350 I

Making Sense A Nice Picture Company Pty Ltd 4,500 I

The Mayne Inheritance Damien Parer Productions Pty Ltd 20,500 I

Matty Swink and the Moon Mice InfinityPictures Pty Ltd 17,500 I

The Mechanical Bird Lunar Films Pty Ltd 8,180 400 I

Miracle at Judge’s Gap Peter Duncan 25,000 I

Nobody Dies from Singing Ross McGregor 14,350 I




The Parakeets Ana Kokkinos and Mira Robertson 16,400 3,600 I

Persona Non Grata Peter Duncan 17,000 3,000 I

Personal Honour Anthony Buckley Productions Pty Ltd 5,500 I

Red Moon Palm Beach Pictures Pty Ltd 24,100 900 I

Rezoned Mushroom Pictures Pty Ltd 20,000 I

Roberto and Kathleen Brian Hoare and Associates Pty Ltd 3,000 I

The Roseville Story Lea-Ha-Ha Pty Ltd and Too True Films Pty Ltd 41,550 6,250 I

Shiver TOI-TOI Films Pty Ltd 19,750 5,250 I

Switch Hit Wintertime Films Pty Ltd 13,000 I

Turlough Champion Pictures Pty Ltd 4,000 I

Viva Dead Ponies Viva Dead Ponies Pty Ltd 25,000 I

Windradyne Australian International Pictures Pty Ltd 2,700 I

Wolf Stephen Sewell 9,000 I

Xochicalco Westside Film and Television 3,600 I

631,265 163,200DOCUMENTARY PROJECT DEVELOPMENT STRAND J

A Criminal History of Australia Janet McLeod 995 I

An Australian at Large Evershine Pty Ltd 5,000 I

Aussie Heroes:Debunking the MythAdam DeMooy 4,000 1,000 I

Becoming Julia Ruth Cullen 5,000 I

The Big Dry Ironlung Productions Pty Ltd (2,710) I

Boxing Kangaroo Taxi Films Pty Ltd 4,000 1,000 I

Chris, Not Krishna, Calling Gregory Stitt 600 I

The Crystal Ballroom Tantamount Productions Pty Ltd 5,000 I

Home Made Histories Arcadia Pictures Pty Ltd 4,850 I

Jumping Ship Solrun Hoaas 3,900 1,100 I

Lawyers, Guns and Money Serendipity Films Pty Ltd 5,000 I

The Lore Ipso-Facto Productions Pty Ltd 4,300 600 I

Pull the Other One Featherstone Productions Pty Ltd 3,500 1,500 I

The Road to Respect Instinct Entertainment Pty Ltd 3,700 1,300 I

Women in the City Kerry Negara 5,000 I

52,134 6,500DOCUMENTARY PROJECT DEVELOPMENT STRAND K

A Machine to Die For Eliot Jarvis Productions Pty Ltd 11,500 I

Big All at Once Second Sight Productions Pty Ltd 13,020 1,980 I

Chinese Take Away Looking Glass Pictures Pty Ltd 2,563 I

Clive James and the Buccaneers Storm Productions Pty Ltd 17,000 3,000 I

Convicts Olsen Levy Productions Pty Ltd 13,000 I

Dogs,Tomatoes, Santa and Speed Libby Laird 3,925 975 I

Droving Australia Mefa Film 12,500 2,500 I

Eating Dogs Darrelyn Gunzburg 14,675 I

In Limbo Iris Pictures Pty Ltd 1,000 I

Jocelyn Zara Films Pty Ltd 10,200 1,800 I

Michelangelo, Laszio, and Wain Fimeri 12,000 3,000 Ithe Year of Rage

94 Appendices



Mind Field: The Battle for Callan Park Laurie Critchley 13,280 I

The Eternal Frontier Hilton Cordell Productions Pty Ltd 25,000 I

The KGB In Australia Look Television Productions Pty Ltd 15,000 I

The Most Dangerous Man Serendipity Productions Pty Ltd 25,000 IIn The World

My Vietnam Too Rebecca Summerton 7,350 1,650 I

Pharma Wars Paradigm Pictures Pty Ltd 20,500 4,500 I

Pretending Big and Little Films Pty Ltd 7,400 3,300 I

Raining Stones Jag Films Pty Ltd 14,950 I

Reasons Peculiar Parham Media Productions Pty Ltd 10,000 I

The Red Truck Debra Beattie 4,000 1,000 I

Reef Doctors Singing Nomads Productions Pty Ltd 2,200 I

Seven Shots – Photojournalist Sentinel Films Pty Ltd 12,000 3,000 IGeorge Silk

Success Blackshield Productions Pty Ltd 14,000 I

Tofa Tuvala Nick Torrens Film Productions Pty Ltd 12,000 3,000 I

Trouble with the Neighbours Frontline Films Pty Ltd 12,000 3,000 I

239,833 98,935DOCUMENTARY PROJECT DEVELOPMENT STRAND LBehind the Lines, Behind the Lives Ipso-Facto Productions Pty Ltd 2,000 I

Disturbing Dust Artemis International Pty Ltd 2,000 I

Donny and Namarali Sarah Drofenik 22,000 I

From the Sky to the Sea Tamara Popper and Claude Gonzalez 20,000 I

The Glue Factory Rachel Landers 20,000 I

Helen’s War – Portrait of a DissidentSonja Armstrong Productions Pty Ltd 20,000 I

Kurtal – Snake Spirit Nicole Ma Productions 20,000 I

A Loo with a View See View Pictures Pty Ltd 2,000 I

Lucky Kings Handmade Productions 12,106 I

Moree Rymer Bayly Watson Pty Ltd 20,000 I

Ok Tedi Edward Street Films Pty Ltd 10,000 2,900 I

Once Was an Island: Diego Garcia Vagabond Films Pty Ltd 19,970 I

The Play Antipodes Productions 21,600 2,000 I

The President Versus David Hicks Olsen Levy Productions Pty Ltd 17,600 2,400 I

The Road to Respect Instinct Entertainment Pty Ltd 18,800 1,200 I

The View from Here Spirited Films Pty Ltd 2,000 I

194,000 44,576FEATURES PROJECT DEVELOPMENT

28 Stops in the Heartland Andrew Bovell 17,500 I

Boom Times JD Productions Pty Ltd 4,000 I

The Dam Dam Films Pty Ltd 3,000 I

The Dead Girl Sonja Armstrong Productions Pty Ltd 4,800 I

Driving Back from Dubbo Gecko Films Pty Ltd 4,000 I

The Four Legged Lottery New Town Films Pty Ltd and Samson Productions Pty Ltd (4,700) 4,700 I

Fire Fly Lisa Comerford 3,000 I

Friend of Dorothy Ordet JL Pty Ltd 2,300 I

Harmony of the Seven Sentiments Hagen Lunau 700 I

His Authorised Life Alexandra Long 2,000 I




In Wolf’s Clothing Gina Boon and Robert Raymond 2,000 I

Not Quite Waiting in the Wings Alison Tilson 4,000 3,000 I

Painted Blind Wonderland Film and Theatre Productions Pty Ltd 4,500 I

Panic Lawrence Johnston 3,200 I

Resonance Insomnia Film Pty Ltd 4,500 I

Satellite Boy CAAMA Productions Pty Ltd 4,000 I

The Sound of Eugene Brian Mckenzie 4,500 I

Switch Hit Wintertime Films Pty Ltd 3,000 I

The Tale of Brave Ulysses Media World Features Pty Ltd 5,000 I

Therese Robert Connolly 3,500 I

Thin Ice Eclipse Films Pty Ltd 6,300 I

Unlimited Potential John Coulter 5,000 I

Violette Mira Robertson 4,500 I

29,600 68,700DOCUMENTARY PROJECT DEVELOPMENTCarol Doesn’t Live Here Anymore Fiona Tuomy 2,000 I

Donny and Namarali Drofenik Films 1,540 I

Hoof Print/Foot Print Libby Porter, Janet Hines and Andrew Sully 1,250 I

The Human Race 2 Electric Pictures Pty Ltd 2,265 I

The Mail Run Re Angle Pictures Pty Ltd 3,000 I

Mum at 88 Jane Oehr 4,600 I

Murphy’s Law Kyla Brettle and Greg Spiller 3,000 I

Power and Privilege Pike-Fitzpatrick Nominees Pty Ltd 3,300 I

The Real Mary Poppins Hilton Cordell and Associates Pty Ltd 3,000 I

Rosie – A Lost Legend Resonance Productions Pty Ltd 1,000 I

Walk a Mile in My Shoes Nicky Tyndale-Biscoe 8,850 1,700 I

Watching Movies f-reel Pty Ltd 2,800 I

Wildness Big and Little Films Pty Ltd and Scott Millwood 2,900 I

22,290 18,915ANIMATIONS PROJECT DEVELOPMENT STRAND SDangerous Couriers Halo Pictures Pty Ltd 10,000 I

Empire Blue Crow Productions 3,080 I

Glossy Julia Bourke 2,880 1,220 I

Ibronka Siren Pictures Pty Ltd 10,000 I

Magic Story Telling Momentum Animation Studios Pty 8,700 I

Monkey Head Man Digital Pulse Pty Ltd 7,800 2,200 I

The Mysterious Geographic 3D Films Pty Ltd 7,800 2,200 IExplorations of Jasper Morello

Perilous Expeditions Sarah Watt 7,000 2,700 I

Unboxed Ann Shenfield 7,500 I

Vermin Vermin Productions 9,000 1,000 I

Vernon – In the Real World Act III Productions Pty Ltd 10,000 I

76,260 16,820FEATURES GENERAL DEVELOPMENT

Andrew Mason and Lizzie Bryant DV Films Pty Ltd 60,000 10,000 I

Ann Darrouzet Westside Film and Television Pty Ltd 10,000 I

96 Appendices



Anna Broinowski Anna Broinowski 7,000 500 L

Bill Bennett b.j films Pty Ltd 3,000 I

Charlotte Seymour Charlotte Seymour 6,500 12,000 I

Chris Brown Pictures in Paradise Pty Ltd 15,000 10,000 I

Chris Warner Trout Films Pty Ltd 10,000 I

Clare Sawyer Fitzroy Films Pty Ltd 15,000 I

Colin South Media World Pty Ltd 20,000 I

David Hannay Vitascope Filmed Entertainment Pty Ltd 10,000 I

Fiona Eagger Twenty 20 Pty Ltd 3,000 I

Glenys Rowe Binnaburra Film Company Pty Ltd 3,000 I

Heather Ogilvie A Nice Picture Company Pty Ltd 3,000 I

Ian Iveson Agenda Film Productions Pty Ltd 3,000 I

Jan Chapman Jan Chapman Films Pty Ltd 55,000 10,000 I

Jane Scott Great Scott Productions Pty Ltd 3,000 I

John Brousek Tidepool Films Pty Ltd 47,000 3,000 I

John Winter Wintertime Films Pty Ltd 20,000 10,000 I

Kath Shelper Scarlett Pictures Pty Ltd 3,000 I

Liz Watts and Vincent Sheehan Porchlight Films Pty Ltd 32,150 I

Lynda House Elm Films Pty Ltd 3,000 I

Marian Mcgowan Macgowan Films Pty Ltd 3,000 I

Mark Patterson Go Patterson Productions Pty Ltd 1,000 I

Martin Brown Martin Brown Films Pty Ltd 38,000 12,000 I

Martin Fabinyi Mushroom Pictures Pty Ltd 40,000 I

Peter Sainsbury Eidolon Pty Ltd 16,300 I

Robert Connolly and John Maynard Arenafilm Pty Ltd 3,000 I

Rolf de Heer and Julie Ryan Vertigo Productions Pty Ltd 45,454 4,545 I

Ross Matthews Zarwot Pty Ltd 3,000 I

Susan Fleming Wildfire Films International Pty 3,000 I

Tristram Miall Tristram Miall Films Pty Ltd 10,000 I

Vincent Ward Vincent Ward Films Pty Ltd 70,000 I

542,404 94,045FEATURES NEW SCREENWRITERS PROGRAM

Affection Marguerite Gillezeau 5,250 I

Bad Medicine Quiet Man Productions 5,000 I

Breaking Free Nalin Kant 5,000 I

The Carrier Sean Smith 3,000 I

Character Driven Samatha Strauss 6,300 I

Clean Warren Barker 3,636 I

Cut Up Graham Devanny 5,918 381 I

Drawing Shadows Swing Media Pty Ltd 5,000 I

Fatal Automation Lara McCarthy 6,300 I

The Field of Honour Mark Hennessy 5,250 I

Fork Yu Hilton Fatt 3,000 I

Galore Rhys Graham 3,000 I

Idle Rogues Adam DeMooy 5,250 I




Kid 17 Fiona Harris 1,500 3,750 I

Last Day Delivery James Walker 5,250 I

Little Rat Emily Carr 1,000 I

Martha’s New Coat Elizabeth Mars 1,000 I

Miami Melton Michael Lucas 1,050 I

Nowhere Bernard Hallam 6,300 I

The Straight and Narrow Troy Gurr 1,500 3,750 I

Tanhiro Darren Sylvester 5,000 I

The Tick-Tock Man Nick Kapetanios 5,250 1,050 I

Three Chairs – Three Men Bette Guy 1,050 I

Tuesday Morning on a Jacob Simkin 5,250 IThursday Afternoon

Up and Coming Skye Thompson 1,050 I

73,604 32,431DOCUMENTARY GENERAL DEVELOPMENT

Alan Carter Alley Kat Productions Pty Ltd 3,000 I

Andrew Ogilvie Electric Pictures Pty Ltd 36,750 10,000 I

Ellenor Cox and Marcus Gillezeau Firelight Films Productions Pty Ltd 3,000 I

Gary Steer and Tina Dalton-HagegeWild Visuals Pty Ltd 3,000 I

Jennifer Crone and Caroline SpencerJennifer Crone and Caroline Spencer 22,000 8,000 I

Mark Chapman Chapman Films Pty Ltd 22,000 8,000 I

Matthew Flanagan Invision Productions Pty Ltd 10,000 I

Paul Roy and Jennifer Ainge Iguana Film Productions Pty Ltd 20,000 I

116,750 29,000FEATURES SCRIPT WORKSHOP

National Script Workshop Australian Film Commission 409 49,590 S

409 49,590

TOTAL FILM DEVELOPMENT: DEVELOPMENT 2,595,366 1,000,698

PRODUCTION

CINEMA FEATURES

Cable Edward Street Films Pty Ltd 150,000 I

City Loop Red Movies Pty Ltd 28,453 I

Floodhouse Eidolon Pty Ltd 445,000 2,000 I

The Forest Fitzroy Films Pty Ltd, Jo Kennedy and Christine Rogers 400,000 I

Harvie Melodrama Picture Pty Ltd 115,000 25,000 I

Jet Set TOI-TOI Films Pty Ltd 11,986 I

La Spagnola Wild Strawberries Pty Ltd 5,000 I

One Night the Moon Music Arts Dance Films Pty Ltd 2,759 2,314 I

Preservation Della Churchill and Sofya Gollan 250,000 I

Roy Höllsdotter Live Rectro Active Films Pty Ltd 362,525 18,056 I

The Thirteenth House Smoking Gun Productions Pty Ltd 295,000 30,000 I

1,237,270 905,824DOCUMENTARY

26 Hooks and Eyes Resonance Production Pty Ltd 1,000 I

Anthem Media World Pty Ltd 160,000 90,000 I

98 Appendices



Becoming Julia Ruth Cullen 35,000 10,298 I

Beseiged – The Kelly Legacy Film Projects Pty Ltd 60,000 I

Children of Tibet Melinda Wearne 48,430 I

Desperate Man Blues Cube Media Pty Ltd 75,000 I

Disturbing Dust Artemis International Pty Ltd 13,000 8,384 I

Dr.Fruitloop Goes to East Timor Iris pictures Pty Ltd 1,500 I

Fahimeh’s Story Ian Lang 75,000 I

Home Made Histories Arcadia Pictures Pty Ltd 75,000 I

In Difficult Times Steve Frost 181 G

Inma Nyangatja Uluruku Mutitjulu Community Inc 2,500 I

Ken Unsworth – All Fired Up! Richard Moore and Paul McGillick 1,000 G

The Last of the Crossing Guards Renegade Films (Australia) Pty Ltd 2,500 I

Life at the End of the Rainbow Ipso-Facto Productions Pty Ltd 20,000 11,000 I

Making Venus Jotz Productions Pty Ltd 25,358 3,000 I

The Op Shop Girls from Emerald Hill People Pictures Pty Ltd 3,000 I

Ordinary People Jequerity Pty Ltd 15,000 I

Out of Our Minds Mish Mash Film Productions 2,500 I

Painting with Light in a Dark World PDM Doco 27,000 6,263 I

Ports of Destiny Mitzi Goldman 3,970 I

Rainbow Bird and Monster Man Rainbow Bird Films 40,000 I

Raison D’Etre Sonja Armstrong and Russell Vines 2,500 G

Speed City Lemur Films 14,000 I

Still Breathing Belly Productions 8,500 I

Sugarman Story Antipodes Productions (Aust) Pty Ltd 2,000 I

Taringa Jungle Pictures Pty Ltd 40,000 I

Thanks for all the Fish Thanks for all the Fish Productions 60,000 5,000 I

The What If Man: The Science Cargo Cult Films 72,000 1,000 IFictional Life of Peter Nicholls

