Annual Report - Screen Australia

FILM FINANCE CORPORATION AUSTRALIA LIMITED AN AUSTRALIAN GOVERNMENT AGENCY ABN 22 008 642 564 

2007 

2006 

2005 

2004 

2003 

2002 

2001 

2000 

1999 

2008 

1998 

1989 

1997 

1990 

1991 

1992 

1993 

1994 

1995 

1996 

FILM FINANCE CORPORATION AUSTRALIA | ANNUAL REPORT 2007 2008

6 

5 

9 

14 

22 

1 2 3 4 

VIEW FINANCIAL REPORT TURN OVER 

DS FILMS WITH A THEATRICAL RELEASE INVESTMENT OVERVIEW 

ILE BOARD OF DIRECTORS INVESTMENT RECOUPMENT & PROJECT PERFORMANCE 

10 11 

LETTER FROM THE CHAIRMAN CHIEF EXECUTIVES REPORT HIGHLIGHTS CORPORAATE PROF 

PUBLIC RELATIONS AND INDUSTRY DEVELOPMENT PROJECT REPORT AWAR 

CORPORATE GOVERNANCE ORGANISATIONAL OVER 

15 16 

19 20 

23 24 

12 

21 

7 

25 

13 

17 18 

8 

38 

26 27 

34 

42 43 

45 

39 

30 

40 

49 50 

28 

31 

32 

46 

35 

41 

47 

48 

29 

36 

44 

33 

37 

50

BRIGHT STAR 

2 

2007 – 2008 A YEAR IN FILM 

PICTURED PREVIOUS PAGE 

01 BLUEBELL Feature Film 

02 FALSE WITNESS Television 

03 SCORCHED Adult Television 

04 NOT FORGOTTEN Documentary 

05 BLUE WATER HIGH Children’s Television 

06 THE ELEPHANT PRINCESS Children’s Television 

07 CANE TOADS Documentary 

08 SEA PATROL Adult Television 

09 HEY HEY IT’S ESTHER BLUEBURGER 

Feature Film 

10 NEVER SAY DIE MATILDAS Documentary 

11 ON TRIAL Documentary 

12 PIXEL PINKIE Children’s Television 

13 BRAN NUE DAE Feature Film 

14 ELISE Feature Film 

15 CHILDREN OF THE SILK ROAD Feature Film 

16 ABOUT WOMEN Documentary 

17 DAYBREAKERS Feature Film 

18 GASP! Children’s Television 

19 HOW TO CHANGE IN 9 WEEKS Feature Film 

20 EMBEDDED Documentary 

21 ROAD TRIP NATION Documentary 

22 THE BURNING SEASON Documentary 

23 ACCIDENTS HAPPEN Feature Film 

24 LONG WEEKEND Feature Film 

25 MURDER IN THE SNOW Documentary 

26 MARY AND MAX Feature Film 

27 NEWCASTLE Feature Film 

28 MY YEAR WITHOUT SEX Feature Film 

29 STRANGERLAND Feature Film 

30 THE BLACK BALLOON Feature Film 

31 GALLIPOLI SUBMARINE Documentary 

32 TWO FISTS ONE HEART Feature Film 

33 SALUTE Documentary 

34 MY BIGGEST FAN Documentary 

35 EAST OF EVERYTHING Adult Television 

36 THE ETERNITY MAN Feature Film 

37 VALENTINE’S DAY Feature Film 

38 THE MINDLESS FEROCITY OF SHARKS 

Feature Film 

39 MAVERICK MOTHER Documentary 

40 THE INFORMANT Adult Television 

41 INDONESIA CALLING Documentary 

42 A NORTHERN TOWN Documentary 

43 TO HELL AND BOURKE Feature Film 

44 SOUTH SOLITARY Feature Film 

45 CARLA CAMETTI PD Adult Television 

46 FIRE IN KALIMANTAN Documentary 

47 PAPER DOLLS Documentary 

48 I, PSYCOPATH Adult Television 

49 THE LAST CONFESSION OF 

ALEXANDER PEARCE Feature Film 

50 FLOUR, SUGAR, TEA Documentary 

51 THE TENDER HOOK Feature Film 

LETTER FROM THE 

CHAIRMAN 

30 June 2008 

The Hon Peter Garrett AM MP 

Minister for the Environment, 

Heritage and the Arts 

Parliament House 

Canberra ACT 2600 

Dear Minister, 

I am pleased to present the Film Finance Corporation Australia Limited 

(FFC) Annual Report for 2007/08, concluding the corporation’s 

20-year establishment. 

The FFC finished its 20 years of operation with a record year of 

investment from market partners. It invested in 23 feature films, three 

telemovies, 15 adult and children’s mini-series, and 45 documentaries, 

with a total production value of $291.46 million. Just 29.31% of this 

total was contributed by the FFC, with the other 70.69% coming from 

film distributors, sales agents, broadcasters, equity investors and other 

financing partners. This is the highest gearing ratio achieved by the FFC 

in its 20-year history. I am also pleased that the FFC in its final year 

showed a profit of $2.2 million. 

It was pleasing to note that the FFC’s contributions to captioning, through 

its production investment guidelines for 2007, resulted in the organisation 

being awarded ‘highly commended’ in the 2008 Best New Captioning 

Initiative Award sponsored by Captioning and Subtitling International. 

As we approach the end of an era, we at the FFC look back with pride on 

the many memorable film, television and documentaries we have invested 

in. Projects that have enriched the lives of Australians, as well as 

showcasing our rich and diversified creative talents to the world. 

I congratulate all our filmmakers on their achievements and thank all FFC 

employees and board members, past and present, for their dedication 

and hard work. 

We look forward with great confidence to the Australian film industry’s 

future success under the new assistance arrangements that will be 

administered by Screen Australia from 1 July. 

Yours sincerely, 

Graham Bradley 

Chairman 

3

CHIEF EXECUTIVE’S 

REPORT 

THIS HAS BEEN A MOMENTOUS YEAR FOR THE FILM FINANCE 

CORPORATION AND THE INDUSTRY AS A WHOLE. THE 

INTRODUCTION OF THE PRODUCER OFFSET AND THE MERGING OF 

THE FFC, AUSTRALIAN FILM COMMISSION AND FILM AUSTRALIA HAS 

BROUGHT ABOUT MAJOR CHANGE AND UNCERTAINTY AS WE 

MOVE INTO A NEW ERA OF FINANCING AUSTRALIAN STORIES. 

However, Australia is not alone in 

this world of change. Financing of 

independent product worldwide is 

in a state of flux. There are 

tremendous opportunities for 

Australian content producers to 

take advantage of these changes 

and build more robust financial 

models to launch our stories to 

audiences worldwide. As we begin 

to understand the digital age and 

producers start to see how the 

economics of it all works, the 

recent government initiatives 

through indirect and direct 

assistance places us in a strong 

position to build businesses that 

can compete in a global market. 

It is now a matter of making sure 

that the settings of these initiatives 

are correctly tuned. 

The 2007/2008 financial year saw 

the largest slate of projects — 

86 film and television programs — 

with the greatest production value 

— $291 million — in the 20–year 

history of the FFC. This increase 

was assisted by the introduction of 

the Producer Offset in December 

2007. The decision by the board to 

maximise the opportunities that 

the Producer Offset offered in 

finance plans allowed management 

to be financially creative with 

producers in ensuring as much 

production as possible received 

funding. For that I would especially 

like to thank the Investment 

Managers and their teams for 

embracing change so nimbly as the 

Producer Offset was as much a 

4 

learning curve for the FFC as it was 

for the industry. 

I also congratulate producers for 

persevering in adverse financial 

conditions in financing the 

Producer Offset portion of their 

finance plan. 

This year saw some great outcomes 

on television. The ratings success 

of FFC financed drama projects like 

Underbelly and Sea Patrol 

demonstrates that Australian 

audiences want to see their stories 

equally as much as overseas 

programs. Documentary continued 

its resurgence in growing 

audiences on prime time television. 

FFC financed programs like 

The Sounds Of A(us) exceeded 

one million viewers, a figure 

unheard of several years ago. 

I congratulate the broadcasters 

for being bold in supporting these 

documentaries and promoting 

them in prime time slots. 

The greatest challenge still before 

us is feature films. Although the 

quality and diversity of the stories 

we are telling has increased, 

unfortunately our abilty to attract 

audiences has not improved. It is 

essential that the diversity of 

storytelling also includes more 

universal themes that can play 

across all demographics of the 

audience both here and abroad. 

With the availibility of the Producer 

Offset to help offset risk on larger 

budget films, film makers are in a 

strong position to take on more 

ambitious projects that can draw 

on a larger canvas of stories. 

This annual report celebrates 20 

years of funding and recaps the 

highlights of those years. The 

creation of the FFC in 1988 and 

the reduction of 10BA tax 

incentives brought about 

much change. Over these past 

20 years the industry has grown 

stronger and more robust and 

the production and financing 

models have become more 

sophisticated. So with the 

closing of existing agencies, 

the emergence of a new one 

and the introduction of a new 

indirect financial support 

mechanism the challenge is 

there for film makers to make 

these changes their own. And 

the best way to do that is to 

be creative in imagination 

and entrepreneurial in business. 

To each and everyone, whether 

board member, staff or applicant, 

it is farewell from the FFC and 

wishing you all every success 

in the future. 

Brian Rosen 

Chief Executive Officer 

5

HIGHLIGHTS 

IN 2007/08 THE FFC INVESTED 

$85.44 MILLION IN 86 NEW FILM 

AND TELEVISION PROJECTS 

WHICH INCLUDES 

$1.62 MILLION IN PROJECT 

ENHANCEMENTS AND 

ADDITIONAL INVESTMENTS. 