They Came, They Saw, Outlook Productions Pty Ltd 1,500 IThey Concreted

523,539 498,845SHORT DRAMAA Mother of an Attitude Heather Phillips 134,339 2,000 I

Astray Taxi Film Production Pty Ltd 110,000 30,000 I

Bing Eron Sheean 18,940 2,000 I

Blow Lizzette Atkins Productions Pty Ltd 25,761 3,000 I

Calling Gerry Molloy Left Foot Pty Ltd 45,000 I

Children Huntress Productions 5,000 I

The Detective Pidgeon Thing Feudin Films Pty Ltd 26,840 I

Disturbance Idameneo (No 221) Pty Ltd 2,700 G

First Colin Lucre and Martin Guinness 1,000 G

Green Eyes Viva Productions Pty Ltd 136,951 1,500 I

Helga at the Shopping Mall Fitzroy Films Pty Ltd 60,546 2,000 I

Hey Sista Canelot Pty Ltd 50,000 I

ICQ Greg McLean Films Pty Ltd 26,653 1,521 I

The Last Picnic Objet B’art Pty Ltd 1,500 G




Love Birds Fiona Trigg 760 I

Men’s Coral Lagoon Pty Ltd 50,644 10,000 I

One Night the Moon Music Arts Dance Films Pty Ltd 2,314 231 I

Projectionist, The Much Ado Pty Ltd 149,752 5,500 I

Pyjama Girl Gabrielle Jones 3,000 I

Roundabout Roundabout Productions 34,000 10,000 I

The Smell That Killed Him Puff Films Pty Ltd 9,112 883 I

Sweetheart Retro Active Films Pty Ltd 16,000 9,000 I

Trapped Melodrama Pictures Pty Ltd 694 I

Victim Amy Lou Taylor 60,000 I

Violet Lives Upstairs Gabrielle Jones 170,000 I

We Have Decided Not to Die Collider Pty Ltd 15,000 82,587 I

Whispering in the Dark Incaman Films 123,841 I

973,308 467,262ANIMATIONAda Lee Whitmore and Jane Norris 2,500 I

Air Tim Adlide 5,000 I

Bad Hair Rae Pacific Vision Pty Ltd 4,200 I

Black and White and Red All Over Panic Productions 25,000 21,173 I

Dad’s Clock Kanga Manga Studios Pty Ltd 5,000 I

The Fuzz Fwak Animation Pty Ltd 25,500 17,500 I

Holding Your Breath 3D Films Pty Ltd 20,000 I

Into the Dark Jungle Pictures Pty Ltd 2,500 I

Leonard Julie Stone 49,984 I

Living with Happiness Sarah Watt 10,000 I

Looking for Horses Anthony Lawrence 13,145 I

Mother Tongue Susan Kim 26,000 13,083 I

Pa McBoing Pty Ltd 20,000 I

Recycle Another Rubber Tree Plant Productions 25,000 24,541 I

Seringue Peter Callas 8,000 I

Summer of ’77 Bob Pictures Pty Ltd 2,500 I

Tales from the Powderoom Darren Burgess 42,000 3,000 I

Unravelling Ann Shenfield 5,000 I

Violin Living Line Animation and Illustration 22,000 6,500 I

Walnut and Honeysuckle Lucinda Clutterbuck and Piccolo Films Pty Ltd 5,000 I

Ward 13 Trephine Productions 42,000 8,000 I

298,145 155,981SCRO PRODUCTION PROGRAMFTI – Raw Nerve Film and Television Institute WA 18,000 2,000 G

Metro Screen – Raw Nerve Metro Screen Ltd 14,000 6,000 G

MRC – Raw Nerve Media Resource Centre 14,000 6,000 G

Open Channel – Raw Nerve Open Channel Productions 14,000 6,000 G

QPIX – Raw Nerve QPIX Ltd 14,000 6,000 G

74,000 26,000CONSULTANT/MENTOR PROGRAM

Adam Black – David Hannan David Hannan Productions Pty Ltd 9,600 GProductions

100 Appendices



Andrew Wiseman and Apollo Films Pty Ltd 6,000 1,000 GRichard Keddie

Chris Fitchett – Astray Chris Fitchett 3,000 4,000 G

Jennifer Kent – Dogville Jennifer Kent 2,600 1,000 G

Julie Ryan – Thirteenth House Vertigo Productions Pty Ltd 6,000 1,000 G

Lizzette Atkins – Designing Dreams Lizzette Atkins Productions Pty Ltd 1,500 1,000 G

Marian Macgowan – Mother Macgowan Films Pty Ltd 6,000 1,000 Gof an Attitude

Michael Cusack –Tales from Michael Cusack 7,000 Gthe Powder Room

Phillip Hearnshaw – We Have Phillip Hearnshaw 6,000 1,000 GDecided Not to Die

Sarah Watt – Violin Sarah Watt 1,500 500 G

Steve Moltzen – Energee Steve Moltzen 9,600 GEntertainment

49,200 20,100MARKETING LOANSBird in the Wire Phillip Donnellon Films 3,946 L

Disappeared Halcyon Films Pty Ltd 1,650 L

Holding Your Breath 3D Films Pty Ltd 5,545 L

Mallboy Twenty 20 Pty Ltd 2,249 32,800 L

My Khmer Heart iCandy Productions Pty Ltd 14,983 L

One Night the Moon Music Arts Dance Films Pty Ltd 18,750 L

Rainbow Bird and Monster Man Rainbow Bird Films 7,000 L

Still Breathing Belly Productions 6,758 L

Super Glue and Angel’s Wings Jane Cole Productions 946 L

55,069 39,558

TOTAL FILM DEVELOPMENT: PRODUCTION 3,210,532 2,113,571

FILM DEVELOPMENT MISCELLANEOUS

ASSESSMENT EXPENSES

Assessors – FD Australian Film Commission 83,699 S

83,699PUBLICITY AND OUTREACH EXPENSES

Publicity and outreach expenses Australian Film Commission 3,589 S

3,589

SPECIAL EVENTS EXPENSES

FD Special Events Expenses Australian Film Commission 4,748 S

AFC On Screen Australian Film Commission 5,931 S

50 Minute Screenings Australian Film Commission 884 S

Strand A Editing Fees Australian Film Commission 4,279 S

15,844

OTHER MISCELLANEOUS

FD Travel Supplement Australian Film Commission 9,112 S

9,112

TOTAL FILM DEVELOPMENT: MISCELLANEOUS 112,244




INTERACTIVE MEDIA

EXPERIMENTAL DIGITAL FUNDAll Days Are Nights Kingston Anderson and Paula Dawson 2,500 I

De/Vide Chili Films Pty Ltd 20,000 G

Designing Dreams Alexander Middleton 16,500 5,500 G

Disappeared Halcyon Films Pty Ltd 1,000 G

Portraits Geoff Weary 10,000 5,080 G

Revolving Door BeeWorld Pty Ltd 17,500 2,500 G

The Surface Marcus Bergner 5,000 6,500 G

Under the Weather Tracie Mitchell 19,992 G

50,000 62,072SEED FUNDINGFor Love or Money John Kirk 2,400 I

Multimedia Other Australian Film Commission 420 S

Pirate Queens Gillian Morrison 43,900 I

The Cabinet of Lost David Cox 5,000 IMechanical Puppets

Unputdownable Chris Caines 3,000 I

3,420 51,300COMPLETION FUNDINGA Year on the Wing Consuello Pty Ltd 93,000 6,550 I

Alternative Animals Scott Anderson 81,270 25,730 I

Bitfeeders (D) All of the Above Pty Ltd 6,300 I

The Booth Mutley Media 3,850 G

Clem’s Big Scary World Tunes and Tales Pty Ltd 1,000 I

Dr Pancoast’s Cabinet de Curiosite Michelle Glaser 50,000 11,100 I

Elementia Kate Sparke Richards 2,700 I

Escape to Freedom Goldie Dahdal New Media Pty Ltd 93,000 6,949 I

Film as Text Australian Teachers of Media Inc 2,000 I

Home Not Alone Company In Space Inc 10,385 I

Homeless Yarra Bank Films Pty Ltd 98,999 1,000 I

Juvenate Marie-Louise Xavier 9,000 I

Land Rights for the Millennium Creative Access Pty Ltd 3,000 I

Life after Wartime Ross Gibson 21,000 I

Lump CD Drome Pty Ltd 4,000 I

Of Day, Of Night Megan Heyward 5,500 I

Pal 9000 Medialight Productions Pty Ltd 16,000 I

Praeternatural Michelle Barker 9,534 I

Re-Dreaming the Plain Imagine The Future Inc 7,500 4,000 I

Underworld Jennie Swain 5,600 I

Universal Zoologies Jon McCormack 5,000 I

The Wrong Crowd Debra Beattie 85,000 6,922 I

Wunderkammer Anna Munster 10,000 I

521,769 164,120INTERACTIVE DEVELOPMENT STRAND V

Little Dove, Big Voyage Firelight Productions Pty Ltd 5,000 I

102 Appendices



Zone 4 Constance Lansberg 4,120 1,040 I

The Modern Oz Suburban Tarot Somewhere Interesting 3,754 1,000 I

Blowin’ at the Rocco: Strange Cities Productions Pty Ltd 10,000 5,000 ISaturday Night

ooLa Roos Filmday Pty Ltd 11,400 3,600 I

Toby Danger P.I. Angus Smallwood 3,000 2,000 I

Theme Park On Line Forest Interactive Pty Ltd 12,450 2,550 I

Jupiter Green Tribal Pty Ltd 11,300 3,700 I

Then and Now – Exploring Helen Bowman 15,000 IPort Phillip’s Past

61,024 33,890INTERACTIVE DEVELOPMENT STRAND WLittle Dove, Big Voyage Firelight Productions Pty Ltd 46,150 I

Getting Online Australian Interactive Multimedia Industry Association 1,400 G

Tao Berman’s Extreme Kayaking Torus Games Pty Ltd 50,000 I

Fusion 4 ITV World.com (Australia) Pty Ltd 21,800 8,200 I

73,200 54,350

TOTAL FILM DEVELOPMENT: INTERACTIVE MEDIA 709,413 365,732

FILM DEVELOPMENT PROGRAM SALARIES

Program Salaries Australian Film Commission 810,606 S

TOTAL FILM DEVELOPMENT: PROGRAM SALARIES 810,606

COMMERCIAL TELEVISION PRODUCTION FUND

PRODUCER PACKAGES AND GENERAL DEVELOPMENTEllenor Cox and Marcus Gillezeau Firelight Films Productions Pty Ltd 23,000 7,000 I

Rosemary Blight RB Films Pty Ltd 12,000 5,000 I

Chris Hilton, Ian Collie and Hilton Cordell & Associates Pty Ltd 35,000 IMichael Cordell

Karena Slaninka Pagan Films Pty Ltd 10,000 5,000 I

Jane Ballantyne Bluestone Pictures Pty Ltd 5,000 I

David Elfick and Jocelyn Quioc Palm Beach Pictures Pty Ltd 18,000 7,000 I

Andrew Wiseman and Apollo Films Pty Ltd 18,000 7,000 IRichard Keddie

Katherine Scholes and Edward Street Films Pty Ltd 10,000 IRoger Scholes

Prue Adams, Victor Gentile and Oracle Pictures Pty Ltd 10,000 IMark Ward

Cathy Henkel and Jeff Canin Hatchling Productions 8,000 I

Phillip Bowman Enjoy Entertainment Pty Ltd 40,000 10,000 I

Ewan Burnett Burberry Productions Pty Ltd 70,000 I

Amanda King and Fabio Cavadini Amanda King and Fabio Cavadini 25,000 I

Martin Guinness Guinness Entertainment Pty Ltd 25,000 I

Paul Roy and Jennifer Ainge Iguana Film Productions Pty Ltd 30,000 I

Kevin Lucas Music Arts Dance Films Pty Ltd 30,000 I

Peter Beilby Circa Entertainment Pty Ltd 50,000 I

Charlotte Seymour Charlotte Seymour 12,500 I

John Tristram and James Wilson Juniper Films Pty Ltd 30,000 10,000 I




Warner,Chris, General Traif Films Pty Ltd 38,000 2,000 IDevelopment Investment

Rolf de Heer and Julie Ryan Vertigo Productions Pty Ltd 20,000 I

Chris Brown Pictures in Paradise Pty Ltd 25,000 I

Peter Hugh Strain Australia Imagine Pty Ltd 13,000 5,600 I

Julia Peters Julia Peters 20,000 10,000 I

Martin Fabinyi Mushroom Pictures Pty Ltd 20,000 10,000 I

David Elfick Palm Beach Productions Pty Ltd 5,000 I

Bruce Best Bruce Best 5,000 I

Robert Bruning Robert Bruning Productions Pty Ltd 909 I

Charles Hannah Lightyear Productions Pty Ltd 25,000 5,000 I

Sue Maslin Film Art Doco Pty Ltd 5,000 I

Stella Motion Pictures Stella Motion Pictures Pty Ltd 10,000 I

Ruby Entertainment Ruby Entertainment Pty Ltd 40,000 3,000 I

667,500 107,509ATTACHMENTSBronwyne Smith Bronwyne Smith 9,600 G

Rachel Dixon – Bratpack Rachel Dixon 3,000 G

Veronica Iacono – Veronica Iacono 7,000 GBBC/Channel Four

Nicole Ma – Dances of Ecstacy Nicole Ma 7,200 2,400 G

Penny Robins – Pacific and Beyond Annamax Media Pty Ltd 7,000 3,700 G

Mat King – Farscape Farscape Productions Pty Ltd 3,600 2,000 G

Henrietta Hartford-Davis – Henrietta Hartford-Davis 7,200 GQuicksilver Productions

Siobhan Hannan Siobhan Hannan 1,200 G

Gaby Mason Gaby Mason 2,400 G

Peta Lawson Peta Lawson 9,600 G

Lyvern Myi Lyvern Myi 8,000 G

49,000 24,900PROGRAM SALARIES COMMERCIAL TELEVISION PRODUCTION FUND


Program Administration Australian Film Commission 3,219 S

92,409

TOTAL COMMERCIAL TELEVISION PRODUCTION FUND 808,909 132,409

INDIGENOUS UNIT

DEVELOPMENT DOCUMENTARY

Changing Times Media Fix 20,570 6,122 I

Desperate Time:Desperate Measures Core Original Productions Pty Ltd 17,660 I

Downunder Open Channel Productions & Tony Briggs 2,500 G

Dugong Hunters CAAMA Productions Pty Ltd 8,000 2,000 I

Ngangkari Way PY Media 5,000 I

NIDF5 Australian Film Commission 29,699 S

Searching for My Seven Sisters CAAMA Productions Pty Ltd 11,425 2,200 I

Welcome to the Torres Strait Melanco Pty Ltd 4,500 I

99,354 10,322

104 Appendices



DEVELOPMENT DRAMACobber’s Bain Stewart Bungabura Productions 4,000 1,000 I

The Cross Golden Seahorse Productions 9,138 G

Grange McKenzie Black Productions 5,000 I

IDI 3 Launch Australian Film Commission 8,705 930 S

Junna Dena Curtis 2,380 I

The Making of a Man Darlene Johnson 6,658 600 I

Mary G Show (Sitcom) Series Goolarri Media Enterprise 20,000 10,000 I

Mimi Blackfella Films 1,000 G

The Photographer’s Ghost Anne Loxley and Brook Andrew 18,000 I

Queen of Hearts CAAMA Productions Pty Ltd 10,000 I

Songs of the Sea Archie Weller 6,500 3,500 I

Stockman CAAMA Productions Pty Ltd 3,500 1,500 I

Sweet Water Stolen Land Phillip McLaren 9,650 2,550 I

Wild Turkey CAAMA Productions Pty Ltd 10,000 I

114,531 20,080MENTOR DIRECTORMichael Riley, Consultant Boomalli Aboriginal Artists Co-op 6,000 GMentor Director

6,000INTERNETInteractive Photo History Ricky Maynard 3,000 GDigital Archive

3,000INTERACTIVE MEDIA SEED FUNDINGWangkumarra Interactive Greg McKellar Muda Aboriginal Corp 1,000 G

1,000INTERACTIVE MEDIA PRODUCTIONBush Mechanics Online Warlpiri Media 44,000 6,000 I

44,000 6,000PRODUCTION DOCUMENTARYBig Girls Don’t Cry CAAMA Productions Pty Ltd 30,000 I

Desperate Time:Desperate Measures Core Original Productions Pty Ltd 25,000 5,000 I

The Foundation Chili Films Pty Ltd 3,664 I

Ngangkari Way PY Media 25,000 5,000 I

We of Little Voice Re Angle Pictures Pty Ltd 7,120 5,000 I

Which Way Metro Screen Pty Ltd 12,695 G

99,815 15,000PRODUCTION DRAMAWild Turkey CAAMA Productions Pty Ltd 495,000 5,000 I

Turn Around Spirited Films Pty 5,000 G

Turn Around Spirited Films Pty 97,000 3,000 I

Flat Blackfella Films Pty 117,000 3,000 I

Shit Skin Sista Girl Productions 105,509 3,000 I

Mimi Blackfella Films Pty 80,000 20,000 I

Black Talk RB Films 100,000 I

IDI3 Series Producer/Assistant Scarlett Pictures Ptu Ltd/Lou Glover 41,116 GProducer




Mary G Show Series 2 Goolarri Media Enterprise 60,000 I

Dancing in the Dust Jenni Lowdon Kendall 11,363 G

One Night the Moon Music Arts Dance Films Pty Ltd 12,000 G

1,123,988 34,000ASSESSMENT EXPENSES

Assessments – Indigenous Unit∆ Australian Film Commission 5,920 S

5,920SPECIAL EVENTS EXPENSES

Indigenous Film Festival in Australian Film Commission 5,307 SGermany 2001

Indigenous Sponsorship & Awards Australian Film Commission 1,568 8,000 S

Indigenous Screen Australia Indigenous Screen Australia 16,000 4,000 G

22,876 12,000TRAVEL GRANTS

Bain Stewart Bungabura Productions 7,169 G

Danielle MacLean (Training Grant) Danielle MacLean 550 G

David Wilson David Wilson 4,617 G

Debbie Gittens Debbie Gittens 646 G

Gina Rings Gina Rings 4,617 G

Harry Taylor Harry Taylor 2,600 G

Jenny Fraser Jenny Fraser/Panangka Productions 1,000 G

John Macumba John Macumba 2,190 G

Kelton Pell Kelton Pell C/- Blackfella Films 4,800 G

Neil Turner Neil Turner -PAKAM 2,200 G

Rachel Perkins Blackfella Films 4,347 G

Rachel Perkins Rachel Perkins 3,140 G

Roy Morseu Roy Morseu 634 1 G

38,512 1ATTACHMENTS

Richard Frankland – Blue Heelers Richard Frankland 2,400 G

Julie Nimmo – Australian Eye Julie Nimmo 1,000 G

Colin Richards – We of Little Voice Re Angle Pictures 3,233 G

Darrin Ballangarry – Ngoppun Darrin Ballangarry 4,500 G

Troy Albert, Henry Augustine, Goolarri Media 9,690 GKimberley West – Me and You

Danielle MacLean – Flat Danielle MacLean 3,506 G

Wayne Blair – McLeod’s DaughtersWayne Blair 6,500 G

Robyn Nardoo – Mimi Robyn Nardoo - CAAMA Productions Pty Ltd 2,000 G

Dena Curtis – Beneath Clouds Dena Curtis (750) G

Kelly Roberts – Australian Rules Kelly Roberts (250) G

Darren Dale – Black and White Darren Dale 7,712 G

39,540PROGRAM SALARIES INDIGENOUS UNIT


63,535

TOTAL INDIGENOUS UNIT 1,662,075 101,067

106 Appendices



FILM DEVELOPMENT CASHFLOW FACILITY

26 Hooks and Eyes Andrew Taylor 100,000 L

A Cave in the Snow Firelight Productions Pty Ltd 30,000 L

Black and White Duo Art Productions Pty Ltd 140,000 L

Blurred Blurred Entertainment Pty Ltd 93,362 L

In Limbo DaiLe 66,311 L

The Most Dangerous Man Serendipity Productions Pty Ltd 50,000 Lin the World

Take Away MMondayitis Productions Pty Ltd 206,738 L

Unearthed, Technology World The Rights Management Group Pty Ltd 210,000 Land Living History

Visitors Bayside Pictures Pty Ltd 250,000 L

TOTAL FILM DEVELOPMENT CASHFLOW FACILITY 1,146,411

TOTAL FILM DEVELOPMENT 11,055,558 3,713,478

MARKETING

Film and television markets Australian Film Commission 413,214 33,169 S

Festivals Australian Film Commission 617 S

Marketing initiatives: Canadian Visit Australian Film Commission 8,605 S

Marketing seminars Australian Film Commission 61,617 S

Marketing miscellaneous Australian Film Commission 17,150 S

501,205 33,169INTERACTIVE MEDIA TRAVEL GRANTS

Annecy International Animated John Lycette 2,970 330 GFilm Festival, Not My Type III

Digital Interactive, Digi Docs Adelaide Fringe 2,000 G

International Digital Art Exhibit Greg Giannis 2,700 300 G& Colloqium, Cuba, Journeys

International Workshop on Richard Boros 3,150 350 GEntertainment Computing, Japan (Market)

MILIA (Market) Michelle Barker 300 G

MILIA (Market) Peter Fox 4,000 G

MILIA (Market) Geoffrey Shiff 4,000 G

MILIA (Market) Mark Simpson 4,000 G

MILIA (Market) Peta Masters 4,000 G

MILIA (Market) Tatiana Doroshenko 4,000 G

MILIA (Market) Rob Wellington 4,000 G

Mill Valley Film Festival, Wedding Zoe Horsfall 3,000 G

MIPCOM (Market) Darryl Thoms 4,000 G

MIPCOM (Market) Rino Simonelli 4,000 G

Siggraph, OINK Ruth Fleishman 3,150 350 G

Videobrasil International Electronic Leon Cmielewski 3,000 GArt Festival, Dream Kitchen

Zagreb World Festival of Animated Nathan Jurevicius 1,350 150 GFilms, How Quest Sought the Truth

53,620 1,480




FESTIVAL TRAVEL GRANTSAnnecy International Animated Dik Jarman 2,700 300 GFilm Festival, Dad’s Clock

Annecy International Animated Susan Kim 518 GFilm Festival, Driving Home

Annecy International Animated Andrew Horne 2,700 300 GFilm Festival, Leunig

Annecy International Animated Anthony Lawrence 2,700 300 GFilm Festival, Looking for Horses

Annecy International Animated Neil Goodridge 2,700 300 GFilm Festival, Pa

Annecy International Animated Andrea Brookes 245 GFilm Festival, Prelude

Aspen Shortsfest, Sarah Watt 3,000 GLiving with Happiness

Aspen Shortsfest, Sparky D Maciek Wszelaki 3,000 GComes to Town

Beeld voor Beeld, Since Russell Hawkins 2,700 300 Gthe Company Came

Berlin International Film Festival, Di Drew 3,000 GHildegarde

Berlin International Film Festival, Nash Edgerton 3,000 GThe Pitch

Berlin International Film Festival, Tony Ayres 3,000 GWalking on Water

Cannes Film Festival, Anthony Lucas 5,500 GHolding Your Breath

Cannes Film Festival, Martin Four Ben Hackworth 300 G

Clermont-Ferrand International Andrew Lancaster 3,000 GShort Film Festival, In Search of Mike

Clermont-Ferrand International Catriona McKenzie 2,500 GShort Film Festival, Redfern Beach

Edinburgh/Montreal Film Festivals, Vincent Sheehan 4,000 GMullet

Flickapalooza Film Festival, Sue Brown 1,500 GGetting the Dirt on Trish

Hot Docs, A Wedding in Ramallah Sherine Salama 3,000 G

Inside Out – Toronto Lesbian and Sally Browning 300 GGay Film Festival, Passing Glances

International Documentary Festival Chris Hilton 3,000 GAmsterdam, Shadow Play: Indonesia’s Forgotten Holocaust

International Stuttgart Festival of David Jones 1,500 GAnimation, Teetering

Margaret Mead Film & Video David Batty 3,000 GFestival, Bush Mechanics

Margaret Mead Film & Video Amiel Courtin-Wilson/Vincent Heimann 3,500 GFestival, Islands

Margaret Mead Film and Video Darlene Johnson 50 GFestival, Stolen Generations

Montreal World Film Festival, Hilary Linstead (300) GBootmen

108 Appendices



Montreal World Film Festival, Richard Lowenstein 4,000 GHe Died with a Felafel in His Hand

Montreal/Toronto Film Festivals, Alkinos Tisilimidos 4,000 GSilent Partner

New York Film Festival, Inja Steve Pasvolsky 2,000 G

Progetto Natura Wildlife Festival, David Curl 4,500 GSilhouettes of the Desert

Regards Compares les Aborigines Ian Dunlop 3,000 Gdes Australie, Desert People, Pain for This Land, Madarrpa Funeral, Conversations with D.W.

Rhode Island International Film Beth Armstrong 150 GFestival, Cheek to Cheek

San Francisco International Lesbian Deborah Strutt 400 G& Gay Film Festival, Bare

San Francisco International Lesbian Fanny Jacobson 300 G& Gay Film Festival, Chutzpah

San Francisco International Lesbian Susan Bruce 1,350 150 G& Gay Film Festival, Outside In

San Francisco International Lesbian Mark Robinson 1,350 150 G& Gay Film Festival, Sweet Thing

San Francisco, Night Trade Barbara Karpiniski 2,250 250 G

Sheffield International Dennis O’Rourke 4,000 GDocumentary Festival, Cunnamulla

Siggraph, Harvey Peter McDonald 2,000 G

Sundance Film Festival, Paul Goldman 3,000 GAustralian Rules

Sundance/Berlin Film Festivals, Kevin Lucas 4,000 GOne Night the Moon

Tampere International Short Miro Bilbrough 3,000 GFilm Festival, Bartleby

Tampere International Short Film Janet Merewether 3,000 GFestival, Contemporary Case Studies

Tampere International Short Greg Williams 3,000 GFilm Festival, Vitalogy

Toronto International Film Festival, Aanya Whitehead 3,000 GDiaries of Vaslav Nijinsky

Toronto International Film Festival, Anna-Maria Monticelli 4,000 GLa Spagnola

Toronto International Film Festival, Mike Rubbo 3,000 GMuch Ado About Something

Toronto/San Sebastian Film Robert Connolly 4,000 GFestivals, The Bank

Toronto/Telluride/San Sebastian Jan Chapman 4,000 GFilm Festivals, Lantana

Venice International Film Festival, Heng Tang 3,000 GThe Other Son

126,413 2,050MARKETING TRAVEL GRANTS

Banff Television Festival David Rapsey 400 G

Banff Television Festival Stuart Menzies 3,150 350 G




Banff Television Festival Chris Hilton 3,150 350 G

Cannes Jon Hewitt 500 G

Cannes Helen Leake 500 G

Cannes Tim Boyle 500 G

Cannes Sue Maslin 500 G

Cannes Miriam Stein 5,400 600 G

Cannes Stephen Amis 6,000 G

Cannes Kath Shelper 6,000 G

Cannes Liz Watts 6,500 G

Cannes John Brousek 6,500 G

Cannes Christopher Kenworthy 6,000 G

MIFED Kerry Rock 4,000 G

MIPCOM Andrew Dillon 4,000 G

MIPCOM Michael Rivette 4,000 G

MIPCOM Penelope McDonald 4,000 G

MIPCOM Lilliana Gibbs 4,000 G

MIPCOM Lisa Hauge 4,000 G

MIP-TV Cathy Henkel 4,000 G

MIP-TV Mike Searle 4,500 G

MIP-TV John Izzard 4,000 G

MIP-TV Jane Duncan 4,000 G

MIP-TV Eden Gaha 4,000 G

MIP-TV Suzanne Ryan 4,000 G

Rotterdam Cinemart Anna-Maria Monticelli 4,000 G

Sunny Side of the Doc International Peter Hegedus 300 GDocumentary Market

97,900 1,300PROGRAM SALARIES MARKETING

Program Salaries Australian Film Commission 133,043

133,043

TOTAL MARKETING 912,183 37,999

INDUSTRY AND CULTURAL DEVELOPMENT

AWARDS

AFI Awards Australian Film Institute 167,500 100,000 G

ASDA Awards Dinner Australian Screen Directors Association Ltd 4,000 1,000 G

ATOM Awards Australian Teachers of Media Inc 13,000 2,000 G

AWGIES Australian Writers Guild (NSW) Ltd 9,000 1,000 G

Film Critics Circle of Australia Awards Film Critics Circle of Australia 10,000 G

if Awards if Media Pty Ltd 14,000 3,000 G

Tudawali Awards Indigenous Screen Australia 2,400 600 G

219,900 107,600CONFERENCES AND SEMINARS

11th Australian Film and History Film and History Association of Australia and New Zealand 4,000 1,000 GConference

ACT Filmmakers’ Network ACT Filmmakers’ Network 8,000 2,000 G

110 Appendices



Seminar Series

ACTF 20th Anniversary Symposium Australian Children’s Television Foundation 5,000 G

ASDA Conference Australian Screen Directors Association Ltd 11,600 2,400 G

ASDA Seminar Series Australian Screen Directors Association Ltd 14,706 14,708 G

Australian Effects and Australian Effects and Animation Festival 4,000 1,000 GAnimation Festival

Australian International Australian International Documentary Conference 24,000 6,000 GDocumentary Conference

AWG Writers Muster Australian Writers Guild (NSW) Ltd 8,000 2,000 G

Cinesonic RMIT Media Arts 2,000 G

f5 Adelaide Festival Film Forums Adelaide Festival Corporation 3,000 G

Festival of Darwin Film Workshops Australian Guild of Screen Composers 4,000 1,000 G

Judith Halberstam Seminar Tour Fanny Jacobson 3,500 G

The Masterclass Series, Byron Bay Northern Rivers Screenworks 3,556 889 G

Message Sticks Conference Indigenous Screen Australia 7,200 1,800 G

Moving Objects Conference Auspicious Art Projects 4,000 1,000 G

National Performance Conference National Performance Conference 8,000 2,000 G

National Screenwriters’ ConferenceNational Screenwriters’ Conference 9,600 2,400 G