A TOTAL OF 23 FEATURE FILMS 

INCLUDING THREE THEATRICAL 

DOCUMENTARIES WERE 

FINANCED FOR AN INVESTMENT 

OF $48.05 MILLION, CREATING A 

PRODUCTION VALUE OF $159.73 

MILLION. THIS REPRESENTS 56.2% 

OF TOTAL FUNDS INVESTED. 

BLUE WATER HIGH 

6 

A TOTAL OF 126 HOURS OF 

TELEVISION DRAMA WERE 

FINANCED FOR AN INVESTMENT 

OF $27.11 MILLION CREATING 

A PRODUCTION VALUE OF 

$102.95 MILLION. THIS 

COMPRISED AN INVESTMENT 

OF $12.62 MILLION IN 4 X 6– 

PART, 2 X 7–PART, 1 X 13–PART 

ADULT DRAMA MINI-SERIES AND 

FOUR TELEMOVIES; AND AN 

INVESTMENT OF $14.49 MILLION 

IN SIX CHILDREN’S DRAMA 

MINI-SERIES AND ONE TELEMOVIE. 

THIS REPRESENTS 31.7% OF 

TOTAL FUNDS INVESTED. 

A TOTAL OF 45 TELEVISION 

DOCUMENTARIES WERE 

FINANCED FOR AN 

INVESTMENT OF 

$10.28 MILLION, CREATING 

A PRODUCTION VALUE OF 

$28.78 MILLION. THIS 

REPRESENTS 12.1% OF 

TOTAL FUNDS INVESTED. 

CORPORATE PROFILE 

THE FFC IS THE 

GOVERNMENT’S PRINCIPAL 

AGENCY FOR FUNDING 

THE PRODUCTION OF FILM 

AND TELEVISION IN 

AUSTRALIA. IT IS A WHOLLY- 

OWNED GOVERNMENT 

COMPANY, OPERATING 

UNDER A CONSTITUTION, 

A MINISTERIAL MANDATE, 

A BOARD OF DIRECTORS 

AND A CORPORATE PLAN. 

FFC PROJECTS 

The FFC funds projects with high 

levels of creative and technical 

contribution by Australians, or 

projects certified under 

Australia’s Official 

Co-Production Program 1 . 

To support diversity and quality, 

the FFC funds the most 

expensive audiovisual 

program formats: 

~ feature films 

~ mini-series and telemovies 

~ documentaries. 

Since its establishment in 

1988, the FFC has invested 

$1.35 billion in 1,165 projects, 

with a total production value 

of $2.87 billion. 

FFC FUNDING 

The Government funds the FFC 

on a triennial basis and has 

committed to annual funding 

of $70.5 million to 2007/08. 

From 2008/09, the FFC’s current 

functions will be funded through 

the new agency, Screen Australia. 

CO-FINANCING WITH 

THE MARKET 

The slate of projects backed by 

the FFC each year is financed by 

a combination of FFC funds and 

finance from private investors 

and other market partners 

(e.g. distributors, broadcasters, 

sales agents, state government 

agencies). This leveraging results 

in a substantial annual 

production slate. In 2007/08, the 

FFC invested $85.44 million in a 

slate of new projects with a total 

budget of $291.46 million. 

By co-financing with theatrical 

distributors, broadcasters, 

international sales agents and 

other such companies, the FFC 

ensures that programs are 

connected to distribution and 

exhibition networks that have 

the potential to maximise 

audience reach. 

ACCESSING FFC FUNDS 

All Australian film and television 

producers/production companies 

can apply to the FFC for 

funding. To be successful they 

must meet the criteria set out in 

the FFC’s Investment Guidelines, 

which are the major tool for 

communicating FFC policies and 

are revised each year in 

consultation with the industry. 

The FFC can provide different 

types of funding. Under its 

Constitution it can assist 

qualifying film and television 

programs by: 

- undertaking investment 

- acquiring, obtaining, dealing 

in and exercising rights 

- making or participating in 

loans (including print and 

advertising loans) 

- investment guarantees and 

underwriting agreements 

- leading or participating in 

loan syndicates and similar 

joint ventures. 

The FFC does not produce or 

distribute the programs it 

finances, nor does it develop 

projects or select which projects 

should be developed. 

Development 2 roles are 

performed by the Australian Film 

Commission, the state film 

agencies and the private sector. 

All funding decisions are made 

by the FFC board, which meets 

approximately six times a year. 

FFC ADMINISTRATION OF THE 

PRODUCER OFFSET 

From 1 July 2007 to 30 June 2008, 

the FFC was responsible for 

administering the new Producer 

Offset benefit introduced by the 

Government. From 1 July 2008, 

Screen Australia will take over 

this role. 

CO-FINANCING WITH THE 


In 2007/08 the FFC co-invested 

with productions using the 

Producer Offset. The maximum 

combined investment allowable 

for projects using both the 

Producer Offset and national film 

agency production funding was to 

75% of the production budget in 

exceptional circumstances. 

1 Until 1 July 2007, Australian content criteria were 

specified in Division 10BA of the Income 

Tax Assessment Act. From 1 July 2007, Australian 

content criteria will be those for ‘qualifying 

Australian film’ under the eligibility guidelines 

for the new Producer Offset. 

2 The term ‘development’ refers to the genesis of a 

project, where ideas are turned into scripts and 

producers option source materials etc. 

7

BOARD OF DIRECTORS 

THE DIRECTORS OF THE FFC ARE APPOINTED BY THE FEDERAL 

MINISTER FOR THE ARTS AND SPORT. AT 30 JUNE 2008 

THE FFC BOARD COMPRISED SIX DIRECTORS. 

GRAHAM JOHN BRADLEY 

BA, LLB (Hons), LLM, FAICD 

Formerly CEO of Perpetual Trustees 

Australia, Managing Partner of 

Blake Dawson Waldron and Senior 

Partner at McKinsey & Company, 

Graham joined the FFC board as 

chairman in 2004. He is chairman 

of Stockland Corporation, HSBC 

Bank Australia, Boart Longyear 

and Po Valley Energy. He is a 

non-executive director of Singapore 

Telecommunications and MBF. He 

also chairs the Garvan Research 

Foundation and is a member of 

the board of the Australian 

Brandenburg Orchestra and the 

State Library of NSW. 

Graham was appointed chairman 

on 1 January 2004 and reappointed 

to 31 December 2009 but retired 

30 June 2008 under the provisions 

of the Screen Australia and the 

National Film & Sound Archive 

(Consequential & Transitional 

Provisions) Act 2008. 

PAUL NORMAN ONEILE BEc 

Paul is CEO of Aristocrat Leisure 

Limited. He was formerly the 

chairman and CEO of United 

International Pictures (UIP), the 

world’s largest international film 

distributor at that time, based in 

London from 1996–2003. 

Paul has previously held positions 

as managing director of the Greater 

Union Organisation (GUO), 

managing director of Hoyts 

Entertainment Limited and vice 

president Far East for UIP. 

Paul was appointed to the board 

on 26 June 2003 and reappointed 

to 25 June 2009 but retired 






PETER JOHN DAVEY 

BA, LLB (Hons), LLM 

Media executive and former 

lawyer, Peter is managing director 

of corporate development for 

Village Roadshow Limited. He 

was formerly managing director 

of Granada Media Australia, an 

associate director of Macquarie 

Bank and has worked with Davis 

Polk & Wardwell, a New York 

law firm. 

Peter was appointed to the board 

on 27 November 2003 and 

reappointed to 26 November 2009 

but retired 30 June 2008 under the 

provisions of the Screen Australia 

and the National Film & Sound 

Archive (Consequential & 

Transitional Provisions) Act 2008. 

ALASTAIR JOHN MACKENZIE WALTON 

BEC, MBA (Columbia), CA 

Alastair is a company director and 

investment banker. He is chairman of 

Central Rand Gold Limited, listed on 

the main board of the London Stock 

Exchange. He is also president of the 

European Australian Business Council 

and a director of the Great Barrier Reef 

Foundation. He was formerly vice 

chairman and managing director of 

Goldman Sachs JBWere and a 

member of the Financial Sector Advisory 

Council. Prior to joining Goldman Sachs, 

he was an Investment Banker with 

Credit Suisse First Boston in various 

international cities, a Management 

Consultant with KPMG and a Financial 

Analyst with Ford Motor Company (AUS). 

Alastair was appointed to the board 

on 19 July 2005 to 18 July 2008 but 

retired 30 June 2008 under the 

provisions of the Screen Australia and 

the National Film & Sound Archive 



PAUL NOEL DAINTY 

Corona Academy UK 

Paul is the chairman and CEO of 

DCE Group, established in 1995 

following over 25 years as a key 

player in Australia’s entertainment 

and media industries. Previous 

roles include director of Ticketek, 

founding shareholder and 

director EON (now Triple M) FM 

Melbourne, owner and chairman 

3XY Melbourne and owner and 

chairman of the Melbourne 

Comedy Theatre. 

Paul was appointed to the board 

on 11 August 2005 to 10 August 

2008 but retired 30 June 2008 

under the provisions of the Screen 

Australia and the National Film & 

Sound Archive (Consequential & 

Transitional Provisions) Act 2008. 

RACHEL ALEXANDRA 

(SANDRA) GROSS, 

Graduate Fine Art & Design, Tel Aviv Art 

Institute and Yafe Art College 

A founder and general manager of 

Yoram Gross Film Studio in 1968, 

Sandra developed the studio into 

Australia’s leading producer of 

animated children’s television. 

She is Executive Producer on all 

the studio’s animated productions 

and live action television series. 

She is currently a director of 

Yoram Gross Films Pty Ltd and 

Yoram Gross Productions Pty Ltd. 