Popcorn Taxi Popcorn Taxi Pty Ltd 27,498 12,502 G

Small Screen BIG PICTURE Mills Wilson 5,000 GTV Conference

SPAA Conference Screen Producers Association of Australia 12,200 1,800 G

SPAA Fringe Screen Producers Association of Australia 12,400 1,600 G

181,260 54,099EXHIBITION AND SCREENING PROGRAMS

Australian Centre for the Moving Australian Centre for the Moving Image (ACMI) 25,000 25,000 GImage Cinematheque

Australian Film Institute Australian Film Institute 122,451 G

Darwin Film Society Darwin Film Society 12,532 2,858 G

dLux Media Arts dLux Media Arts 25,004 G

Experimenta Media Arts Experimenta Media Arts 24,998 G

Mirrorball at the Adelaide Fringe Adelaide Festival Fringe Inc 5,000 G

214,985 27,858FILM FESTIVALS

15/15 Film Festival 15/15 Film Festival 4,000 1,000 G

Brisbane International Animation Queensland Animators Group Inc 5,000 GFestival

Brisbane International Animation Queensland Animators Group Inc 5,000 GFestival On-line Competition

Brisbane International Film Festival Pacific Film Festivals Ltd 40,000 20,002 G

Exploding Cinema Kim McGlynn 3,500 G

Fist Full of Films Browns Mart Community Arts 5,440 1,360 G

Flickerfest International Short Flickerfest 26,000 4,000 GFilm Festival

Grass Roots Short Film Festival Sunset Cinema 3,500 G

Homelands Movies Film Festival Browns Mart Community Arts 1,000 G

Mardi Gras Film Festival Showcase Queer Screen Ltd 5,000 G




Melbourne International Melbourne Animation Posse 5,240 1,110 GAnimation Festival

Melbourne International Film Filmfest Ltd 62,916 27,088 GFestival

Melbourne Underground Film Melbourne Underground Film Festival 4,000 1,000 GFestival

Message Sticks Film Festival Indigenous Screen Australia 2,400 600 G

Mornington Island Film Festival Woomera Aboriginal Corporation 804 G

National Indigenous Remote Pitjantjatjara/Yankunytjatjara Media (PY Media) 5,000 GVideo Festival

REVelation Independent Film FestivalRichard Sowada 20,000 5,000 G

St Kilda Film Festival St Kilda Film Festival 11,200 2,400 G

Sydney Asia Pacific Film Festival Sydney Asia Pacific Film Festival 8,000 2,000 G

Sydney Film Festival Sydney Film Festival 54,165 32,504 G

Tropfest Tropfest Events 50,000 G

WOW International Film Festival Women In Film & Television (NSW) 8,000 2,000 G

320,165 110,064ICD UNIT

ICD Interactive Media Fund ReviewAustralian Film Commission 6,600 3,400 S

ICD Fund Advertising Australian Film Commission 10,566 S

ICD External Assessors Australian Film Commission 5,580 S

22,746 3,400ICD SECTOR RESOURCING

AFI Taskforce Australian Film Commission 40,129 24,870 S

Arts Law Centre of Australia Arts Law Centre Of Australia Ltd 32,496 17,504 G

ASDA Workshops Australian Screen Directors Association Ltd 6,250 G

Australian International Film Projects Pty Ltd 1,881 GDocumentary Conference Establishment Project

Australian Sitcom Festival – First National Screenwriters’ Conference 2,000 GStage Funding

Broadband Production Australian Film Commission 16,452 35,392 SInitiative Seminars

ICD Project Support Australian Film Commission 9,233 767 S

National Digital Access Australian Film Commission 200 SInitiative 2001

Print Resolve Australian Film Commission 25,000 S

Screentour Database Media Resource Centre 1,500 G

WIFT Mentor Scheme – Sound and Women in Film & Television (NSW) 2,000 GScreen Composing

Women Working in Television Australian Film Commission 18,250 13,681 Sbooklets

Women Working in Television Australian Film Commission 9,000 Slunches and seminars

162,391 94,214DISTRIBUTION SERVICES

Australian Film Institute Australian Film Institute 10,500 G

10,500 0PUBLICATIONS AND JOURNALS

AWG Screen and Theatre Writers’ Australian Writers Guild (NSW) Ltd 4,000 1,000 G

112 Appendices




Journal

Handbook on Adapting Australian Denise Faithfull 9,200 2,300 GLiterature to Film

Hands On 2 – Digital Frontiers Firelight Films Productions Pty Ltd 12,000 3,000 G

inside film Magazine if Media Pty Ltd 34,328 20,424 G

inside film Magazine – Events if Media Pty Ltd 5,000 GCalendar Re-design

Metro Magazine Australian Teachers of Media Inc 57,498 35,002 G

Metro Magazine – Marketing Australian Teachers of Media Inc 1,102 GStrategy

RealTime Magazine Open City Inc 37,764 18,882 G

Senses of Cinema Online Journal Senses of Cinema 17,000 14,168 G

Senses of Cinema Online Journal – Senses of Cinema 2,496 3,336 GMarketing strategy

Straight Roads and Crossed Lines Peter Mudie, University of Western Australia 1,520 G

Third Take: Australian Raffaele Caputo 2,000 GFilmmakers Talk

181,908 100,112RESEARCH AND INFORMATION SERVICES

Australian Film Institute Research Australian Film Institute 50,002 Gand Information

50,002SCREEN RESOURCE ORGANISATIONS

Film and Television Institute (WA) Film and Television Institute (WA) 252,000 126,000 G

Media Resource Centre Media Resource Centre 190,010 95,054 G

Metro Screen Metro Screen Ltd 155,800 77,902 G

OPENChannel OPENChannel Co-Operative Ltd 251,126 125,564 G

QPIX QPIX Ltd 102,500 51,254 G

951,436 475,774TOURING EXHIBITIONS

Big Screen ScreenSound Australia 65,000 30,000 S

Darwin Film Society Darwin Film Society 5,921 GTravelling Exhibition

Festival of Jewish Cinema Tour Jewish Film Foundation of Australia 4,500 G

Flickerfest International Short Film Flickerfest 50,000 20,000 GFestival National Tour

Melbourne Travelling Film Festival Filmfest Ltd 10,004 G

Over the Fence Comedy Film FestivalVoces Arts Networking Group Inc 10,000 G

REAL:life on film Tour Cultural Film Foundation of Australia 22,000 5,000 G

ReelDance on Tour One Extra Dance Company 4,000 1,000 G

St Kilda Film Festival Tour St Kilda Film Festival 19,200 4,000 G

Sydney Asia Pacific Film Festival Tour Sydney Asia Pacific Film Festival 2,000 G

Sydney Travelling Film Festival Sydney Film Festival 56,040 32,504 G

WOW International Film Festival Tour Women In Film & Television (NSW) 22,000 3,000 G

270,665 95,504INTERNATIONAL PROMOTIONS

BAM – Brooklyn Academy of Music Australian Film Commission 33,826 S



114 Appendices

Film Festival 2001

Berlin Film Event 2002 Australian Film Commission 7,103 12,896 S

New York Film Event 2002 Australian Film Commission 15,000 S

Shanghai Film Event 2002 Australian Film Commission 15,000 S

40,929 42,896INTERACTIVE MEDIA PROJECTS

Cyber Cultures: Tour 2001 – 2003 Casula Powerhouse 3,000 G

Cyberculture Anthology of Critical Power Institute Publications 2,000 GEssays

Electrofringe Octapod Association Inc 18,000 2,000 G

MAAP: Multimedia Art Asia Pacific MAAP - Multimedia Art Asia Pacific Inc 7,000 G

Trickster Masterclass In Australian Network for Art & Technology 9,090 GVideo Mixing

34,090 7,000INTERACTIVE MEDIA RESOURCE ORGANISATIONS

dLux Media Arts dLux Media Arts 60,002 42,502 G

Experimenta Media Arts Experimenta Media Arts 60,002 42,502 G

120,004 85,004ICD ORGANISATION LOANS

SPAA Conference Loan Screen Producers Association of Australia 30,000 L

Sydney Asian Pacific Film Festival Sydney Asian Pacific Film Festival 10,000 L

40,000PROGRAM SALARIES INDUSTRY AND CULTURAL DEVELOPMENT


114,353

TOTAL INDUSTRY AND CULTURAL DEVELOPMENT 2,935,336 1,203,525

POLICY, RESEARCH AND INFORMATION

INFORMATION

Information Enquiries Australian Film Commission 65,388 S

65,388POLICY

ABA Review of Australian Content Australian Film Commission 11,725 SStandards

ARC Linkage Project: Pay TV Australian Film Commission 16,818 S

Australian Copyright Council Australian Copyright Council 15,000 G

Broadband Media and Australian Australian Film Commission 9,375 SContent

Broadcast In Colour: Cultural Australian Film Commission 9,385 SDiversity and Television Programming in Four Countries

Changing Standards for Australian Australian Film Commission 28,120 SContent on TV

Communications Law Centre Communications Law Centre 3,000 G

Departmental Briefings Australian Film Commission 200 S

Disability Strategy Australian Film Commission 10,146 S

Editorial Consultancy Australian Film Commission 4,800




Extra policy research assistance Australian Film Commission 1,937 S

Foreign Production Report Australian Film Commission 32,889 S

Internationalisation of AV Industry Australian Film Commission 600 S

World Trade Organization Australian Film Commission 3,650 S2002 Submission

147,648RESEARCH

Cannes Catalogue Coordination Australian Film Commission 4,210 S

Critical Database Australian Film Commission 10,093 S

Data Collection Review Australian Film Commission 3,957 S

Database Maintenance Australian Film Commission 9,093 S

Documentary Project Australian Film Commission 3,177 S

Get the Picture Australian Film Commission 106,226 S

Interactive Media Research Australian Film Commission 3,590 S

National Production Survey 00/01 Australian Film Commission 5,683 S

National Production Survey 01/02 Australian Film Commission 4,285 S

Production Database: Documentaries Australian Film Commission 20,526 S

Production Database: Features Australian Film Commission 8,969 S

Production Database: Short Films Australian Film Commission 10,771 S

Production Database: TV Drama Australian Film Commission 8,969 S

Ratings Australian Film Commission 18,189 S

Release and Distribution Database Australian Film Commission 41,107 S

Sales Contacts Program Australian Film Commission 7,566 S

Statistical Projects Australian Film Commission 53,550 S

319,967PUBLISHING

Printing and Design Australian Film Commission 68,934 S

AFC Website Redesign Australian Film Commission 84,149 S

Server Support and Maintenance Australian Film Commission 5,000 319 S

Website Software Australian Film Commission 888 S

Budget Manual Australian Film Commission 5,190 S

164,164 319PROGRAM SALARIES POLICY, RESEARCH AND INFORMATION


401,726

TOTAL POLICY, RESEARCH AND INFORMATION 1,098,895 319

OTHER AFC INITIATIVES FUNDED EXTERNALLY BY OTHER AGENCIES

BAM – Brooklyn Academy of Music Australian Film Commission 101,130 SFilm Festival 2001

Baudin Indigenous Film Festival Australian Film Commission 74,929 25,071 Sand Gift 2002

Berlin Film Event 2002 Australian Film Commission 100,000 S

Big Girls Don’t Cry CAAMA Productions Pty Ltd 5,000 55,000 I

Big Screen Australian Film Commission 114,600 40,000 S

CHOGM Presentation 2002 Australian Film Commission 5,055 S


116 Appendices

Embassy Roadshow 00/01 Australian Film Commission 7,852 S

Embassy Roadshow 01/02 Australian Film Commission 135,688 44,311 S

The Foundation Chili Films Pty Ltd 55,000 5,000 I

Indigenous Film Festival Australian Film Commission 22,609 Sin Germany 2001

Me and You Goolarri Media 50,000 10,000 I

New York Film Event 2002 Australian Film Commission 25,000 S

Ngangkari Way PY Media 60,000 I

NIDF5 Australian Film Commission 50,308 S

Print Resolve Australian Film Commission 5,978 17,487 S

Screen Commerce Australia Australian Film Commission 909 S

Screen Network Australia (SNA) Australian Film Commission 1,350 28 S

Shanghai Film Event 2002 Australian Film Commission 75,000 S

Spanish Embassy Roadshow Australian Film Commission 399 74,600 S

We of Little Voice Re Angle Pictures Pty Ltd 60,000 I

Women Working in Television Australian Film Commission 5,000 5,000 Sbooklets

Women Working in Television Australian Film Commission 8,494 15,265 Slunches and seminars

764,304 491,763EXECUTIVE PROJECTS

AFC Distribution Seminar 2002 Australian Film Commission 6,080 315 S

Broadband Content Costs Australian Film Commission 25,301 9,698 S

31,381 10,013

TOTAL EXECUTIVE AND EXTERNALLY FUNDED PROJECTS 795,685 501,777

SUMMARY

Film Development (Development, Production, Interactive Media, 7,438,162 3,480,001Program Salaries, Miscellaneous)

Commercial Television Production Fund 808,909 132,409

Indigenous Unit 1,662,075 101,067

Film Development Cashflow Facility 1,146,411

TOTAL FILM DEVELOPMENT 11,055,558 3,713,478

MARKETING 912,183 37,999

INDUSTRY & CULTURAL DEVELOPMENT 2,935,336 1,203,525

POLICY, RESEARCH & INFORMATION 1,098,895 319

EXECUTIVE AND EXTERNALLY FUNDED PROJECTS 795,685 501,777

TOTAL PROGRAM EXPENDITURE 16,797,660 5,457,099


FIN

AN

CIA

LS

TATE

MEN

TS


Written, directed and produced byPJ Cornwell, the animated work

Ward 13 received productioninvestment funding from the AFC.

To the Minister for the Arts and Sport

Scope

I have audited the financial statements of the Australian Film Commission for the year ended 30 June 2002. The financialstatements comprise:

– Statement by Commissioners;– Statements of Financial Performance, Financial Position and Cash Flows;– Schedules of Commitments and Contingencies; and– Notes to and forming part of the Financial Statements.

The members of the Australian Film Commission are responsible for the preparation and presentation of the financial statementsand the information they contain. I have conducted an independent audit of the financial statements in order to express anopinion on them to you.

The audit has been conducted in accordance with Australian National Audit Office Auditing Standards, which incorporate theAustralian Auditing Standards, to provide reasonable assurance as to whether the financial statements are free of materialmisstatement. Audit procedures included examination, on a test basis, of evidence supporting the amounts and other disclosuresin the financial statements and the evaluation of accounting policies and significant accounting estimates. These procedures havebeen undertaken to form an opinion as to whether, in all material respects, the financial statements are presented fairly inaccordance with Accounting Standards and other mandatory professional reporting requirements in Australia and statutoryrequirements so as to present a view which is consistent with my understanding of the Commission’s financial position, its financialperformance and its cash flows.

The audit opinion expressed in this report has been formed on the above basis.

Audit Opinion

In my opinion the financial statements:

(i) have been prepared in accordance with Finance Minister’s Orders made under the Commonwealth Authorities andCompanies Act 1997; and

(ii) give a true and fair view, in accordance with applicable Accounting Standards and other mandatory professional reportingrequirements in Australia and the Finance Minister’s Orders, of the financial position of Australian Film Commission as at 30 June 2002, and its financial performance and cash flows for the year then ended.

Australian National Audit Office

P Hinchey

Senior Director

Delegate of the Auditor–GeneralSydney5 September 2002

118 Financial Statements

AUSTRALIAN FILM COMMISSIONINDEPENDENT AUDIT REPORT

FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2002

STATEMENT BY COMMISSIONERS

In our opinion, the attached financial statements for the year ended 30 June 2002 give a true and fairview of the matters required by the Finance Minister’s Orders made under the Commonwealth Authoritiesand Companies Act 1997.