Sandra was appointed to the 

board on 18 October 2005 to 

17 October 2008 but retired 






8 9

INVESTMENT 

IN THE 2007/2008 FINANCIAL 

YEAR THE FFC COMMITTED 

$85.44 MILLION TO 86 NEW 

FILM AND TELEVISION PROJECTS 

WITH A TOTAL PRODUCTION 

VALUE OF $291.46 MILLION. THE 

CORPORATION’S COMMITMENT 

TO THESE PROJECTS WAS BY 

WAY OF EQUITY INVESTMENT 

AND DISTRIBUTION GUARANTEES. 

Total investment for the year 

amounted to $87.43 million 

including $1.70 million as additional 

investment or enhancement to 

projects contracted in previous 

financial years, and four print and 

advertising loans totalling $0.29 

million were approved. There were 

variations totalling $1.62 million 

committed to projects contracted 

during this financial year. 

NON-FFC PARTICIPATION 

The Corporation has continued to 

effectively gear up its appropriation 

from Government by co-investing 

with both the domestic and 

international marketplace, private 

investors and state funding bodies. 

During the 07/08 financial year the 

FFC increased the average non-FFC 

participation in its investment slate 

from 62.8% to a record 70.7% 

(calculated as a percentage of the 

total production budgets of 

projects in the slate). 

The non-FFC participation can be 

further broken down by each 

category into 69.8% for feature 

film, 78.9% for adult television, 

66.5% for children’s television and 

64.3% for documentary. This is a 

marked increase in market and 

private sector participation for 

all categories. 

The gearing ratio for the 07/08 

slate is 3.4:1 meaning that every 

dollar committed by the FFC 

generates $3.40 in production 

spend. This year the strongest 

contributor to this result came from 

the adult television category where 

the gearing ratio grew to 4.7:1. 

These record results come about 

as a result of the introduction of 

the Producer Offset which began 

to impact on finance plans early 

in the financial year. 

FEATURE FILM 

This year the FFC financed 23 

feature films including three 

theatrical documentary features. 

Feature films made up 56.2% of 

total funds invested. The FFC 

invested $48.05 million in this year’s 

feature slate, a significant increase 

on last year’s $37.8 million. 

Of the 23 films financed: 

Three had budgets under 

$2 million 

Eight had budgets between 

$2 million and $5 million 

Six had budgets between 

$5 million and $7 million 

Six had budgets in excess of 

$7 million (including three 

high profile international 

co-productions). 

The average feature film budget for 

the year was $6.94 million, almost 

equivalent to last year’s figure of 

$6.93 million. This relatively high 

budget average is due to three high 

budget projects which make up close 

to 40% of the total production spend. 

EVALUATION / 

MARKETPLACE 

The 2007/08 financial year saw 

the fourth year of operation for 

the FFC’s two-door approach to 

financing feature films. Projects 

coming through the Evaluation door 

were assessed by the FFC’s two 

Evaluation Managers to determine 

their strengths in three key areas 

– creative merit, market potential 

and audience potential. A successful 

project will receive a Letter of Intent 

to invest from the board and then 

proceed to financing stage. Since 

its introduction in 2004, the Feature 

Film Evaluation Program considered 

just under 200 applications and 

recommended 64 for a Letter of 

Intent, (or 32% of all applications). 

Of these 64 LOI’s, 43 projects have 

been funded to date, comprising 

36 dramas and 7 feature 

– documentaries. While at June 30, 

2008 only 21 of the 43 features have 

been locally released, a further eight 

were slated for Australian theatrical 

release in the period July-Dec 08. 

Both Salute and The Square had 

triumphant World Premieres at the 

Sydney Film Festival in June 08 and 

released soon after; as did Not Quite 

Hollywood, which opened the 

Melbourne International Film Festival 

in July. At the end of June 08 several 

new Evaluation supported features 

were either nearing completion 

and/or awaiting release. Due to 

the bottleneck of product awaiting 

release, several films – To Hell and 

Back, Acolytes, Two Fists 

One Heart, $9.99 and Disgrace 

– will not see Australian cinema 

screens until 2009. 

In a sense, the wind up of the FFC 

and its merger into Screen Australia 

in July 08, spells the conclusion of 

the Evaluation program, after 

exactly four years of operation. 

Established as an intervention to 

address the failure of the market to 

identify and support quality and 

popular projects and the 

disappointing results of recent 

Australian feature films in the 

domestic and international arenas, 

Evaluation has been one of the 

Corporation’s boldest and most 

successful projects. Evaluation 

changed the nature of the 

relationship between filmmakers 

and the agency, providing a 

mechanism for meaningful 

dialogue; it created a means to 

‘promote’ upcoming Australian 

projects to the wider International 

market;brokered relationships 

between projects and sales agents/ 

prospective investors and 

distributors; and opened a pathway 

to a more engaged relationship 

with the distribution sector. 

In 2007/8 specifically, 14 projects 

were recommended for a Letter of 

Intent. As of June 30, 2008 there 

were 12 still active Letter of Intent 

projects, which carried over into 

the new agency and the new 

financial year. 

THE 16 EVALUATION 

FILMS FINANCED IN 

2007/08 WERE: 

Mary and Max - a feature length 

claymation, is the tale of the 

tender and amusing friendship 

between two unlikely pen pals: 

Mary, a lonely eight-year-old in 

Melbourne, and Max, an isolated 

older New Yorker. Spanning 20 

years and two continents, Mary 

and Max’s friendship survives much 

more than the average diet of life’s 

ups and downs. 

Writer/Director: Adam Elliot 

Producer: Melanie Coombs 

To Hell and Back (working title) - 

Australia’s first indigenous road comedy. 

Writer/Director: Richard Frankland 

Producer: Ross Hutchens 

Two Fists One Heart - draws its 

inspiration from the life of boxer Rai 

Fazio (co-writer), and explores how a 

father’s thwarted ambition threatens 

to destroy his most precious 

possessions – the love of his wife 

and the allegiance of his son. 

Director: Shawn Seet 

Producer: David Elfick 

Salute - a theatrical documentary 

telling the story of Australian athlete 

Peter Norman’s involvement in the 

famous Black Power Salute at the 

1968 Mexico Olympics. This film 

documents the role that an unknown 

white Australian played in a defining 

moment of the American Civil Rights 

movement, and the consequences he 

faced back in Australia, where he was 

met with hostility and criticism. 

Director/Writer/Producer: Matt Norman 

Producer: David Redman 

Balibo - a tense political thriller, 

recreates events surrounding the 

shooting of five Australian 

journalists during Indonesia’s 

invasion of East Timor in 1975. 

Director: Robert Connolly 

Producers: John Maynard and 

Rebecca Williamson 

Writers: David Williamson and 

Robert Connolly 

My Year Without Sex - takes the 

viewer on a journey through the 

messy and often hilarious situations 

that domestic life throws up. It 

suggests that a keen sense of irony is 

the best way to survive the journey. 

Writer/Director: Sarah Watt 

Producer: Bridget Ikin 

Accidents Happen - 15-year-old 

Billy Conway has been an accident 

magnet since he was a kid. When he 

and his best friend cause an almighty 

crash with a bowling ball and a moving 

car, Billy must face up to his family’s 

history and learn that sometimes 

someone is to blame and that 

sometimes... well... accidents just 

happen. 

Director: Andrew Lancaster 

Producer: Anthony Anderson 

Writer: Brian Carbee 

Beautiful Kate - a drama about 

family secrets. 

Writer/Director Rachel Ward 

Producers: Leah Churchill-Brown 

and Bryan Brown 

Prime Mover - is a diesel charged 

love story about ambition, pressure, 

responsibility and love shared by a 

man, a woman and his truck. 

Writer/Director David Caeser 

Producer: Vincent Sheehan 

Blessed - is a film about mothers 

and their children, about love and 

beauty, about being lost and 

finding your way home. 

Director: Ana Kokkinos 

Writers: Andrew Bovell, Melissa 

Reeves, Patricia Cornelius and 

Christos Tsiolkas 

Producer: Al Clark 

Bran Nue Dae - is a coming of 

age, comedy musical, road movie, 

which celebrates the adventure of 

finding home. 

Director: Rachel Perkins 

Writers: Reg Cribb and Rachel 

Perkins (adapted from stage play 

Bran Nue Dae by Jimmi Chi 

and Kuckles) 

Producers: Robyn Kershaw and 

Graeme Issac 

Cane Toads - a theatrical 

documentary that returns to the 

subject matter filmed by Emmy 

award winning Writer/Producer/ 

Director Mark Lewis 20 years ago. 

It’s a tongue in cheek examination 

of the history of this ecological 

disaster and brings us up-to-date 

with the cane toad’s ongoing conquest 

of mainland Australia - in 3D! 

Writer/Director/Producer: Mark Lewis 

The Last Ride - a contemporary road 

movie about a young boy and his 

father on the run from the law, and the 

price that survival demands of love. 

Director: Glendyn Ivin 

Writer: Mac Gudgeon 

Producers: Antonia Barnard and 

Nicholas Cole 

The Loved Ones - a contemporary 

horror/thriller, tells the story of a 

young man digging himself out of 

his own grave. 

Writer/Director: Sean Byrne 

Producers: Mark Lazarus and 

Jason Moody 

10 11

My America - a theatrical 

documentary about a personal quest 

to find what lies at the core of the 

American heart and why America has 

become the country we all love to hate. 

Producer/Director: Peter Hegadus 

Producer: Jane Jeffes 

Writers: Peter Hegadus and 

Mark O’Toole 

South Solitary - a dramatic, 

windswept, period romance about 

the great need for companionship 

and hope. 

Writer/Director: Shirley Barrett 

Producers: Marian Macgowan and 

Sarah Radclyffe 

THE SEVEN MARKETPLACE 

PROJECTS WERE: 

Bright Star - charts the blessed but 

fated love affair between 18-year-old 

Fanny Brawne and the 23-year-old 

English romantic poet John Keats. 

The couple’s intense and unconsummated 

two-year relationship 

was constrained by lack of money, 

by family and friends, and finally, by 

Keats’ illness and death at age 25. 

Writer/Director: Jane Campion 

Producers: Jan Chapman and 

Caroline Hewitt 

Long Weekend - a married couple 

take a camping trip to a remote 

beach to heal their wounded 

relationship, but when their 

destructive behaviour spills out to the 

landscape around them, they find 

that Mother Nature has a dark side. 

Director: Jamie Blanks 

Writer: Everett De Roche 

Producers: Nigel Odell and 

Gary Hamilton 

Subdivision - is a David-and-Goliath 

story set in the building industry of a 

small coastal Australian town. 

Director: Sue Brooks 

Writers: Janice Bradnam, Ashley 

Bradnam and Terry McCann 

Producers: Trish Lake and Owen Johnston 

Mao’s Last Dancer - is the inspiring 

true story of Li Cunxin, adapted 

from his best-selling autobiography 

telling how, amidst the chaos of 

Mao’s Cultural Revolution, he was 

chosen to leave his peasant family and 

sent on an amazing journey… as it 

turns out towards freedom and 

personal triumph. 

Director: Bruce Beresford 

Writer: Jan Sardi 

Producer: Jane Scott 

The Boys Are Back in Town - is a 

father-son drama. Talented sports 

writer, Joe, is thrust unexpectedly 

into single parenthood. In looking 

after his two boys from two 

different marriages, Joe starts out by 

trying a Peter-Pan-like strategy of no 

rules whatsoever, only to find he has 

a lot to learn about fatherhood and 

about himself. 

Director: Scott Hicks 

Writer: Allan Cubitt 

Producers: Tim White and 

Greg Brenman 

Coffin Rock - is an intimate thriller 

that honestly explores the dark 

consequences of choices made to 

satisfy a basic human desire...a family. 

Writer/Director: Rupert Glasson 

Producers: David Lightfoot and 

Ayisha Davies 

Red Dress - is a coming of age, 

dance film. Desperate to dance and 

escape the realities of home, teenager 

Ellie dons a pair of fishnets and heads 

off on tour. Careful what you wish for! 

Writer/Director: Sarah Lambert 

Producer: Veronica Sive 

TELEVISION DRAMA 

Demand remained strong for FFC 

investment in television drama for 

the 2007/2008 financial year. The 

total production level across the 

adult and children’s categories was 

$102.95 million which generated 

126 hours of television. 

In the adult category the FFC 

invested $12.62 million in four 

6 part, two 7 part and one 13 part 

mini-series and four telemovies. 

$14.48 million was invested in 

four children’s drama mini-series and 

one children’s telemovie. The FFC’s 

investment of $27.10 million across 

the two categories represented 

31.7% of the total funds invested. 

A high level of gearing was 

maintained. In the adult category the 

FFC contributed a modest 21.11% of 

the production budgets, a gearing 

ratio of 4.74:1. This resulted in a 

record slate of 59 hours of television 

up from 54 hours last year. This 

increase reflects the impact of the 

Producer Offset on finance plans. 

The international market for Australia 

television drama remains soft, 

however local demand continues to 

be strong with broadcasters willing to 

commit high licence fees and in some 

case equity contributions and 

distribution guarantees. 

With the exception of the Seven 

Network all free to air networks and a 

Pay TV network were represented this 

year. The ABC commissioned three 

mini-series The Cut, East Of 

Everything Series 2 and Dirt 

Game. The Nine Network were also 

active licensing the second series of 

Sea Patrol and the telemovie 

Scorched. SBS supported the second 

series of East West 101, The Circuit 

Series 2, the mini-series’ Carla 

Cametti PD and Saved and the Ten 

Network commissioned the 

telemovie The Informant. The Pay 

network UKTV made a welcome 

contribution commissioning the 

telemovie False Witness. 

Continued demand for Australian 

children’s mini-series in the 

international and domestic markets 

along with the continuation of the 

FFC’s Distinctively Australian 

Children’s drama fund resulted in the 

financing of 67 hours of children’s 

television. The FFC invested $14.48 

million, generating a production 

value of $43.19 and a gearing ratio 

of 2.98:1. 

Three live action 26 part mini-series 

and one animation series were 

financed. German broadcaster ZDF 

and Network Ten supported Jonathan 

M Shiff’s series Elephant Princess, 

the ABC commissioned a third 

series of Blue Water High, and 

Network Ten commissioned K9. 

The animated children’s series 

Gasp! was commissioned by the 

Nine Network. 

This year a record three productions 

were funded by way of the 

Distinctly Australian Children’s 

Drama Fund. Two 13 part series were 

commissioned; the live action Snake 

Tales for the Nine Network and the 

second series of Pixel Pinkie, an 

animated series from Tasmania’s Blue 

Rocket Productions for the Nine 

Network. The Distinctly Australian 

Fund also supported a children’s 

animated telemovie The Adventures 

of Charlotte and Henry licensed 

by the Seven Network. 

DOCUMENTARIES 

The FFC invested in 45 new 

documentaries during the 2007-08 

financial year. Of these, 23 were 

financed through the domestic door 

and 15 through the international 

door. Under the National 

Indigenous Documentary Fund 

(NIDF), two 1 hour films were 

financed and under the Special 

Documentary Fund, five films were 

funded. Sixty nine hours of 

television was the result. 

The FFC committed $10.28 million 

to documentary this year, down 

$200,000 from last year. This 

represents 12.1% of the FFC’s total 

production investments for this 

financial year. Non-FFC participation 

geared up the value of these funds 

to a total budget of $28.78 million, 

which is $2.72 million higher than 

the previous year. 

Under the domestic door, broadcaster 

presales are determined as a fixed 

percentage of the total budget. The 

FFC accepts this commitment as the 

only non-FFC participation required, 

although in some instances these 

budgets were enhanced from other 

sources. The ABC invested in 10 

domestic projects with one of them 

being a six part series, Two In The 

Top End and two being four part 

series Navy Divers and On Trial. 

SBS invested in 12 domestic projects 

including the four part series Great 

Australian Albums 2 and two 

3 part series - Embedded and 

About Women. 

The FFC invested in two National 

Indigenous Documentary Fund 

(NIDF) films; The Intervention and 

Samson and Delilah, The 

Documentary. These were funded 

with the assistance of the Australian 

Film Commission (AFC), ABC and 

the NSW Film and Television Office. 

Of the 23 domestic projects 

financed, 16 were from New South 

Wales, five were from Victoria, one 

from Western Australia and one 

from Queensland. No domestic 

projects were financed from 

Tasmania or the ACT. The domestic 

slate included 1 x 6 part series 

(Two In The Top End), 3 x 4 part 

series (Great Australian Albums 2, 

On Trial and Navy Divers), and 

2 x 3 part series (About Women 

and Embedded). 

With no requirement for market 

attachments, five documentary 

projects were funded in the Special 

Documentary Fund. The desert 

photographs of photographer 

Murray Fredericks form the basis of 

the Mick Angus film Salt. In 

Indonesia Calling: Joris Ivens in 

Australia filmmaker John Hughes 

recalls the birth of an independent 

Indonesia, the role of Australia in its 

emergence and the heritage and 

impact of a small film at a moment 

of crisis. In The Boot Cake Kathryn 

Millard visits the Indian town of 

Udaipur where, each year, on his 

birthday, Charlie Chaplin imitators 

gather to celebrate the life and work 

of this screen legend. The world of 

the Western Sahara and the human 

price of long lasting political conflict 

is explored by Violetta Ayala, Daniel 

Fallshaw and Tom Zubrycki in Born 

In Captivity. Finally in The 

Snowman Juliet Lamont and 

Rachel Landers explore mental 

illness and conspiracy theories 

through a personal journey of 

exploration and discovery. 

The demand for Australian 

documentaries remains strong. 

For the year 2007/08 the 

percentage of non-FFC investment 

sourced by documentary producers 

across all projects was 64.28% 

production expenditure. 

Of the15 international projects 

funded (totalling 24 hours) six 

were with the ABC, eight were 

with SBS and one was with 

Discovery. The ABC participated in 

six one off films including a film 

about climate change (The Burning 

Season) a dramatised documentary 

project (The Last Confession of 

Alexander Pearce) an examination of 

the mind of a psychopath 

(I, Psychopath) and an historical 

documentary (Gallipoli’s Submarine). 

SBS commissioned five series 

including 1 x 6 part series (Who Do 

You Think You Are 2), one 4 x 30 

series (Road Trip Nation) and three 

2 x 60 minute projects (Darwin’s 

Lost Paradise, Dead Tired and 

Once Bitten) as well as 3x 1 hourr 

programs including Rules of the 

Game, Megabeasts and Murder 

in the Snow. 

In addition, Pay TV, through 

Discovery Asia, contributed to the 

international production slate, via 

the 1 x 60 minute production 

The Future Makers. 

In total, the international spend 

went to nine NSW productions, 

three in Victoria and three in 

Western Australia. This year was 

marked by an increasing interest in 

documentary from the international 

market place. The sales companies 

and broadcasters which have 

assisted in the financing of 

international productions this year 

include: RDF International, Arte, ZDF 

Arte, ITVS, Alliance Atlantis, WNET, 

BBC,WGBH, National Geographic, 

National Geographic International 

Television, History Channel, CBC, 

RTE, ITV, First Hand Films, Off the 

Fence, France 5 and Maori TV. 

12 13

RECOUPMENT AND 

PROJECT PERFORMANCE 

THE FILM FINANCE 

CORPORATION AUSTRALIA 

RECOUPED $9.1 MILLION IN 

2007/08 FROM THE SLATE OF 

PROJECTS IN WHICH IT HAS 

INVESTED. APPROXIMATELY 

$0.8 MILLION OF THIS AMOUNT 

WAS PAID TO PRODUCERS AS 

PART OF THE PRODUCER 

INCENTIVE PROGRAM. 