Maureen Barron Paul HamraChair Deputy Chair

3 September 2002 3 September 2002


AUSTRALIAN FILM COMMISSION

STATEMENT OF FINANCIAL PERFORMANCE FOR THE YEAR ENDED 30 JUNE 20022002 2001

Notes $ $

Revenues from ordinary activitiesRevenues from Government 3a 16,853,000 16,559,000 Sales of goods and services 60 392 Interest 3b 321,185 300,355Other 3c 2,002,137 1,989,222

Total revenues from ordinary activities 19,176,382 18,848,969

Expenses from ordinary activities (excluding borrowing costs expense)

Employees 4a 4,186,782 3,888,949 Suppliers 4b 2,226,310 2,124,154 Grants 5 5,186,357 4,737,435 Depreciation and amortisation 4c 303,685 336,756 Write-down of assets 4d 7,266,436 7,279,754 Net losses from sales of assets 4e 79 227

Total expenses from ordinary activities (excluding borrowing costs expense) 19,169,649 18,367,275

Borrowing costs expense 6 5,476 –

Net operating surplus from ordinary activities 1,257 481,694

Net surplus attributable to the Commonwealth 1,257 481,694

Net credit to asset revaluation reserve – –

Total revenues, expenses and valuation adjustments attributableto the Commonwealth and recognised directly in equity – –

Total changes in equity other than those resultingfrom transactions with owners as owners 1,257 481,694

The above statement should be read in conjunction with the accompanying notes.



STATEMENT OF FINANCIAL POSITION AS AT 30 JUNE 20022002 2001

Notes $ $

ASSETSFinancial Assets

Cash 7a 1,479,911 4,353,476 Receivables 7b 865,226 500,590 Investments – film industry assistance 7c 1,709,537 873,605 Investments – other 7d 1,300,000 –

Total financial assets 5,354,674 5,727,671

Non-financial assetsPlant and equipment 8a 555,076 638,838 Other 8c 123,427 71,143

Total non-financial assets 678,503 709,981

Total assets 6,033,177 6,437,652

LIABILITIESInterest bearing liabilities

Leases 9 92,228 119,972 Total interest bearing liabilities 92,228 119,972

ProvisionsEmployees 10 686,319 565,405

Total provisions 686,319 565,405

PayablesSuppliers 11a 164,799 136,694 Other 11b 37,753 8,760

Total payables 202,552 145,454

Total liabilities 981,099 830,831

NET ASSETS 5,052,078 5,606,821

EQUITYParent entity interest

Reserves 12 386,659 386,659 Accumulated surplus 12 4,665,419 5,220,162

Total parent entity interest 5,052,078 5,606,821

Total equity 5,052,078 5,606,821

Current liabilities 679,796 610,988Non-current liabilities 301,303 219,843Current assets 3,326,282 4,551,988Non-current assets 2,706,895 1,885,664




STATEMENT OF CASH FLOWS FOR THE YEAR ENDED 30 JUNE 20022002 2001

Notes $ $

OPERATING ACTIVITIESCash received

Appropriations 16,853,000 16,559,000 Sales of goods and services 48 392 Interest 330,246 220,565 Other 2,123,222 2,053,332 GST received from ATO 1,049,360 720,692

Total cash received 20,355,876 19,553,981Cash used

Employees (4,052,073) (3,913,862) Suppliers (3,640,045) (2,972,173) Grants (5,193,883) (4,782,572) Borrowing costs (5,476) –

Total cash used (12,891,477) (11,668,607)Net cash from operating activities 14 7,464,399 7,885,374

INVESTING ACTIVITIESCash received

Recoupment of loans 1,037,154 1,599,939 Recoupment of investments 510,778 505,779 Proceeds from sale of plant and equipment 420 1,249 Proceeds from term deposits 4,281,277 –

Total cash received 5,829,629 2,106,967Cash used

Loans paid – film industry assistance (1,253,165) (1,123,473) Investments paid – film industry assistance (8,503,859) (4,107,472) Purchase of plant and equipment (225,292) (242,961) Purchase of term deposits (5,581,277) –

Total cash used (15,563,593) (5,473,906) Net cash used by investing activities (9,733,964) (3,366,939)

FINANCING ACTIVITIESCash used

Capital use charge paid (604,000) (629,299) Total cash used (604,000) (629,299)Net cash used by financing activities (604,000) (629,299)

Net increase/(decrease) in cash held (2,873,565) 3,889,136

Cash at the beginning of the reporting period 4,353,476 464,340

Cash at the end of the reporting period 7a 1,479,911 4,353,476




SCHEDULE OF COMMITMENTS AS AT 30 JUNE 20022002 2001

Notes $ $

BY TYPE

Other commitmentsOperating leases1 1,218,048 1,780,576 Project commitments2 7,671,083 7,386,094

Total other commitments 8,889,131 9,166,670Commitments receivable (516,495) (561,309) Net commitments 8,372,636 8,605,361

BY MATURITY

All net commitmentsOne year or less 6,698,720 7,391,247 From one to five years 1,673,916 1,214,114 Over five years – –

Net commitments 8,372,636 8,605,361

Operating lease commitmentsOne year or less 576,439 563,798 From one to five years 641,608 1,216,778 Over five years – –

Net operating lease commitments 1,218,048 1,780,576

NB: Commitments are GST inclusive where relevant.

1. Operating leases are effectively non-cancellable and comprise leases for office accommodation and motorvehicles. The lease for office accommodation is subject to an increase of 5 per cent per annum. The initial periodsof office accommodation leases are still current and each may be renewed for up to eight years at the AFC’soption, following a once-off adjustment of rentals to current market levels.

2. Project commitments comprise agreements to provide industry assistance support in the form of investments,loans or grants. The recipients are yet to either perform the services required or meet eligibility conditions.


SCHEDULE OF CONTINGENCIES AS AT 30 JUNE 20022002 2001

Notes $ $

Contingent lossesOther guarantees 50,000 87,500

Total contingent losses 50,000 87,500

A Contingent Liability exists at 30 June 2002 in the form of guarantees of $50,000 ($87,500 at 30 June 2001) made bythe Commission to the bankers of assisted film organisations and producers. While these are contingent liabilities, theCommission does not consider it likely that there will be any loss resulting from these guarantees.

The above schedule should be read in conjunction with the accompanying notes.





NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2002

Note Description1. Summary of Significant Accounting Policies2. Economic Dependency3. Operating Revenues4. Operating Expenses5. Grants Expense6. Borrowing Cost Expenses7. Financial Assets8. Non-Financial Assets9. Interest Bearing Liabilities

10. Employee Provisions 11. Payables12. Equity13. Non-Cash Financing and Investing Activities14. Cash Flow Reconciliation15. Commission Members’ Remuneration16. Related Party Disclosures17. Remuneration of Officers18. Remuneration of Auditors19. Average Staffing Levels20. Disbursement Trust21. Financial Instruments22. Reporting of Outcomes

1. SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES

(i) Basis of Accounting

The financial statements are required by clause 1 (b) of Schedule 1 of the Commonwealth Authorities and CompaniesAct 1997 and are a general purpose financial report.

The financial statements have been prepared in accordance with:

• Finance Minister’s Orders (being the Commonwealth Authorities and Companies (Financial Statements 2001-2002)Orders;

• Australian Accounting Standards and Accounting Interpretations issued by the Australian Accounting StandardsBoard;

• other authoritative pronouncements of the Australian Accounting Standards Board; and

• Consensus Views of the Urgent Issues Group.

The statements have been prepared having regard to:

• the Explanatory Notes to Schedule 1 issued by the Department of Finance and Administration; and

• Finance Briefs issued by the Department of Finance and Administration.

The Statements of Financial Performance and Financial Position have been prepared on an accrual basis and are inaccordance with historical cost convention, except for certain assets, which, as noted, are at valuation. No allowancehas been made for the effect of changing prices on the results or the financial position.

Assets and liabilities are recognised in the Statement of Financial Position when and only when it is probable thatfuture economic benefits will flow and the amounts of the assets or liabilities can be reliably measured. Assets andliabilities arising under agreements equally proportionately unperformed are however not recognised unless requiredby an Accounting Standard.



Liabilities and assets that are unrecognised are reported in the Schedule of Commitments and the Schedule ofContingencies.

Revenues and expenses are recognised in the Statement of Financial Performance when and only when the flow orconsumption or loss of economic benefits has occurred and can be reliably measured.

(ii) Film Investments and Loans, Provision for Loss and Write-offs

The Australian Film Commission (AFC) provides financial assistance for the purposes of fostering and developing anAustralian film, television and interactive media production industry in Australia. Assistance for individual projects isprovided to film developers and producers in the form of grants, loans and investments.

Expenditure incurred for the development of the film industry is accumulated in respect of each investment, loan andgrant. Expenditure on investments and loans is carried forward from year to year to the extent that recoupment islikely. Expenditure on grants is expensed as incurred.

The carrying amount of investments and loans is reviewed annually by Commissioners to ensure that these assets arenot being carried in excess of recoverable amounts.

Where recoupment of investments and loans is considered unlikely, accumulated expenditure is written-off in full.

All AFC investments funded more than three years prior to balance date are written-off unless there are expectations ofsignificant recoveries.

Investments and loans not written-off are carried at cost less provision for loss where recoupment of cost is considereddoubtful.

Where further recoveries are considered unlikely, the investments and loans are written-off against the provisions forloss already made.

The provision for loss for those investments and loans not written-off is calculated using a percentage based on theAFC’s history of recoupment of investments. Prior to 2001, the percentage was based on all funding provided andassociated recoupment since the AFC’s inception. In 2001, the percentage was revised to only include projects fundedover a ten year period. This basis provides a more accurate recoupment percentage as it takes into account the changein the AFC’s role to a predominantly developmental organisation.

(iii) Acquisition of Assets

Assets are recorded at cost on acquisition except as stated below. The cost of acquisition includes the fair value ofassets transferred in exchange and liabilities undertaken. Assets acquired at no cost, or for nominal consideration, areinitially recognised as assets and revenues at their fair value at the date of acquisition.

(iv) Property, Plant and Equipment

Asset Recognition Threshold

Purchases of plant and equipment are recognised initially at cost in the Statement of Financial Position, except forpurchases costing less than $500, which are expensed in the year of acquisition (other than where they form part of agroup of similar items which are significant in total). The $500 threshold was selected because it facilitates efficientasset management and recording without materially affecting asset values recognised. Property, plant and equipmentacquired free or for a nominal charge is recognised initially at fair value.

Revaluations

The Australian Valuation Office completed a revaluation of the Commission’s plant and equipment as at 1 July 1999. Theassets were revalued in accordance with the ‘deprival’ method of valuation.

In accordance with the deprival methodology, plant and equipment are measured at their depreciated replacementcost. Where assets are held which would not be replaced or are surplus to requirements, measurement is at netrealisable value.

At 30 June 2002, the AFC had no assets in this situation.

All valuations are independent.

Recoverable Amount Test

Schedule 1 to the Commonwealth Authorities and Companies (Financial Statements 2001-2002) Orders requires theapplication of the recoverable amount test to the AFC’s non-current assets in accordance with AAS 10 RecoverableAmount of Non-Current Assets. The carrying amounts of these non-current assets have been reviewed to determinewhether they are in excess of their recoverable amounts. In assessing recoverable amounts, the relevant cash flowshave been discounted to their present value.

Depreciation and amortisation

Depreciable property, plant and equipment assets are written-off to their estimated residual values over theirestimated useful lives to the AFC using, in all cases, the straight-line method of depreciation. Leasehold improvementsare amortised on a straight-line basis over the lesser of the estimated useful life of the improvements or the unexpiredperiod of the lease.

Depreciation/amortisation rates (useful lives) and methods are reviewed at each balance date and necessaryadjustments are recognised in the current, or current and future reporting periods, as appropriate. Residual values arere-estimated for a change in price only when assets are revalued.

Depreciation and amortisation rates applying to each class of depreciable asset are based on the following useful lives:

2002 2001

Leasehold improvements Lease term Lease termFurniture and fittings 5.7 years 5.7 yearsComputer equipment 3 years 3 yearsOffice machines 4 years 4 years

(v) Employee Entitlements

Leave

The liability for employee entitlements includes provision for annual leave and long service leave. No provision hasbeen made for sick leave as all sick leave is non-vesting and the average sick leave taken in future years by employeesof the AFC is estimated to be less than the annual entitlement for sick leave.

The liability for annual leave reflects the value of total annual leave entitlements of all employees at 30 June 2002 andis recognised at its nominal amount.

The non-current portion of the liability for long service leave is recognised and measured at the present value of theestimated future cash flows to be made in respect of all employees at 30 June 2002. In determining the present valueof the liability, the AFC has taken into account attrition rates and pay increases through promotion and inflation.

Separation and redundancy

Provision is made for separation and redundancy payments in circumstances where the AFC has formally identifiedpositions as excess to requirements and a reliable estimate of the amount of the payments can be determined.

Superannuation

The majority of employees contribute to the Commonwealth Superannuation Scheme or the Public SectorSuperannuation Scheme. Details of Superannuation payments are disclosed in Note 4a.

No liability for superannuation benefits is recognised as at 30 June as the employer contributions fully extinguish theaccruing liability, which is assumed by the Commonwealth.

(vi) Taxation

The Australian Film Commission is exempt from taxation except fringe benefits tax and the goods and services tax.

(vii) Foreign Currency

Foreign currency transactions are translated to Australian currency at the rates of exchange ruling at the dates of thetransactions. Amounts receivable and payable in foreign currencies are translated at the rates of exchange ruling at





balance date. Exchange differences relating to amounts payable and receivable in foreign currencies are brought toaccount in the Statement of Financial Performance.

(viii) Cash

For the purposes of the Statement of Cash Flows, cash includes cash on hand, deposits held at call with banks,investments in bank bills and negotiable certificates of deposit maturing within less than two months.

(ix) Bad and Doubtful Debts

Bad debts are written-off to expense during the year in which they are identified, to the extent that they have notpreviously been provided for. A provision is raised for doubtful debts based on a review of all outstanding receivablesat year end.

(x) Insurance

The Australian Film Commission is a member of the Commonwealth insurable risk managed fund, Comcover. The AFCjoined Comcover when it commenced in 1998–99 covering it’s general insurance needs including Directors and Officerscover. Workers compensation is insured through Comcare Australia.

(xi) Financial Instruments

Accounting policies for financial instruments are disclosed in Note 21.

(xii) Capital Usage Charge

A capital use charge of 11 per cent (2001 12 per cent) is imposed by the Commonwealth on the net assets of the AFC. Thecharge is adjusted to take account of asset gifts and revaluation increments during the financial year.

(xiii) Reporting by Outcomes

A comparison of Budget and Actual figures by outcome specified in the Appropriation Acts relevant to the AFC ispresented in Note 22.

(xiv) Changes in Accounting Policy

The accounting policies used in the preparation of these financial statements are consistent with those used in 2001,except where stated otherwise.

(xv) Revenue

The revenues described in this Note are revenues relating to the core operating activities of the AFC.

Revenue from the sale of goods is recognised upon the delivery of goods to customers.

Interest revenue is recognised on a proportional basis taking into account the interest rates applicable to the financialassets.

Revenue from disposal of non-current assets is recognised when control of the asset has passed to the buyer. The gainor loss on disposal is calculated as the difference between the carrying amount of the non-current asset at the time ofdisposal and the net proceeds on disposal.

Revenues from Government – Output Appropriations

The full amount of the appropriation for departmental outputs for the year is recognised as revenue.

Resources Received Free of Charge

Services received free of charge are recognised as revenue when and only when a fair value can be reliably determinedand the services would have been purchased if they had not been donated. Use of those resources is recognised as anexpense.



Contributions of assets at no cost of acquisition or for nominal consideration are recognised at their fair value whenthe asset qualifies for recognition.

(xvi) Leases

A distinction is made between finance leases, which effectively transfer from the lessor to the lessee substantially allthe risks and benefits incidental to ownership of leased non-current assets, and operating leases, under which thelessor effectively retains substantially all such risks and benefits.

Where a non-current asset is acquired by means of a finance lease, the asset is capitalised at the present value ofminimum lease payments at the inception of the lease and a liability recognised for the same amount. Leased assetsare amortised over the period of the lease. Lease payments are allocated between the principal component and theinterest expense.

Operating lease payments are expensed on a basis which is representative of the pattern of benefits derived from theleased assets.