THIS RESULTED IN A NET 

RECOUPMENT TO THE 

ORGANISATION OF $8.3 

MILLION. THIS REPRESENTS AN 

INCREASE OF $1.5 MILLION ON 

LAST YEAR’S NET RECOUPMENT. 

TOTAL NET RECOUPMENT 

FOR THE FFC 

FROM INCEPTION TO 

JUNE 30 2008 WAS 

$274.2 

MILLION 

The level of recoupment to the 

FFC depends on the quality and 

marketability of the finished 

product, the level of presales, 

the degree of subordination 

by the FFC to other investors 

and how lucrative the territories 

are from which the FFC recoups 

its investment. Despite the tight 

international marketplace and 

the strong Australian dollar, the 

FFC achieved an increase in net 

recoupment from last year. 

Over two-thirds of the total 

recoupment for 2007/08 was 

generated by projects contracted 

in 2000/01 (8.2%), 2004/05 

(12.1%) and 2005/06 (51.5%). 

The FFC’s older titles are still 

recouping with 14% of this year’s 

14 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

recoupment coming from the 

projects contracted from 1988/89 

through to 1995/96. Feature films 

generated $6.19 million (68%) 

of the FFC’s recoupment for the 

year; adult television drama 

provided $0.47 million (5%); 

children’s television drama 

provided $1.25 million (14%) and 

documentary titles generated 

$1.15 million (13%). 

Overseas sales represented 

75.3% ($6.81 million) of the 

FFC’s recoupment for the year. 

Australian-sourced revenue totalled 

$2.24 million. 

Qualifying for the Producer 

Revenue Entitlement scheme 

during 2007/08 were the 

documentaries Iraq, My Country: 

 

 

 

 

 

 

 

 

 

 

 

 

NET RECOUPMENT FOR PREVIOUS FINANCIAL YEARS 

 

 

 

 

An Exile’s Return to Samawa 

for Philippa Campey; and Shell 

Shocked for Jane Ramsey and the 

feature film Clubland for 

Rosemary Blight. 

A number of producers also 

received monies under the 

FFC’s Producer Recoupment 

Split initiative during the year. 

The scheme allows for the 

producer to share in the FFC’s 

split of recoupment funds from 

first dollar. It applies to all projects 

financed after 30 June 2004 

except for Evaluation projects, 

which fall under the PRE scheme. 

This initiative supports producers in 

building viable businesses. 

 

 

PROJECT PERFORMANCE 2007/08 

FEATURES 

Top FFC–financed performer at the 

Australian box office for the year was 

Black Balloon, achieving over $2.2 

million at the box office. The other 

notable performer was Clubland, 

with a box office of $1.5 million. 

Lucky Miles screened at various 

festivals around the globe. The film 

won the Best Film award at the St 

Tropez Antipodean Film Festival, the 

Jury Award for Best New Director at 

the Middle East International Film 

Festival, the Best Script award at the 

Asia-Pacific International Film 

Festival, and the awards for Best 

Film and Best Producer at the Asian 

Festival of First Films. 

The Home Song Stories received 

numerous awards both 

domestically and internationally. 

Domestically, this included eight 

AFI awards – Best Direction, 

Best Screenplay, Best Lead Actress, 

Best Cinematography, Best Editing, 

Best Original Music Score, Best 

Production Design and Best 

Costume Design; five IF awards - 

Best Director, Best Actor, Best 

Actress, Best Cinematography, and 

Best Production Design; and three 

Film Critics Circle of Australia 

Awards (FCCA); Best Actress, Best 

Screenplay, and Best Cinematography. 

The film also received the FIPRESCI 

International Jury Award at the 

Brisbane International Film Festival. 

Internationally, the film was 

awarded Best Original Screenplay 

and Best Actress at the Golden 

Horse Awards (known as the 

‘Asian Oscars’); won the award for 

Best Feature and Achievement in 

Acting Award at the Hawaii 

International Film Festival, and the 

Best Actress award at the Torino 

Film Festival. The film also screened 

at numerous other film festivals 

around the world. 

Romulus, My Father took home 

four AFI awards – Best Film, Best 

Lead Actor, Best Supporting Actor 

and the Young Actor Award; two 

Film Critics Circle of Australia 

Awards (FCCA) – Best Actor in a 

Supporting Role, and Special 

Acknowledgement (Kodi 

Smit-McPhee). The film also 

received the award for Best 

Australian Film at the Movie 

Extra Filmink Awards. 

Clubland won the Jury Prize at the 

Valenciennes International Film 

Festival and the Audience award at 

the St Tropez Antipodean Film 

Festival. Emma Booth picked up 

the AFI award for Best Supporting 

Actress for her performance as 

well as the FCCA award for Best 

Actress in a Supporting Role. She 

was also named Best Australian 

Newcomer at the Movie Extra 

Filmink Awards. 

Noise scooped the FCCA awards, 

winning six including Best Film, 

Best Director, Best Actor, Best 

Cinematography, Best Editing, Best 

music score. It also won the AFI 

award for Best Sound. The film 

was judged Best Australian Film at 

the Australian Film Critics 

Association (AFCA) Awards, and 

received two IF awards for Best 

Editing and Best Sound. 

Internationally, it took home the 

Best Actor award at the St Tropez 

Antipodean Film Festival. 

Black Balloon won the Crystal 

Bear award for Best Feature (gen 

14+) at the Berlin Film Festival. 

Unfinished Sky won the Audience 

award at the Brisbane International 

Film Festival, and received the Jury 

Prize for Best Picture at the 

Method Fest (USA). 

The feature documentary 

Forbidden Lie$ screened at a 

number of festivals, winning the 

prize for Best Documentary Film 

at the Rome Film Festival, the 

Golden Award – Best Feature 

Documentary at the Aljazeera 

International Documentary Film 

Festival, the Special Jury Prize at 

the San Francisco International Film 

Festival, and the Documentary 

Screenplay award at Silverdocs 

(USA). It also received the AFI 

award for Best Documentary, 

the FCCA award for Best Feature 

Documentary, and Best 

Documentary award at the 

Australian Film Critics 

Association Awards. 

TELEVISION 

A number of FFC adult television 

dramas had their premiere screenings 

during the year. The two outstanding 

ratings performers were Sea 

Patrol (series 1 and 2) and the 

mini-series Underbelly (which 

consistently achieved audiences of 

well over one million viewers 

despite not airing in Melbourne). 

On the international front, the 

mini-series The Circuit was 

awarded the Silver Hugo – Mini 

Series at the Hugo Television 

Awards (Chicago, USA), and 

Answered by Fire won the award 

for Best Picture Editing at the 

Annual Gemini Awards (Canada). 

Domestically, the telemovie Curtin 

was awarded the Silver Logie for 

Most Outstanding Drama Series, 

Mini–series or Telemovie. The 

Circuit took home the AFI award 

for Best Guest or Supporting Actor 

in Television Drama (David 

Ngoombujarra), and received a 

Logie for Most Outstanding New 

Talent (Tammy Clarkson). The 

mini–series Bastard Boys received 

an AWGIE for Best Television 

Mini–Series (Original), won the 

Television Script award at this 

year’s Queensland Premier’s Literary 

Awards, and picked up two AFI 

awards for Best Screenplay and 

Outstanding Achievement in 

Television Screen Craft. 

FFC children’s television drama 

continued to be recognised with 

15

Lockie Leonard receiving the AFI 

award for Best Children’s Television 

Drama and the Silver Logie for 

Most Outstanding Children’s 

Program. It also picked up the 2nd 

prize for Live Action Television at 

the Chicago International 

Children’s Film Festival. 

Mortified received two awards at 

the Golden Chest International TV 

Awards held in Bulgaria. It won the 

Bronze Chest – Special Jury Prize 

for Children’s Series and the prize 

for Best Child’s Role was awarded 

to Marny Kennedy and the series 

also picked up the award for Best 

Juvenile Drama at the Seoul Drama 

Awards. Dogstar was awarded the 

Certificate of Merit – Animated 

Series at the Hugo Television Awards 

(Chicago) as well as receiving the 

award for best Animated Opening 

Sequence at the Apollo Awards 

held in Singapore. 

Several children’s miniseries 

premiered on Australian television 

during the year, with the second 

series of H2O Just Add Water 

and the third series of Blue Water 

High continuing to rate well. 

Other notable ratings performers 

were the miniseries Wormwood 

and the telemovie Gumnutz. 

FORBIDDEN LIE$ 

DOCUMENTARIES 

FFC-funded documentaries received 

recognition both locally and overseas: 

Cuttlefish: The Brainy Bunch 

has won numerous awards 

internationally including two 

awards at the New York Festival’s 

International Television Broadcasting 

Awards (the Gold World Medal: 

Nature & Wildlife Films and the 

Grand Festival Award for Best 

Documentary), Best Editing award 

at the Green Screen International 

Wildlife Film Festival, Best Animal 

Behaviour category award at the 

CMS Vatavaran Environment & 

Wildlife Film Festival, Best Scientific 

Research award at the Festival 

International du Film Maritime, 

the Rolex Award of Highest 

Achievement at the Celebrate the 

Sea Film Festival, and the Gold 

Intermedia-Globe Award – Best 

Documentary, Research and Science 

at the World Media Festival. 

Domestically, it received an AFI 

award for Best Cinematography, 

and an ATOM award for Best 

Documentary – Science, Technology 

and the Environment. 

End of the Rainbow received 

the First Appearance Award at the 

prestigious International 

Documentary Film Festival 

(Amsterdam) and won the Maysles 

Brothers Award for Best 

Documentary at the Belfast 

International Film Festival. 

4 was awarded the Gold Plaque 

at the Hugo Television Awards, 

held in Chicago. 

Nigger Lovers won the 

International Best Short 

Documentary award at the Wairoa 

Maori FF (New Zealand), as well as 

the Best Short Documentary award 

at the IF awards. It also won the 

ATOM award for Best 

Documentary – Short Form. 

Global Haywire picked up two 

AFI awards for Best Direction in a 

Documentary and Best Sound in 

a Documentary. 

A number of FFC documentaries 

premiering on Australian television 

during the year achieved excellent 

ratings. Notable ratings successes 

for the ABC included The Sounds 

of A(us), Ten Pound Poms, 

Tasmanian Devil: The Fast and 

Furious Life of Errol Flynn, Blood 

and Guts, and the series Stuff, 

Desperately Seeking Sheila and 

Two Men and Two Babies rated 

highly for SBS. 

PUBLIC RELATIONS AND 

INDUSTRY DEVELOPMENT 

SPONSORSHIP PROGRAM 

Under its sponsorship program the 

FFC provides financial support to a 

number of industry guilds and 

associations for conferences, awards 

presentations, prizes and forums. 

This year funding went to the 

Screen Producers’ Association of 

Australia (SPAA) Conference, the 

Australian Writers’ Guild Awards 

(Awgies) and the National 

Screenwriters’ Conference, the 

Australian Directors’ Guild (ADG) 

Awards and Conference, the 

Australian International 

Documentary Conference (AIDC), 

the Australian Film Institute (AFI) 

Awards, the Inside Film (IF) Awards, 

the Film Critics’ Circle Awards, the 

Australian Guild of Screen 

Composers’ (AGSC) Awards, the 

Australian Cinematographers’ 

Society (ACS) Awards, SPAA’s 

membership to the International 

Federation of Film Producers 

Associations (FIAPF), the Australian 

Screen Editors’ Guild, G’Day USA: 

Australia Week and the 

Kidscreen Summit. 

PARLIAMENT HOUSE 

SCREENINGS 

A program of screenings of new 

Australian films financed by the 

FFC is organised in conjunction 

with the Joint House Committee at 

Parliament House, Canberra and 

the former Department of 

Communications, Information 

Technology and the Arts (DoCITA). 

The screenings are for members 

of parliament, senators and 

parliamentary and departmental 

staff and aim to promote an 

awareness of the industry’s latest 

achievements. The FFC-financed 

production to screen this year was 

feature film Black Balloon. 


SEMINARS 

The FFC, AFTRS, the ATO and state 

agencies delivered practical advice 

about how to use the new Producer 

Offset as part of a finance plan for 

screen productions. Case studies were 

created demonstrating how to use the 

offset as part of a financing strategy for 

a feature film, a TV series and a 

documentary. These case studies were 

analysed by a panel of industry experts. 

Seminars were held in Sydney, 

Brisbane, Melbourne, Perth, Adelaide, 

Canberra, Hobart, Darwin and Alice 

Springs. Panelists included Brian Rosen 

(FFC), Antonia Barnard (FFC), Mary 

Anne Reid (FFC), Michele McDonald 

(FFC), Carolyn Docherty (ATO), Brett 

Thornquest (MoneyPenny), David 

Court (CSB), Paul Barron (Great 

Western Entertainment), Marian 

Macgowan (Macgowan Films), Sue 

Maslin (Film Art Doco) and Bryce 

Menzies (Marshalls & Dent). 

WEBSITE 

The FFC’s main tool of external 

communication is its E-News alert 

which goes out after each Board 

meeting (approximately every six 

weeks), advising 4,350 clients and 

stakeholders that the latest news 

and information has been posted 

on the website. Included are the 

latest funding approvals, project 

sales for FFC-financed projects, and 

FFC newsletter articles and features 

on policy and investment issues, 

festivals and markets, seminars and 

conferences, recent awards and 

festival selection for FFC-funded 

projects, and the latest distribution 

and production updates. 

The FFC website features a userfriendly 

navigation tool-bar, with 

options such as a ‘Contact Us’ 

page, outlining who’s who in the 

organisation, and a ‘Production 

Round-up’, which lists the status 

of all FFC projects in production, 

including details of producers and 

production companies. 

Market reports written by 

investment managers are also made 

available on the FFC website. 

Market reports available on the 

website were on the Cannes Film 

Festival, MipCom, Toronto 

International Film Festival, AFM, 

IDFA and Berlin International Film 

Festival, MipTV/MILIA and MipDocs, 

Hot Docs and INPUT 2008. 

The FFC database continued to 

play a valuable role in enabling the 

corporation to monitor the 

recoupment of its investment in 

over 1200 projects. The database is 

also utilised to provide information 

of a non-confidential nature to 

the industry. 

PUBLISHING 

FFC information kits are available on 

request and for distribution at festivals 

and markets. The kits carry up-to-date 

news and information on investment, 

policy issues, sales for FFC-financed 

projects, awards, and production and 

distribution updates. The kits’ 

newsletter also provides information 

and updates on policy issues 

affecting the industry. 

The FFC’s film catalogue was created 

as a visual tool for FFC executives to 

hand out at international markets, 

particularly when talking to distributors 

or sales agents who might provide 

co-finance or sales. 

The Producer Offset brochure was 

created to offer the industry a brief 

summary of the new tax offset. 

Brochures are handed out at 

international festivals, markets 

and conferences. 

16 17

PROJECTS REPORT 

FEATURE FILMS 

FINANCED THROUGH 

MARKETPLACE 

BRIGHT STAR 

Bright Star is an intense exploration 

of the two-year relationship 

between the eighteen-year-old 

Fanny Brawne and the twenty 

three-year-old John Keats; the now 

famous English romantic poet. 

Guided by John Keats’ letters to 

Fanny it charts their blessed yet 

fated love affair. 

Jan Chapman Films Pty Ltd (PC), 

Jan Chapman, Caroline Hewitt (P), 

Jane Campion (D/W) 

PRINCIPAL CAST Abbie Cornish, 

Ben Whishaw 

SALES AND DISTRIBUTION 

Hopscotch (ANZ), Pathe (ROW) 

FFC PARTICIPATION $4,450,000 

COFFIN ROCK 

Coffin Rock is an intimate thriller 

that honestly explores the dark 

consequences of choices made 

to satisfy a basic human desire 

...a family. 

Ultrafilms Pty Ltd (PC), 

Piers Tempest (EP), Ayisha Davies, 

David Lightfoot (P), 

Rupert Glasson (D/W) 

PRINCIPAL CAST Robert Taylor, 

Terry Camilleri 


All Interactive Distribution (ANZ), 

Bankside Films, International Film 

Collective (ROW) 

FFC PARTICIPATION $852,399 

LONG WEEKEND 

A married couple take a camping 

trip to a remote beach to heal their 

savagely wounded relationship, but 

prove as destructive and lethal to 

the world around them as they are 

to themselves. Mother Nature has 

a dark side. 

Arclight Films Pty Ltd (PC), 

Nigel Odell, Gary Hamilton (P), 

Jamie Blanks (D), Everett De Roche (W) 

PRINCIPAL CAST: Jim Caviezel, 

Claudia Karvan 

SALES AND DISTRIBUTION: 

Arclight Films (ANZ), Arclight Films 

International (ROW) 

FFC PARTICIPATION: $2,265,000 

MAO’S LAST DANCER 

This is the inspirational true story 

of Li Cunxin, adapted from his 

best-selling autobiography and 

telling how, amidst the chaos of 

Mao’s Cultural Revolution, he was 

chosen to leave his peasant family 

and sent on an amazing journey... 

as it turned out towards freedom 

and personal triumph. 

Last Dancer Pty Ltd (PC), 

Jane Scott (P), Bruce Beresford (D), 

Jan Sardi (W) 

PRINCIPAL CAST Joan Chen, 

Kyle MacLachlan, Chi Cao, 

Jack Thompson 


Hopscotch (ANZ) & Roadshow 

Australia (ANZ), Celluloid Dreams 



RED DRESS 

Desperate to dance and escape 

the realities of home, teenager 

Ellie dons a pair of fishnets and 

heads off on tour. Careful what 

you wish for! 

International Production Services 

Australia Pty Ltd (PC), 

Veronica Sive (P), Jane Ballantyne 

(CP), Sarah Lambert (D/W) 


Rialto (ANZ), Lightning 

Entertainment (ROW) 


SUBDIVISION 

When Southern developers move 

(PC) Production Company 

(EP) Executive Producer 

(P) Producer 

(CoP) Co-Producer 

(SP) Story Producer 

(AP) Associate Producer 

(CP) Consulting Producer 

(D) Director 

(CoD) Co-Director 

(AD) Animation Director 

(W) Writer 

(CoW) Co-Writer 

(SE) Story Editor 

(ROW) Rest of World 

(ANZ) Australia/New Zealand 

in on Hervey Bay, hot young 

exec Tiffany Lambert, forces local 

builders to lift their game. A 

botched rezoning application 

throws the whole community 

into turmoil and the troubled 

relationship between subcontractors 

“Digger” Kelly and his 

larrikin son Jack, comes to a head. 

Tiffany wonders if Jack will ever 

grow up, but what follows is Jack’s 

finest hour. 

Freshwater Pictures (PC), 

Janice Bradnam, Richard Guardian, 

Trish Lake (EP), Trish Lake, 

Owen Johnston (P), Sue Brooks (D), 

Janice Bradnam, Ashley Bradnam, 

Terry McCann (W) 

PRINCIPAL CAST Gary Sweet, 

Bruce Spence, Steve Bisley, 

Brooke Satchwell 

SALES AND DISTRIBUTION Buena 

Vista Australia (ANZ), Lightning 

Entertainment, 

Reyna Films, Motion Picture 

Distribution LP (ROW) 


THE BOYS ARE BACK IN TOWN 

Talented sports writer, Joe, is 

thrust unexpectedly into single 

parenthood. In looking after his 

two boys from two different 

marriages, Joe starts out by trying 

a Peter-Pan-like strategy of no rules 

whatsoever, only to find he has a 

lot to learn about fatherhood and 

about himself. 