(xvii) Borrowing Costs

All borrowing costs are expensed as incurred except to the extent that they are directly attributable to qualifyingassets, in which case they are capitalised. The amount capitalised in a reporting period does not exceed the amountsof costs incurred in that period.

(xviii) Goods and Services Tax

Revenues, expenses and assets are recognised net of the amount of GST, except where the amount of GST incurred isnot recoverable from the Australian Taxation Office (ATO). In these circumstances, GST is recognised as part of the costof acquisition of the asset or as part of the expense. Receivables and payables are stated with the amount of the GSTincluded. The net amount of GST recoverable from the ATO is included as a financial asset in the Statement of FinancialPosition. Cash Flows are included in the Statement of Cash Flows on a gross basis. The GST components of cash flowsarising from investing and financing activities which are recoverable from, or payable to the ATO are classified asoperating cash flows.

(xix) Comparative Figures

Where necessary, comparative figures have been adjusted to conform with changes in presentation in these financialstatements.

(xx) Rounding

Amounts have been rounded off to the nearest dollar.

2. ECONOMIC DEPENDENCY

The Australian Film Commission was established under the Australian Film Commission Act 1975 and is controlled by theCommonwealth of Australia.

The AFC is dependent on appropriations from the Parliament of the Commonwealth for its continued existence andability to carry out its normal activities.



3. OPERATING REVENUES2002 2001

$ $3a Revenues from Government

Appropriations for outputs 16,853,000 16,559,000

3b InterestFilm industry loans 51,685 66,733 Investment of cash balances 257,528 202,797Disbursement Trust balances 11,972 30,825

321,185 300,355

3c Other Profit on fully recouped film investments 97,132 192,198 Recovery of written-off loans and investments 354,023 173,617 Commercial Television Production Fund (CTPF) revenue 988,379 920,665 Revenue for externally funded projects 533,731 636,123 Revenue from Special Industry Assistance 28,872 66,619

2,002,137 1,989,222

Externally funded projects are AFC initiatives that have been funded by another agency. See Note 5.

4. OPERATING EXPENSES2002 2001

$ $4a Employee Expenses

Remuneration (for services provided) 4,186,782 3,771,349 Separation and redundancy – 117,600 Total remuneration 4,186,782 3,888,949

Redundancy expenses are calculated on the basis of two weeks pay for every year of service up to a maximum of 48weeks, and also include 4 or 5 weeks in lieu of notice (which is dependent on the age and length of service of theemployee).

The AFC contributes to the Commonwealth Superannuation Scheme (CSS) and the Public Sector Superannuation scheme(PSS), which provide retirement, death and disability benefits to employees. Contributions to the schemes are at ratescalculated to cover existing and emerging obligations.

An independent actuarial review in 2001 determined that the employer contribution rate paid in 2001/02 for the CSSwas nil and for the PSS was 10.1 per cent. An additional average 3.0 per cent is contributed as Employer ProductivitySuperannuation Contributions.

Contributions of 8 per cent of salary were also paid in 2001/02 to comply with the Superannuation Guarantee(Administration) Act 1992 for those staff members that were not members of either the CSS or the PSS.

Separate employer superannuation contributions of up to 16 per cent of salary were also provided for certain SeniorExecutive Service employees on fixed term contracts.

Remuneration for services provided includes salaries and superannuation expenses for all employees. This is a changeto the disclosure provided in prior financial years. Previously, remuneration did not include salaries andsuperannuation for employees working on project specific activities or functions. These salaries and superannuationexpenses were transferred to grants expense (Note 5). This financial year, employee expenses have been classifiedsolely by nature. The impact on 2002 is that employee expenses include $1,895,304 which would previously have beendisclosed as grants expense. The 2001 balance has also been restated in the revised format, hence employee expensesare $1,635,938 higher than disclosed last year.

2002 2001$ $

4b Supplier ExpensesSupply of goods and services 1,635,363 1,559,423Operating lease rentals 590,947 564,731

2,226,310 2,124,154

4c Depreciation and AmortisationDepreciation of property, plant and equipment 242,940 320,736Amortisation of leased assets & leasehold improvements 60,745 16,020

303,685 336,756

4d Write-down of AssetsLoans 104,418 149,761Investments 7,157,149 7,129,493Plant and equipment – write-down on disposal 4,869 500

7,266,436 7,279,754

4e Net Losses from Sales of AssetsPlant and equipment :Proceeds from sale 420 1,249 Net book value at sale 499 1,476

Net loss (79) (227)Less : plant and equipment written-off on disposal (4,869) (500)Net loss on disposal of plant and equipment (4,948) (727)

5. GRANTS EXPENSE2002 2001

$ $Special Industry Assistance

Film Development 280,072 145,056 Indigenous 239,419 325,704 Marketing 810,841 644,749 Interactive Media 45,610 40,057 Industry & Cultural Development 2,766,332 2,620,270 Policy, Research and Information 470,524 322,897 Commercial Television Production Fund 30,187 46,471 Externally funded projects 543,372 592,231 Total grants expense 5,186,357 4,737,435

Grants expense includes special industry assistance expenditure (excluding program salaries and superannnuation –refer Note 4a) to support the production and development of projects, screen cultural organisation support, marketexpansion support for international film markets and festivals, filmmaker travel assistance to overseas festivals, policy,industry collaboration, research and information projects.

Externally funded projects are AFC initiatives that have been funded by another agency. Significant projects in 2002include Embassy Roadshow, Brooklyn Academy of Music Film Festival, Big Screen and Baudin Indigenous Film Festival.





6. BORROWING COST EXPENSES2002 2001

$ $

Leases 5,476 –

7. FINANCIAL ASSETS2002 2001

$ $7a Cash

Cash at bank and on hand 982,141 1,190,276 Bank Bills & Negotiable Certificates of Deposit 497,770 3,163,200Balance of cash as at 30 June shown in the Statement of Cash Flows 1,479,911 4,353,476

As at 30 June 2002, the AFC has committed all their available funds. See the Schedule of Commitments.

7b ReceivablesLoans1 442,282 330,690 Other2 422,944 169,900 Total receivables 865,226 500,590

1 LoansPrincipal and interest brought forward from previous year 600,757 1,359,507Add: Loans made during the year 1,201,480 1,123,473Add: Interest on outstanding advances 51,685 66,733

1,853,922 2,549,713 Less: Repayments during the year (1,037,154) (1,599,939)

816,768 949,774

Less: Amounts written-off during the year (122,696) (349,017)Loans carried forward at year end 694,072 600,757

Less: Provision for loss (251,790) (270,067)Total loans 442,282 330,690

All non-current receivables are in the form of industry assistance loans which are secured against the future earningsof the particular film and as such do not have a specific repayment date. See Note 1(ii).

2002 2001$ $

2 OtherSundry debtors 78,888 14,531 GST receivable 252,770 102,358 Capital use charge receivable 76,000 28,000 Accrued income 15,286 25,011

422,944 169,900Less: Provision for doubtful debts – – Total other receivables 422,944 169,900

Sundry debtors which are overdue are aged as follows:Not Overdue 51,978 9,918 Overdue by:Less than 30 days – 21330 to 60 days 21,131 4,400More than 90 days 5,779 –

26,910 4,613Total sundry debtors 78,888 14,531

7c Investments – Film Industry AssistanceEquity Film Investments brought forward from previous year 9,897,594 24,657,382 Add: Equity Film Investments during the year 8,503,859 4,107,472

18,401,453 28,764,854Less: Recoupment during the year (510,778) (505,779)

17,890,675 28,259,075

Less: Amounts written-off during the year (2,419,753) (18,361,481)Equity Investments carried forward at year end 15,470,922 9,897,594

Less: Provision for loss (13,761,385) (9,023,989)Total Equity Film Investments 1,709,537 873,605

Equity Film Investments are categorised as follows:Current – –Non-current 1,709,537 873,605

1,709,537 873,605

All project development and production investments involve the Australian Film Commission retaining a copyrightinterest in the project. Once the Commission’s investment is recouped, an ongoing interest is retained in the profits ofthe project. All General Development Investments provide for recoupment from the next two to four projects that gointo production with the AFC receiving a premium on its investment.

The AFC’s write-off and provision policies were revised in 2001 resulting in an increased net write-down in investmentsin that year. See Note 1(ii).





2002 2001$ $

7d Investments – OtherTerm deposits 1,300,000 –

Investments – Other are categorised as follows:Current 1,300,000 –Non-current – –

1,300,000 –

8. NON-FINANCIAL ASSETS2002 2001

$ $8a Plant and equipment

Leasehold Improvements – at cost 114,049 103,683Accumulated amortisation (46,525) (16,020)

67,524 87,663

Leasehold Improvements – at 1 July 1999 valuation 154,780 154,780Accumulated amortisation (154,780) (154,780)

– –

Furniture and Fittings – at cost 41,584 27,310 Accumulated depreciation (8,529) (764)

33,055 26,546

Furniture and Fittings – at 1 July 1999 valuation 139,755 180,109 Accumulated depreciation (128,542) (139,647)

11,213 40,462

Office Machines – at cost 74,655 37,039Accumulated depreciation (18,146) (8,305)

56,509 28,734

Office Machines – at 1 July 1999 valuation 557,144 748,203 Accumulated depreciation (550,984) (705,596)

6,160 42,607

Computer Equipment – at cost 338,878 213,883 Accumulated depreciation (134,973) (35,487)

203,905 178,396

Computer Equipment – at 1 July 1999 valuation 489,800 951,223 Accumulated depreciation (402,822) (836,765)

86,978 114,458

Plant and Equipment under finance lease 119,972 119,972 Accumulated amortisation (30,240) –

89,732 119,972

Total Plant and Equipment 555,076 638,838

The Commission’s policy on valuation of plant and equipment is included in Note 1(iv).

8b Analysis of Plant and Equipment

Table A: Reconciliation of the opening and closing balances of property, plant and equipmentTotal

Leasehold Furniture & Office Computer Plant &Improvements Fittings Machines Equipment Equipment

Item $ $ $ $ $

Gross value as at 1 July 2001 258,463 207,419 905,213 1,165,107 2,536,202Additions 10,366 11,126 39,925 163,875 225,292Disposals – (37,206) (193,368) (500,304) (730,878)Gross value as at 30 June 2002 268,829 181,339 751,770 828,678 2,030,616Accumulated depreciation/amortisation as at 1 July 2001 170,800 140,411 713,900 872,253 1,897,364Depreciation/amortisationcharge for the year 30,505 31,770 77,725 163,685 303,685Adjustment for Disposals – (35,110) (192,256) (498,143) (725,509)Accumulated depreciation/amortisation as at 30 June 2002 201,305 137,071 599,369 537,795 1,475,540Net book value as at 30 June 2002 67,524 44,268 152,401 290,883 555,076 Net book value as at 1 July 2001 87,663 67,008 191,313 292,854 638,838

Table B: Assets at valuation as at 30 June 2002Total


Item $ $ $ $ $

As at 30 June 2002Gross value 154,780 139,755 557,144 489,800 1,341,479Accumulated depreciation/amortisation (154,780) (128,542) (550,984) (402,822) (1,237,128)Net Book Value – 11,213 6,160 86,978 104,351

As at 30 June 2001Gross value 154,780 180,109 748,203 951,223 2,034,315Accumulated depreciation/amortisation (154,780) (139,647) (705,596) (836,765) (1,836,788)Net Book Value – 40,462 42,607 114,458 197,527

Table C: Assets held under finance lease as at 30 June 2002Total


Item $ $ $ $ $

As at 30 June 2002Gross value – – 119,972 – 119,972Accumulated depreciation/amortisation – – (30,240) – (30,240)Net Book Value – – 89,732 – 89,732

As at 30 June 2001Gross value – – 119,972 – 119,972Accumulated depreciation/amortisation – – – – –Net Book Value – – 119,972 – 119,972





2002 2001$ $

8c Other non-financial assetsPrepayments 123,427 71,143

9. INTEREST BEARING LIABILITIES2002 2001

$ $Finance lease commitments Payable:Within one year 33,220 33,220 In one to five years 66,439 99,649

Minimum lease payments 99,659 132,869 Deduct: future finance charges (7,431) (12,897)Lease liability 92,228 119,972

Lease liability is categorised as follows:Current 29,192 27,743 Non-current 63,036 92,229

92,228 119,972

A finance lease exists for the acquisition of two new PABX’s for the AFC’s Sydney and Melbourne offices. The lease isnon-cancellable and is for a term of four years. The AFC is able to purchase these items for a residual value of $1.10 atthe end of the four year period.

10. EMPLOYEE PROVISIONS2002 2001

$ $

Salaries and wages 107,245 108,534Superannuation 29,005 26,951Annual leave 227,425 201,387 Long service leave 322,644 228,533Aggregate employee entitlement liability 686,319 565,405

Employee Provisions are categorised as followsCurrent 448,052 355,318Non-current 238,267 210,087

686,319 565,405

11. PAYABLES2002 2001

$ $11a Supplier payables

Trade creditors 164,799 136,694

11b Revenue received in advance 37,753 8,760

12. EQUITY

Accumulated Results Asset Revaluation Reserve Total Equity2002 2001 2002 2001 2002 2001

$ $ $ $ $ $

Balance 1 July 5,220,162 5,319,468 386,659 386,659 5,606,821 5,706,127Operating result 1,257 481,694 – – 1,257 481,694Capital Use Charge (556,000) (581,000) – – (556,000) (581,000)Balance 30 June 4,665,419 5,220,162 386,659 386,659 5,052,078 5,606,821

13. NON-CASH FINANCING AND INVESTING ACTIVITIES2002 2001

$ $

Non-cash financing and investing activities – 119,972

During 2001 the AFC acquired two new PABXs with an aggregate value of $119,972 (2002 $ Nil) by means of a financelease. These acquisitions are not reflected in the Statement of Cash Flows.

14. CASH FLOW RECONCILIATION2002 2001

$ $Reconciliation of operating surplus to net cash from operating activities

Operating surplus from ordinary activities 1,257 481,694

Depreciation and amortisation 303,685 336,756 Loss on disposal of plant and equipment 79 227Write-down of non current assets 4,869 500 (Increase)/decrease in receivables (205,045) (223,503)(Increase)/decrease in prepayments (52,283) 7,200 Increase/(decrease) in supplier payables 28,105 19,399 Increase/(decrease) in employee provisions 120,914 (24,913)Increase/(decrease) in lease liability (27,744) –Increase/(decrease) in other payables 28,993 8,760 Write-down of film industry assistance investments & loans 2,542,450 18,710,498 Increase/(decrease) in Provision for Loss for film investments & loans 4,719,119 (11,431,244)Net Cash from operating activities 7,464,399 7,885,374





15. COMMISSION MEMBERS’ REMUNERATION2002 2001

$ $

Other remuneration received or due and receivable by Commission Members 147,853 149,111

2002 2001$ Bands Number Number

$0 – $9,999 1 1 $10,001 – $20,000 6 5 $20,001 – $30,000 – 1$30,001 – $40,000 1 1

8 8

Part-time Members’ Fees are determined under the Remuneration Tribunals Act 1973. Commission Members, under theSuperannuation Guarantee (Administration) Act 1992, and the Superannuation (Productivity Benefit) Act 1988, areentitled to have employer superannuation contributions made to an approved scheme. Total superannuationcontributions in 2002 of $10,748 (2001 $11,895) are included in the above remuneration details.

The basis for the calculation of Commission Members’ remuneration is in accordance with Urgent Issues Group (UIG)Abstract 14 ‘Directors’ Remuneration’ i.e., remuneration includes accrued leave.

16. RELATED PARTY DISCLOSURES

The Commission Members during 2002 were:

Maureen Barron (Chair)

Louise Staley (Deputy Chair, term ended 30 April 2002)

Paul Hamra (Deputy Chair, appointed 26 June 2002)

Helen Leake

John Polson (resigned 2 April 2002)

Rolf de Heer

Bruce Moir (re-appointed 26 June 2002)

Kris Noble

Antonio Zeccola

The aggregate remuneration of Commission Members is disclosed in Note 15.