Southern Light Films Pty Ltd (PC), 

Tim White, Greg Brenman (P), 

Scott Hicks (D), Allan Cubitt (W) 

PRINCIPAL CAST Clive Owen 


Hopscotch (ANZ), BBC Films, 

Miramax Films, Hanway (ROW) 


FINANCED THROUGH 

EVALUATION 

ACCIDENTS HAPPEN 

15-year-old Billy Conway has been 

an accident magnet since he was a 

kid. When he and his best friend 

cause an almighty crash with a 

bowling ball and a moving car, Billy 

must face up to his family’s history 

and learn that sometimes someone 

is to blame but that sometimes... 

well... accidents just happen. 

Red Carpet Productions Pty Ltd (PC), 

Heather Ogilvie, Phil Hunt (EP), 

Anthony Anderson (P), 

Andrew Lancaster (D), Brian Carbee (W) 

PRINCIPAL CAST Geena Davis, 

Joel Tobeck, Harrison Gilbertson 


Hopscotch/Galvanised (ANZ), 

Bankside (ROW) 


BALIBO 

War correspondent Roger East and 

the young Jose Ramos-Horta travel 

to East Timor to investigate the 

murders of the Balibo Five in 1975. 

Balibo Film Pty Ltd (PC), 

Jamie Carmichael, Graham Begg (EP), 

John Maynard, Rebecca Williamson (P), 

Robert Connolly (D), David Williamson, 

Robert Connolly (W), 

PRINCIPAL CAST Anthony La Paglia 


Footprint Films (ANZ), 

Content Film International (ROW) 


BEAUTIFUL KATE 

Ned Kendall returns to his isolated 

family home to say goodbye to his 

dying father, but memories of his 

beautiful sister awaken long buried 

secrets from the past. 

Beautiful Kate Productions Pty Ltd 

(PC), Leah Churchill-Brown, 

Bryan Brown (P), Rachel Ward (D/W) 

PRINCIPAL CAST Rachel Griffiths, 

Ben Mendelsohn, Bryan Brown 


Roadshow, Showtime (ANZ), 

The Works (ROW) 


BLESSED 

Blessed is a film about mothers and 

children, about love and beauty, 

about being lost and finding your 

way home. 

Wildheart Zizani (PC), 

Marian Macgowan (EP), Al Clark (P), 

Ana Kokkinos (D), Andrew Bovell, 

Melissa Reeves, Patricia Cornelius, 

Christos Tsiolkas (W) 

PRINCIPAL CAST tbc 


Icon (ANZ), Bankside (ROW) 


BRAN NUE DAE 

Bran Nue Dae is a road movie, 

coming of age, comedy musical 

which celebrates the adventure of 

finding home. 

Robyn Kershaw Productions Pty 

Ltd, Mayfan Pty Ltd (PC), 

Christopher Mapp, 

Matthew Street, Jason Moody, 

David Whealy (EP), Robyn Kershaw, 

Graeme Isaac (P), Rachel Perkins 

(D), Reg Cribb, Rachel Perkins (W) 

adapted from the stage play BRAN 

NUE DAE by Jimmi Chi and Kuckles 

PRINCIPAL CAST Ernie Dingo 


Omnilab/Transmission Films (ANZ), 

Omnilab/Bankside Films (ROW) 


CANE TOADS 

(feature documentary) 

Cane Toads is a theatrical 

documentary that returns to the 

subject filmed by Mark Lewis 

20 years ago. It recaps the history 

of this ecological disaster and 

brings us up-to-date with the 

cane toad’s ongoing conquest of 

mainland Australia. 

Radio Pictures (PC), Mark Lewis (P/D/W) 


Madman Entertainment (ANZ), 

Participant Media, Discovery Films 


MARY AND MAX 

Mary and Max, a feature length 

clay-mation, is a tale of the tender 

and amusing friendship between 

two unlikely penpals: Mary, a 

lonely eight-year-old in Melbourne, 

and Max, an isolated older New 

Yorker. Spanning twenty years and 

two continents Mary and Max’s 

friendship survives much more 

than the average diet of life’s ups 

and downs. 

Melodrama Pictures Pty Ltd (PC), 

Melanie Coombes (P), 

Adam Elliot (D/W) 

PRINCIPAL CAST Philip Seymour 

Hoffman, Toni Collette, Eric Bana, 

Barry Humphries 


Icon (ANZ), Adirondack (ROW) 


MY AMERICA 


In My America Peter Hegedus 

travels to the US to find out what 

has happened to the country 

he fell in love with as a boy 

growing up in Socialist Hungary. 

From Brisbane to Budapest, from 

South Central LA to Freedom, 

Pennsylvania, Peter tries to discover 

what lies at the core of the 

American heart, and why America 

has become the country we all love 

to hate. 

Soul Vision Films (PC), Trish Lake (EP), 

Jane Jeffes (P), Peter Hegedus (P/D), 

Peter Hegedus, Mark O’Toole (W) 


Rialto (ANZ), Horizon Motion 

Pictures (ROW) 


18 19

MY YEAR WITHOUT SEX 

A romantic and slightly dark 

comedy exploring religion, sport, 

consumerism, self-improvement, 

the sexualisation of children, the 

pervasive instructions of the 

media – and love. 

Hibiscus Films Pty Ltd (PC), 

John Maynard, Andrew Myer (EP), 

Bridget Ikin (P), Sarah Watt (D/W) 

PRINCIPAL CAST Sacha Horler, 

Matt Day, William McInnes 


Footprint Films (ANZ), 

The Works International (ROW) 


PRIME MOVER 

Prime Mover is a diesel charged 

love story about ambition, 

pressure, responsibility and 

the love shared by a man, a 

woman and his truck. 

Porchlight Films Pty Ltd (PC), 

Andrew Mackie, Richard Peyton 

tbc (EP), Vincent Sheehan (P), 

David Caesar (D/W) 

PRINCIPAL CAST Emily Barclay, 

Ben Mendelsohn, William McInnes, 

Michael Dorman 


Transmission (ANZ), 

Becker International Films (ROW) 


SALUTE 


The inside story of Peter Norman, 

a sprinter from Australia, 

and his role in a defining, 

symbolic moment of the American 

Civil Rights Movement – the 

Black Power Salute at the 1968 

Olympics. There has never been 

a convenient time to protest 

against injustice. 

An Actors Cafe and Instinct 

Entertainment (PC), Matt Norman 

(P/D/W), David Redman (P) 

PRINCIPAL CAST Peter Norman, 

Tommie Smith, John Carlos 


Instinct Distribution (ANZ), Instinct 

Eden Rock International (ROW) 


SOUTH SOLITARY 

South Solitary is a dramatic, 

windswept romance about the 

great need for companionship 

and hope. 

Macgowan Films / Sarah Radclyffe 

Productions Ltd (PC), Emile Sherman 

(EP), Marian Macgowan, 

Sarah Radclyffe (P), Shirley Barret (D/W) 

PRINCIPAL CAST 

Maggie Gyllenhaal, Paul Bettany 


Icon (ANZ), Maximum (ROW) 


THE LAST RIDE 

The Last Ride is a contemporary 

road movie about a young boy 

and his father on the run from 

the law, and the price that survival 

demands of love. 

Talk Films (PC), Nicholas Cole, 

Antonia Barnard (P), Glendyn Ivin 

(D), Mac Gudgeon (W) 

PRINCIPAL CAST Hugo Weaving 


Madman Entertainment (ANZ), 

ContentFilm International (ROW) 


THE LOVED ONES 

The Loved Ones tells the story of a 

young man digging himself out of 

his own grave. 

Ambience Entertainment (PC), 

Mark Lazarus, Jason Moody (P), 

Sean Byrne (D/W) 


Madman (ANZ), Arclight Films 



TO HELL & BACK 

Eddie is being drawn home 

from the city on important cultural 

business, but his trip gets off to a 

rocky start when he discovers his 

older but more wayward cousin 

Charlie, has ‘lost’ Eddie’s 

special stone. 

Media World Pictures Pty Ltd (PC), 

Ross Hutchens (P), 

Richard Frankland (D/W) 

PRINCIPAL CAST Luke Carroll, 

Leon Burchill, David Page, 

Valentino Del Toro 


SBS, Lightning Entertainment (ROW) 


TWO FISTS ONE HEART 

Two Fists One Heart tells the story 

of how a father’s thwarted 

ambition threatens to destroy his 

most precious possessions – the 

love of his wife and the allegiance 

of his son. 

Palm Beach Pictures Pty Ltd (PC), 

David Elfick (P), Shawn Seet (D), 

Rai Fazio (W) 

PRINCIPAL CAST Daniel Amalm, 

Ennio Fantastichini, Jessica Marais, 

Rai Fazio, Paul Pantano, Tim Minchin 

SALES AND DISTRIBUTION Buena 

Vista International (ANZ), Hanway 

Films (ROW) 


ADULT TELEVISION DRAMA 

CARLA CAMETTI PD 

Carla Cametti PD is a fast-paced 

and fresh crime series with a 

young Italian-Australian female as 

its lead.It is a human drama with 

lashings of crime and a huge dollop 

of wit, casting an eye across the 

incongruity of earthy day-to-day life 

butting up against the heightened 

reality of designer-dressed gangsters 

roaming our streets. 