During 2002 no Commission Member has received or has become entitled to receive any benefit (other than a benefitincluded in Note 15) by reason of a contract made between the AFC and the Commission Member, a relative of aCommission Member, or with a firm in which the Commission Member is also a member or has a substantial financialinterest, other than in respect of :

(a) In the ordinary course of business a General Development Investment of $70,000 was approved for VertigoProductions Pty Ltd. Mr Rolf de Heer is a director of the production company. The General DevelopmentInvestment was approved under delegation of the Deputy Director Film Development and payment was made infull in 2002.

(b) In the ordinary course of business a grant of $7,000 was approved for Vertigo Productions Pty Ltd in relation toTHE THIRTEENTH HOUSE. Mr Rolf de Heer is a director of the production company. The grant was approved underdelegation of the Deputy Director Film Development and payment of $6,000 (exclusive of GST) was made in 2002.

(c) In the ordinary course of business a Development Investment of $18,000 was approved for Vertigo Productions Pty

Ltd in relation to THE BIGGER THE SIN. Mr Rolf de Heer is a director of the production company. The DevelopmentInvestment was approved under delegation of the Deputy Director Film Development and payment of $15,000(exclusive of GST) was made in 2002.

(d) In the ordinary course of business an agreement was entered into with Vertigo Productions Pty Ltd for theassessment of project budgets. Mr Rolf de Heer is a director of the production company. No payments were madeunder the agreement in 2002.

(e) In the ordinary course of business a bridging loan of $140,000 was approved for B & W Productions Pty Ltd forBLACK AND WHITE. Ms Helen Leake is a director of the production company and is the producer of the film. Theloan was approved under delegation by the Chief Executive and was repaid to the AFC in 2002.

(f) In the ordinary course of business the Commission approved a grant of $50,000 to Tropfest. Mr John Polson was adirector of Tropfest until 21 January 2002. The grant was paid in full to Tropfest in 2002.

The Commission Members involved took no part in the approval process and the approvals were reported to theCommission in the usual way.

There were no other loans made to Commission Members or related entities during the reporting period.

There were no other transactions with Commission Members or related entities during the reporting period.

Other related party transactions include:

• an assessor’s agreement with Ms Penny Robins through Annamax Media Pty Ltd. No payments were made underthe agreement in 2002; and

• in the ordinary course of business an amount of $10,700 was approved in respect to a consultant producer/mentorattachment agreement entered into with Annamax Media Pty Ltd and Pacific Films Pty Ltd. An amount of $7,000was paid to Pacific Films Pty Ltd under this agreement during 2002. The agreement was approved under thedelegation of the Deputy Director Film Development. Ms Robins is the partner of Mr Kim Dalton, the Chief ExecutiveOfficer of the Commission.

There were no transactions with other related parties during the reporting period.

17. REMUNERATION OF OFFICERS2002 2001

$ $Total remuneration received or receivable by executive officerswhose remuneration package exceeds $100,000 649,023 317,172

2002 2001$ Bands Number Number

$100,001 – $110,000 1 – $110,001 – $120,000 2 – $120,001 – $130,000 1 1 $190,001 – $200,000 1 1

5 2

The remuneration of officers includes all Executive Officers concerned with or taking part in the management of theAFC during 2002 except for the Commission Members. Details in relation to Commission Members have beenincorporated into Note 15 – Commission Members’ Remuneration.





18. REMUNERATION OF AUDITORS2002 2001

$ $

Remuneration to the Auditor General for auditing the 28,000 29,144 financial statements for the reporting period

The separate fee for the audit of the GST Startup Program is included in the above figure for 2001.

No other services were provided by the Auditor-General during the reporting period.

19. AVERAGE STAFFING LEVELS 2002 2001

Number Number

The average staffing levels for the AFC during the year were: 59.2 54.6

20. DISBURSEMENT TRUST

The Commission provides assistance to producers and investors of various films by handling the receipt and disbursalof returns. The funds received for this purpose are held in trust in a separate bank account. The accounting records ofthis Disbursement Trust are maintained on a cash receipts and payments basis.

The AFC is entitled to retain the interest earned on the account in lieu of a service fee for providing this facility.

Net earnings in 2002 on the account were $11,972 (2001 $30,825).

The financial statements of the Disbursement Trust are set out below.

AUSTRALIAN FILM COMMISSION DISBURSEMENT TRUSTSTATEMENT OF RECEIPTS AND PAYMENTSfor the year ended 30 June 2002

2002 2001$ $

Balance 1 July 398,445 587,715 Plus: Receipts 1,503,686 680,422 Funds available for disbursement 1,902,131 1,268,137

Less: Payments (1,041,885) (869,692)Balance 30 June 860,246 398,445

AUSTRALIAN FILM COMMISSION DISBURSEMENT TRUSTSTATEMENT OF ASSETS AND LIABILITIESas at 30 June 2002

2002 2001$ $

Assets:Cash at bank 860,246 398,445 Total assets 860,246 398,445 Liabilities:Amounts held pending disbursement 749,608 282,727Other including unclaimed disbursements and unidentified receipts 110,638 115,718

Total liabilities 860,246 398,445

21. FINANCIAL INSTRUMENTS

(a) Terms, conditions and accounting policies



Accounting Policies and Methods

Financial assets are recognised when control over futureeconomic benefits is established and the amount of thebenefit can be reliably measured.

Deposits are recognised at their nominal amounts. Interest iscredited to revenue as it accrues.

Receivables are recognised at the nominal amounts due lessany provision for bad and doubtful debts. Provisions aremade when collection of the debt is judged to be less ratherthan more likely.

Loans are recognised at the amounts lent. Provision is madefor losses based on the likely amount that will not berecouped.Interest is credited to revenue as it accrues.

These are investments where the AFC retains a copyrightinterest in project development & production investments.Provision is made for losses based on the likely amount thatwill not be recouped. General Development Investments(GDI's) provide for a premium on recoupment.

Term deposits are recognised at cost. Interest is accrued as itis earned.

Financial liabilities are recognised when a present obligationto another party is entered into and the amount of theliability can be reliably measured.

Creditors and accruals are recognised at their nominalamounts, being the amounts that the liabilities will besettled.Liabilities are recognised to the extent that the goodsor services have been received (irrespective of having beeninvoiced).

Liabilities are recognised at the present value of the minimumlease payments at the beginning of the lease. The discountrates used are estimates of the interest rates implicit in theleases.

The amount guaranteed by the AFC has been disclosed in theSchedule of Contingencies. The AFC does not consider it likelythat there will be any loss resulting from these guarantees.

Nature of Underlying Instrument

Temporarily surplus funds,mainly from monthly drawdownsof appropriation, are placed ondeposit at call with the AFC’sbanker. Interest is earned on thedaily balance at the prevailingdaily rate for money on call andis paid at month end.

Credit terms are 30 days (2001 30days).

Security for the loans is theearnings of the project.Repayments are made when theproject receives revenue. Theinterest rate as at 30 June was7.75% (2001 8.50% as at 30 June2001).

After recoupment of the AFC'sInvestment an ongoing interest isretained in the profits of projectdevelopment and productioninvestments. A premium isreceived on GDI's on recoupment.There is no ongoing interest afterGDI's are recouped in full.

Term deposits earn an effectiverate of interest of 4.7% payablequarterly.

Settlement is usually made net 30days (30 days in 2001).

At reporting date, the AFC had afinance lease with a term of 3years remaining. The interest rateimplicit in the lease is 5.1%. Thelease liabilities are secured by theleased assets.

The guarantee is to the bankersof assisted film organisations andproducers.

Financial Instrument

Financial assets

Deposits at call

Receivables forgoods and services

Loans Receivable

Investments

Term deposits

Financial liabilities

Trade creditors

Finance leaseliabilities

Unrecognisedfinancial liabilities

Other guarantees

Notes

7a

7b

7b

7c

7d

11a

9



(b) I

nter

est

Rat

e R

isk

Flo

atin

gF

ixed

Inte

rest

Rat

eW

eig

hted

Ave

rag

eF

inan

cial

Inst

rum

ent

No

tes

Inte

rest

Rat

eM

atur

ing

in1

Year

or

Less

No

n-In

tere

st B

eari

ngTo

tal

Eff

ectiv

eIn

tere

stR

ate

2002

2001

2002

2001

2002

2001

2002

2001

2002

2001

$$

$$

$$

$$

%%

Fina

ncia

l Ass

ets

(Rec

ogni

sed)

Cas

h at

ban

k7a

1,47

7,71

14,

351,

276

––

––

1,47

7,71

14,

351,

276

3.50

4.83

Cas

h on

han

d7a

––

––

2,20

02,

200

2,20

02,

200

n/a

n/a

Rec

eiva

bles

– g

oods

and

ser

vice

s7b

––

––

422,

944

169,

900

422,

944

169,

900

n/a

n/a

Loan

s R

ecei

vabl

e7b

694,

072

600,

757

––

––

694,

072

600,

757

7.75

8.50

Less

pro

visi

on fo

r lo

ss7b

(251

,790

)(2

70,0

67)

––

––

(251

,790

)(2

70,0

67)

n/a

n/a

Inve

stm

ents

– F

ilm In

dust

ry

7c–

––

–15

,470

,922

9,89

7,59

415

,470

,922

9,89

7,59

4n/

an/

a

Less

pro

visi

on fo

r lo

ss7c

––

––

(13,

761,

385)

(9,0

23,9

89)

(13,

761,

385)

(9,0

23,9

89)

n/a

n/a

Term

dep

osits

7d–

–1,

300,

000

––

–1,

300,

000

–4.

70n/

a

Tota

l Fin

anci

al A

sset

s1,

919,

993

4,68

1,96

61,

300,

000

–2,

134,

681

1,04

5,70

55,

354,

674

5,72

7,67

1(R

ecog

nise

d)

Tota

l Ass

ets

6,03

3,17

76,

437,

652

Flo

atin

gF

ixed

Inte

rest

Rat

eW

eig

hted

Ave

rag

eF

inan

cial

Inst

rum

ent

No

tes

Inte

rest

Rat

eM

atur

ing

in1

Year

or

Less

No

n-In

tere

st B

eari

ngTo

tal

Eff

ectiv

eIn

tere

stR

ate

2002

2001

2002

2001

2002

2001

2002

2001

2002

2001

$$

$$

$$

$$

%%

Fina

ncia

l Lia

bilit

ies

(Rec

ogni

sed)

Trad

e cr

edito

rs11

a–

––

–16

4,79

913

6,69

416

4,79

913

6,69

4n/

an/

a

Oth

er c

redi

tors

11b

––

––

37,7

538,

760

37,7

538,

760

n/a

n/a

Fina

nce

leas

e lia

bilit

ies

9–

––

–92

,228

119,

972

92,2

2811

9,97

25.

105.

10

Tota

l Fin

anci

al L

iabi

litie

s–

––

–29

4,78

026

5,42

629

4,78

026

5,42

6(R

ecog

nise

d)

Tota

l Lia

bilit

ies

981,

099

830,

831

Fina

ncia

l Lia

bilit

ies

(Unr

ecog

nise

d)

Oth

er g

uara

ntee

s

S

ched

ule

of C

ontin

genc

ies

––

––

50,0

0087

,500

50,0

0087

,500

n/a

n/a



(c) Net Fair Values of Financial Assets and Liabilities

The net fair value of the AFC's financial assets and liabilities approximate their carrying amounts in the Statement ofFinancial Position.

The net fair value of loans provided to filmmakers is assessed based on the amount expected to be recoupedrepresented by their carrying amounts. See Note 7b.

There is no ready market for trading in screen investments. Equity investments in screen projects are carried at costless a provision for loss. The 30 June carrying amount represents the net fair value. See Note 7c.

Trade creditors are short-term in nature and are approximated by their carrying amounts.

(d) Credit Risk Exposures

The AFC's maximum exposure to credit risk at the reporting date in relation to each class of recognised financial assetsis the carrying amount of those assets as indicated in the Statement of Financial Position. The figures do not take intoaccount the value of any collateral or other security.

The AFC has no significant exposures to any concentration of credit risk.

22. REPORTING OF OUTCOMES

The Australian Film Commission is structured to meet one outcome: The development of an internationally competitivescreen industry.

2002 2001Actual Budget

Net cost to Budget Outcome $16,851,743 $16,853,000

The AFC's four output groups are as follows:

1. Investment in film and television projects and professional development of filmmakers;

2. Participation of Australian filmmakers and their programs in the global marketplace;

3. Investment in screen organisations, events and activities which develop Australian filmmakers and provide accessto Australian audiences; and

4. Policy development and information services.



Out

put

Gro

up 1

O

utp

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roup

2

Out

put

Gro

up 3

O

utp

ut G

roup

4

N

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Sp

ecifi

c

T

ota

l20

0220

0120

0220

0120

0220

0120

0220

0120

0220

0120

0220

01$

$$

$$

$$

$$

$$

$

Op

erat

ing

rev

enue

s

Rev

enue

s fro

m G

over

nmen

t 11

,866

,237

10,5

34,9

2097

9,61

51,

398,

963

2,84

9,14

73,

394,

432

1,15

8,00

11,

230,

685

––

16,8

53,0

0016

,559

,000

Sal

e of

goo

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165

319

1442

(128

)(6

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37–

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392

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reve

nue

1,75

3,27

51,

641,

140

178,

759

148,

359

362,

330

462,

148

28,9

5837

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––

2,32

3,32

22,

289,

577

Tota

l op

erat

ing

rev

enue

s13

,619

,677

12,1

76,3

791,

158,

388

1,54

7,36

43,

211,

349

3,85

6,57

41,

186,

968

1,26

8,65

2–

–19

,176

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18,8

48,9

69

Op

erat

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exp

ense

s

Em

ploy

ees

2,07

1,91

81,

950,

501

350,

229

289,

114

296,

855

284,

211

1,46

7,78

01,

365,

123

––

4,18

6,78

23,

888,

949

Sup

plie

rs1,

176,

275

982,

166

111,

064

143,

596

144,

596

142,

494

794,

375

855,

898

––

2,22

6,31

02,

124,

154

Gra

nts

778,

537

724,

735

906,

012

714,

272

3,02

1,93

02,

985,

785

479,

878

312,

643

––

5,18

6,35

74,

737,

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n13

2,74

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33,9

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25,4

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of a

sset

s 7,

192,

932

7,06

6,75

871

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219,

209

414

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1,88

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5–

–7,

266,

436

7,27

9,75

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Oth

er2,

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8829

920

472

172,

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––

5,55

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7

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exp

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s11

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10,8

70,7

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1,40

0,19

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487,

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3,43

1,55

62,

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107

2,66

4,82

0–

–19

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75

Out

put

sp

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s

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ds &

ser

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s re

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31,8

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3,18

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331

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4,40

212

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193

––

78,8

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film

indu

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606,

169

407,

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87,9

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3,65

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4,07

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7

Less

pro

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ss(3

0,39

8)(1

88,7

33)

(221

,392

)(8

1,33

4)–

––

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–(2

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90)

(270

,067

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Net

GS

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ceiv

able

175,

393

60,5

0012

,963

6,18

546

,067

27,9

6518

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7,70

8–

–25

2,77

010

2,35

8

Pla

nt a

nd e

quip

men

t24

2,63

527

7,84

056

,295

64,4

6442

,222

48,3

4821

3,92

424

8,18

6–

–55

5,07

663

8,83

8

Inve

stm

ents

– fi

lm in

dust

ry a

ssis

tanc

e15

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,922

9,89

7,59

4–

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––

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9,89

7,59

4

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pro

visi

on fo

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ss(1

3,76

1,38

5)(9

,023

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)–

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3,76

1,38

5)(9

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,989

)

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l sp

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epar

tmen

tal a

sset

s2,

735,

213

1,43

9,83

0(6

1,04

9)18

3,39

011

9,84

780

,715

244,

542

256,

087

––

3,03

8,55

31,

960,

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er d

epar

tmen

tal a

sset

s

Cas

h at

ban

k an

d on

han

d–

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––

––

–1,

479,

911

4,35

3,47

61,

479,

911

4,35

3,47

6

Oth

er r

ecei

vabl

es–

––

––

––

–91

,286

53,0

1191

,286

53,0

11

Inve

stm

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– o

ther

––

––

––

––

1,30

0,00

0–

1,30

0,00

0–

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––

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–12

3,42

771

,143

123,

427

71,1

43

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l oth

er d

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tmen

tal a

sset

s–

––

––

––

–2,

994,

624

4,47

7,63

02,

994,

624

4,47

7,63

0

Out

put

sp

ecifi

c d

epar

tmen

tal l

iab

ilitie

s

Leas

es40

,315

52,1

789,

354

12,1

057,

015

9,08

035

,544

46,6

09–

–92

,228

119,

972

Em

ploy

ees

300,

004

245,

903

69,6

0657

,054

52,2

0542

,790

264,

504

219,

658

––

686,

319

565,

405

Sup

plie

rs92

,773

69,4

697,

808

7,36

28,

600

8,61

855

,618

51,2

45–

–16

4,79

913

6,69

4

Tota

l sp

ecifi

c d

epar

tmen

tal l

iab

ilitie

s43

3,09

236

7,55

086

,768

76,5

2167

,820

60,4

8835

5,66

631

7,51

2–

–94

3,34

682

2,07

1

Oth

er d

epar

tmen

tal l

iab

ilitie

s

Oth

er–

––

–37

,753

8,76

0–

––

–37

,753

8,76

0

Tota

l oth

er d

epar

tmen

tal l

iab

ilitie

s–

––

–37

,753

8,76

0–

––

–37

,753

8,76

0

144 Index

ABA see Australian Broadcasting Authority (ABA)ABC see Australian Broadcasting Corporation (ABC)ABC New Media 23Aboriginal and Torres Strait Islander Commission (ATSIC) 28ABS see Australian Bureau of Statistics (ABS)access and equity 55–6, 85–6accounts see Finance & Administrationadministrative tribunal decisions 60AFC News 44, 50AFC website 17, 33, 44, 50

Get The Picture Online 17, 44, 47marketing initiatives 35

AFI see Australian Film Institute (AFI)AICC see Australia International Cultural Council (AICC)Allen Consulting Group 50Allens Arthur Robinson 16, 46Alston, Senator the Hon Richard 15American Film Marketing Association 50animation see also Awards Won By AFC-Funded Films (table);

Industry Assistance (table); International Screeningsof AFC-Funded Films (table)

co-productions 58professional development 25project development 23–4

applications for fundingaccess and equity analysis 85–6Applications Statistics (table) 89

ASDA see Australian Screen Directors Association (ASDA)Aspen Film Festival 35assessors 90ATSIC see Aboriginal and Torres Strait Islander Commission

(ATSIC)Audit Committee (AFC) 6, 7, 13, 54–5Australia International Cultural Council (AICC) 16, 35

special projects 41–2Australian Broadcasting Authority (ABA) 16, 46Australian Broadcasting Corporation (ABC) 15, 42Australian Bureau of Statistics (ABS) 48, 50Australian Content Standard 16, 46Australian Film Commission Act 1975 (Cth) 6, 52, 60, 66–7Australian Film Finance Corporation Ltd (FFC) 46Australian Film Institute (AFI) 40‘Australian Films at the Box Office’ (forum) 46Australian Guild of Screen Composers 58Australian Research Council 45Australian Screen Directors Association (ASDA) 58Australian Writers Guild (AWG) 58awards see also ‘highlights’ sections under Film Development;

Indigenous Unit and film festivalsawards ceremonies 88Awards Won By AFC-Funded Films (table) 68–71Emirates AFI Awards 40

Awards Won By AFC-Funded Films (table) 68–71AWG see Australian Writers Guild (AWG)

Barron, Maureen (Chair) 8, 45, 46Baudin Indigenous Film Festival and Gift 16, 42, 52Berlin Film Festival 32, 35, 63Big Screen 2002: A Celebration of Australian Cinema 16, 42, 52Broadband Content Fund 15, 45Broadband Media in Australia: Tales from the Frontier 45Broadband Production Initiative 15, 22, 45Brooklyn Academy of Music Film Festival 42, 52

Cannes Film Festival 32–3, 35, 63‘Changing Standards for Australian Content on TV’ (workshop)

16, 46CHOGM Presentation 42cinema features see feature filmsCo-production Committee (AFC) 58co-productions see Official Co-production ProgramCommissioners

appointments 6Audit Committee 6, 7, 13, 54–5Commission meetings 13conflicts of interest 7profiles 8–12risk management 7role 6

Commonwealth Authorities and Companies Act 1997 (Cth) 6, 7Commonwealth Authorities and Companies Bill 1997 (Cth) 52Communication Research Forum (DCITA) 45Communications, Information Technology and the Arts,

Department of (DCITA) 16, 44, 45, 60conferences 88Consultant/Mentor Program 24consultants 90contingency liability statement 60Corporate Plan 22, 55

objectives 22, 23, 24, 27, 32, 38, 44court decisions 60Cultural Ministers Council Statistics Working Group (SWG) 50

Dalton, Kim (Chief Executive) 14, 45DCITA see Communications, Information Technology and the Arts,

Department of (DCITA)de Heer, Rolf (Commissioner) 10Development: A Study of Australian and International Funding

and Practice in the Feature Film Industry 48DFAT see Foreign Affairs and Trade, Department of (DFAT)digital interactive media see interactive digital mediaDisability Access Project 63documentaries see also Industry Assistance (table)

Awards Won By AFC-Funded Films (table) 68co-productions 58indigenous 28International Screenings of AFC-Funded Films (table) 72–3National Indigenous Documentary Fund (NIDF5) 28professional development 24–5project development 23

Index


Documentary Online project 23, 25Doha Conference (WTO) 46Downer, the Hon Alexander see Minister for Foreign Affairs

Edinburgh International Film Festival 35Embassy Roadshow 16, 35, 52Emirates AFI Awards 40enabling legislations 66–7enquiry service 44, 49, 63European Audiovisual Observatory 50Executive 18

overview 15–17external audit 7

FACTS see Federation of Australian Commercial Television Stations(FACTS)

feature films see also Industry Assistance (table); short featuresAwards Won By AFC-Funded Films (table) 68–9co-productions 58indigenous 27International Screenings of AFC-Funded Films (table) 73–5professional development 24project development 23

Federation of Australian Commercial Television Stations (FACTS)42

festivals see film festivalsFFC see Australian Film Finance Corporation Ltd (FFC)Film and Television Institute (WA) 40Film and Television Production Industry Group 44Film Australia 46film catalogues 49–50Film Development 18, 22–30 see also Awards Won By AFC-Funded

Films (table); Industry Assistance (table);International Screenings of AFC-Funded Films (table)

access and equity 55–6, 85–6Applications Statistics (table) 89Consultant/Mentor Program 24development strategies 22digital interactive media (see interactive digital media)general development investment 24highlights 25–7marketing (see Marketing)professional development 24–5project development 23–4short features (see short features)

film festivals 32–3, 88 see also Baudin Indigenous Film Festivaland Gift; Big Screen 2002: A Celebration of AustralianCinema; Embassy Roadshow; Industry Assistance(table); regional touring exhibitions

Aspen Film Festival 35Berlin Film Festival 32, 35, 63Brooklyn Academy of Music Film Festival 42, 52Cannes Film Festival 32–3, 35, 63Edinburgh International Film Festival 35Hawaii International Film Festival 35

highlights 35marketing materials 63Sundance Film Festival 35Tampere Short Film Festival 35Toronto International Film Festival 35

Finance & Administration 19, 52–6finance and accounts 52–5information technology (see Information & Communications

Technology Unit)staff (see staff)

financial statements 118–143Foreign Affairs and Trade, Department of (DFAT) 16, 46Foreign Film and Television Drama Production in Australia 15–16freedom of information 60Freedom of Information Act 1982 (Cth) 60functions of AFC 66funded organisations, service charter 63

GATS see General Agreement on Trade in Services (GATS)General Agreement on Trade in Services (GATS) 16, 46Get The Picture 17, 44, 47Get The Picture Online 17, 44, 47governance statement 6–7

Hamra, Paul (Commissioner) 9Hawaii International Film Festival 35

indemnity and insurance 56Indigenous Unit 16, 18, 27–30 see also Awards Won By AFC-

Funded Films (table); Industry Assistance (table);International Screenings of AFC-Funded Films (table)

access and equity 55–6, 85–6Applications Statistics (table) 89attachments and training 29highlights 29–30Indigenous Drama Initiative 3 (IDI3) 28National Indigenous Documentary Fund (NIDF5) 28production funding 28professional development 28–9project development 27–8travel grants 29

Industry & Cultural Development (ICD) 18, 38–42 see alsoIndustry Assistance (table)

access and equity 55–6, 85–6Applications Statistics (table) 89events and activities 40–1funding guidelines, review of 39interactive digital media funding, review of 39, 41New Projects Fund 41performance summary 38–9, 87–8regional touring exhibitions 41, 88special projects 41–2

Industry Advisory Panel 58Industry Assistance (table) 91–116industry seminars 34

146 Index

Information & Communications Technology Unit 19, 56desktop systems 56network systems 56

information provision 49–50AFC News 44, 50enquiry service 49film catalogues 49–50handouts and FAQs 49Screen Network Australia (SNA) 44, 50website (see AFC website)

insurance 56interactive digital media 88 see also Industry Assistance (table)

Awards Won By AFC-Funded Films (table) 69ICD funding, review of 39, 41indigenous 28International Screenings of AFC-Funded Films (table) 75professional development 25project development 22–3, 24

internal audit 7International Screenings of AFC-Funded Films (table) 72–80

Kemp, Senator the Hon Rod see Minister for the Arts and Sport

Leake, Helen (Commissioner) 11Legal Affairs Unit 18, 58

Malcolm Long & Associates 50Marketing 18, 22, 32–5 see also Industry Assistance (table)

access and equity 55–6, 85–6Applications Statistics (table) 89Embassy Roadshow 16, 35, 52festival highlights 35industry and festival visitors 34–5industry seminars 34international festivals, materials for 63market representation 32–3travel grants 33website initiatives 35

marketing and international festivals 63MEAA see Media, Entertainment and Arts Alliance (MEAA)Media, Entertainment and Arts Alliance (MEAA) 50, 58Media Resource Centre (SA) 40meetings

Audit Committee 13, 54–5Commission 13

Memorandums of Understanding (currently in force) 58Metro Screen (NSW) 40Minister for Foreign Affairs 41Minister for the Arts and Sport 16, 23, 42ministerial directions 60Ministry for Culture and the Arts (WA) 46MIP-TV 2002 32, 63MIPCOM 2001 32, 63Moir, Bruce (Commissioner) 9Motion Picture Distributors Association of Australia (MPDAA) 48

MPDAA see Motion Picture Distributors Association of Australia(MPDAA)

multimedia see interactive digital mediaMurdoch University 45

National Council for the Centenary of Federation 16National Indigenous Documentary Fund (NIDF5) 28National Indigenous Media Association of Australia (NIMAA) 28National Survey of Feature Film and TV Drama Production 44,

47–8Network Insight 16, 45, 46Network Ten 42new media see interactive digital mediaNew Projects Fund 41New Screenwriters Program 23NIMAA see National Indigenous Media Association of Australia

(NIMAA)Nine Network 42Noble, Kris (Commissioner) 10

occupational health and safety 55Official Co-production Program 58Ombudsman, comments by 60Ombudsman Act 1976 (Cth) 60OPENChannel (Vic) 40organisation chart 18–19

pay television 45Paying Your Way: Digital Content and Industry Development 45performance management 55Policy, Research & Information (PR&I) 19, 44–50 see also Industry

Assistance (table)policy (see Policy Unit)research (see Research and Information Unit (R&I))

policy research and presentations 44–6broadband and new media 45foreign film and television drama production in Australia

(report) 44–5pay television 45television commercial production 45–6

Policy Unit 19, 44–6‘Australian Films at the Box Office’ (forum) 46‘Changing Standards for Australian Content on TV’

(workshop) 46research and presentations (see policy research and

presentations)submissions (see submissions)

Polson, John (Commissioner) 12Popcorn Taxi (forum series) 46portfolio budget statement 61–2powers of AFC 66–7privacy 60Privacy Act 1988 (Cth) 60professional development

animation shorts 25


Consultant/Mentor Program 24documentary production 24–5feature and short feature production 24Indigenous programs 28–9interactive digital media 25

project developmentanimation 23–4documentaries 23feature films 23indigenous programs 27–8short features 23

publications 40, 44, 81–4, 88 see also Industry Assistance (table)AFC News 44, 50Broadband Media in Australia: Tales from the Frontier 45Development: A Study of Australian and International

Funding and Practice in the Feature FilmIndustry 48

Foreign Film and Television Drama Production in Australia15–16

Get The Picture 17, 44, 47international festivals, materials for 63National Survey of Feature Film Production 44, 47–8Paying Your Way: Digital Content and Industry Development

45Publishing Unit 19

QPIX (Qld) 40

regional touring exhibitions 41, 88 see also Big Screen 2002: ACelebration of Australian Cinema; Industry Assistance(table)

Research and Information Unit (R&I) 19, 47–50ABS industry surveys 48cinema industry and Australian box office share (paper) 48coordination and collaboration 50data collection for production databases 48–9development benchmarks 48Get The Picture 44, 47government funding research 48information provision (see information provision)National Survey of Feature Film and TV Drama Production

44, 47–8research activity 47–8

reviewsfunding guidelines (ICD) 39interactive digital media funding (ICD) 39

risk management 7

SBS see Special Broadcasting Services (SBS)Screen Development Australia 40–1Screen Digest 50Screen Network Australia (SNA) 44, 50Screen Network Information Providers (SNIP) Group 50Screen Producers Association of Australia (SPAA) 34, 42, 50, 58

Screensound Australia 16, 42ScreenWest 46seminars 15, 34, 88Service Charter 63Seven Network 42short features see also Industry Assistance (table)

Awards Won By AFC-Funded Films (table) 69indigenous 27, 28International Screenings of AFC-Funded Films (table) 75–6professional development 24project development 23

short films see also Industry Assistance (table)Aspen Film Festival 35Awards Won By AFC-Funded Films (table) 69–71indigenous 27, 28International Screenings of AFC-Funded Films (table) 76–80Tampere Short Film Festival 35

SNA see Screen Network Australia (SNA)SNIP see Screen Network Information Providers (SNIP) GroupSPAA see Screen Producers Association of Australia (SPAA)Special Broadcasting Services (SBS) 42staff 55

occupational health and safety 55performance management 55workplace diversity 55

Staff Performance Planning and Development Scheme 55Staley, Louise (Commissioner) 8, 54Statistics Working Group (Cultural Ministers Council) 50statutory reports 60–3

contingency liability statement 60courts and administrative tribunals, decisions by 60Disability Access Project 63freedom of information 60ministerial directions 60Ombudsman, comments by 60portfolio budget statement 61–2privacy 60Service Charter 63

submissionsAustralian Content Standard Review 46ScreenWest Review 46World Trade Organization 46

Sundance Film Festival 35surveys (ABS) 48

Tampere Short Film Festival 35telemovies

Awards Won By AFC-Funded Films (table) 71International Screenings of AFC-Funded Films (table) 80

television commercial production 45television mini-series

Awards Won By AFC-Funded Films (table) 69Television Production Industry Group 44

148 Index

television seriesAwards Won By AFC-Funded Films (table) 69co-productions 58indigenous 28

Toronto International Film Festival 35touring exhibitions see regional touring exhibitionstravel grants see also Industry Assistance (table)

indigenous 29marketing 33

treaties (currently in force) 58

website see AFC websiteWomen Working in Television 42workplace diversity 55World Trade Organization (WTO) 16, 46

Zeccola, Antonio (Commissioner) 11

Australian Film Festival Annual Report - Pete Tidemann

Documents

Transcript of Australian Film Festival Annual Report - Pete Tidemann