6 X 60 MINUTE MINI-SERIES 

Buona Notte Productions Pty Ltd 

(PC), Ewan Burnett (EP), 

Elisa Argenzio, Cristina Pozzan (P), 

Ian Watson (D), Jo Martino, 

Samantha Winston, Liz Doran, 

Kris Mrksa (W) 

PRINCIPAL CAST Diana Glenn, 

Sullivan Stapelton, 

Robert Mammone, 

Vince Colosimo, Nicola De Silva 

SALES AND DISTRIBUTION SBS 

TV and SBS Sales 


DIRT GAME 

A six part drama series about a UK 

CEO who is sent out by his 

secretive London Board to head up 

a debt-ridden Australian mining 

firm and who – with the help 

of a hastily-formed Aussie 

crisis-management team – is under 

ruthless instruction to either 

save the company or dump it. 


Harvey Taft Productions (PC), 

Michael Harvey, David Taft (P), 

Brendan Maher, Grant Brown (D), 

Michael Harvey (W) 

PRINCIPAL CAST Joel Edgerton, 

Freya Stafford, Gerald Lepkovsky 


ABC TV, Beyond/Omnilab 


EAST OF EVERYTHING 

– SERIES 2 

When Art and Vance Watkins 

re-open the doors of the ramshackle 

resort they grew up in, they unwittingly 

invite the return of the free-spirited 

father who abandoned them decades 

earlier, when his paradise was spoiled. 

Twenty 20 Pty Ltd (PC), Fiona Eagger 

(P), Stuart McDonald (D), Deb Cox 

(CoP/W), Roger Monk (AssP/W) 

PRINCIPAL CAST Richard Roxburgh, 

Tom Long, Gia Carides, Susie Porter, 

Valerie Bader, Kathryn Beck 


ABC TV, Indigo Film and Television 


EAST WEST 101 – SERIES 2 

In season two, East West 101 

expands to seven episodes as the 

Major Crime Squad investigate 

crime and murder in aII quarters 

of multi-cultural Sydney. 

Knapman Wyld Television Pty Ltd 

(PC), Steve Knapman, Kris Wyld 

(P), Peter Andrikidis (D), 

Kristen Dunphy, Michael Miller, 

Michelle Offen, Vanessa Bates, 

Katherine Thompson (W) 

PRINCIPAL CAST Don Hany, 

Susie Porter, Aaron Fa’Aoso, 

Daniella Faranacci 


SBS TV, SBS Content Sales, 


FALSE WITNESS 

Against the heavily researched 

feature backdrop of bickering 

intelligence agencies, fallible police 

forces and international tensions, 

False Witness is a high-octane 

thriller based on the West’s worst 

nightmare: a threat they do not 

see coming. 


Screentime Pty Ltd (PC), 

Des Monaghan, Brendan Dahill, 

Justin Bodle (EP), Greg Haddrick 

(P), Peter Andrikidis (D), 

Ronan Glennane, Nell Greenwood, 

Greg Haddrick (W) 

PRINCIPAL CAST Dougray Scott, 

Rachael Blake, Richard Roxburgh, 

Jeremy Lindsay 


Power, UKTV 


SAVED 

The story of a married woman who 

saves a young Iranian refugee from 

detention, only to fall passionately 

in love with him. 


Big and Little Films (PC), 

Tony Ayres, Michael McMahon (P), 

Tony Ayres (D), Belinda Chayko (W) 

PRINCIPAL CAST Claudia Karvan, 

Osamah Sami, Andy Rodoreda 


TV, SBS Content Sales 


SCORCHED 

Five years from now and after 600 

days without rain Sydney has run 

out of water…then the 

unthinkable happens. The city is 

engulfed by fire. 

TELEMOVIE 

Essential Viewing in association 

with Firelight Productions (PC), 

Jo Horsburgh, Rosemary Blight, 

Chris Hilton (EP), Kylie Du Fresne, 

Ellenor Cox (P), Tony Tilse (D), 

Marcus Gillezeau (Cross Platform P/ 

D), Tim Pye (W) 

PRINCIPAL CAST Cameron Daddo, 

Georgie Parker, Vince Colosimo, 

Libby Tanner 


Nine Network, 

Granada International 


SEA PATROL – SERIES 2 

Everyday heroes doing an 

extraordinary job. 


McElroy All Media (PC), 

Hal McElroy, Di McElroy (EP), 

Geoff Bennett, Ian Barry (D), 

Michaeley O’Brien, Jeff Truman, 

Tony Morphett, John Ridley, 

Matt Ford, Philip Dalkin, 

Samantha Winston and 

Felicity Packard (W) 

PRINCIPAL CAST Lisa McCune, 

Ian Stenlake, Saskia Burmeister 

SALES AND DISTRIBUTION Nine 

Network/Portman Media 


THE CIRCUIT – SERIES 2 

Aboriginal lawyer Drew Ellis 

continues his journey on the 

chaotic, challenging world of the 

Kimberley Court – a circuit that 

takes a magistrate and an 

entourage of court officers and 

lawyers on a regular five day 

2000 kilometre round trip to 

dispense justice to the dusty, 

remote communities of northwestern 

Australia. 

Media World Pictures (PC), 

Ross Hutchens, Colin South (P), 

Dot West, Yvonne Collins (CoP), 

TBC (D), Kelly Lefever, Dot West, 

Mitch Torres (W) 

PRINCIPAL CAST Aaron Pedersen, 

Gary Sweet, Kelton Pell, 

Tammy Clarkson, Marta Kaczmarek 


SBS TV, SBS Content Sales 


THE CUT 

The Cut is a comedy drama, which 

explores the soft underbelly of 

professional sport by following the 

fortunes of a family owned sports 

management company run by a 

colourful patriarch. 


Tom Blacket Media (PC), 

20 21

Tom Blacket (P), TBC (D), 

John Misto (W) 


ABCTV, Target Entertainment 


THE INFORMANT 

Not too long ago, almost half the 

people on remand had been 

caught through the extraordinary 

efforts of one man. Sometimes one 

person with the right skills is more 

effective than an army, especially 

when that person is the enigmatic 

Richard Button. 

TELEMOVIE 

Screentime Pty Ltd (PC), 

Des Monaghan, Sue Masters (EP), 

Greg Haddrick (W/CoP), Tony Tilse (D) 

PRINCIPAL CAST William McInnes, 

Colin Friels, Stephen Curry, 

Matt Day 


Alchemy Television Group Ltd 


CHILDREN’S TELEVISION 

DRAMA 

BLUE WATER HIGH SERIES 3 

Six top Australian teenage surfers 

are selected to live at an elite 

training facility. At the end of the 

year two of them – a boy and a girl 

– will be awarded sponsorship and 

wild card entry to the Pro Surfing 

Circuit. The series is about their 

intense competition – to get the 

wild card, to pass exams, and to 

grow up. 


Northside Productions Pty Limited 

(PC), Noel Price, Dennis Kiely (P), 

Marcus Cole, Ralph Strasser (D), 

TBC pia (W) 

PRINCIPAL CAST Rebecca Breeds, 

Amy Beckwith, Cariba Heine, 

Eka Darville, Lachlan Buchanan, 

Kain O’Keefe, Kate Bell, 

Craig Horner 

SALES AND DISTRIBUTION ABC 

TV, Nickelodeon – Australia, 

Southern Star, AB Droits – France, 

Cattleya – Italy 


ELEPHANT PRINCESS 

Phoebe Wilson suddenly finds out 

that she’s not an average, 

suburban girl – she’s really the 

Princess of a mystical kingdom! But 

if her exotic visitor Kuru and a 

magical elephant can’t help her 

master her new magical powers 

soon, then everything and 

everyone she knows is in danger. 


Jonathan M Shiff Productions (PC), 

Jonathan M Shiff (EP), 

Joanna Werner (CoP), 

Rodger Hodgman, Colin Budds (D), 

Phillip Dalkin, Anthony Morris, Max 

Dann, Chris Anastassiades, Simon 

Butters, Sam Carroll, 

Chris Roache (W) 

PRINCIPAL CAST Emily Robins, 

Miles Szanto 


Network Ten, Disney Channel, 

ZDF Enterprises 


GASP! 

Based on the highly acclaimed 

Australian comic book series by 

author/illustrator extraordinaire 

Terry Denton, comes this hilarious 

fish-out-of-water animated series 

about Gasp a loveable hyperactive 

gold-fish and his furry friends, left 

home alone. In a house where 

nothing is normal or straight up, 

where animals walk, talk, sing and 

dance, where anything can and 

will happen, this 52 x 11 minute 

fin slapping series is set to come to 

a fish bowl near you, real soon! 

52 X 11 MINUTE SERIES 

SLR Productions (PC), 

Suzanne Ryan (P), Jo Boag (D), 

Brendan Luno (W) 


Nine Network, Australian 

Broadcasting Corporation, SLR 

Productions, Kabillion, Agogo 

Media Limited, Taffy Entertainment 


K9 

K9 is a highly refined robot in the 

guise and personality of a dog! 

However K9 is nobody’s pet, he is a 

highly intelligent creature created 

from a form of ‘living metal’ and 

when we first meet this fantastic 

robot he is guarding an abandoned 

prison transportation craft. 


Stewart & Wall Entertainment Pty 

Ltd (PC), Grant Bradley, Jim Howell 

(EP), Penny Wall, Richard Stewart, 

Simon Barnes (P), TBA (D), 

Bob Baker and tbc (W) 

PRINCIPAL CAST tbc 


Network Ten, Jetix, Park Entertainment 


PIXEL PINKIE – SERIES 2 

Nina finds things rarely go as 

planned with her mobile phone 

genie, Pixel Pinkie. 

Blue Rocket Productions Pty Ltd 

(PC), David Gurney (EP), 

Alicia Rackett (P), David Gurney 

(D), Matthew Van Rooijen (AnimD), 

Stu Connelly, Sam Carroll, 

Belinda Bradley, Franz Doherty (W) 


Blue Rocket Distribution, Daro Film 

Distribution, Nine Network Australia 


ROBOT REVOLUTION 

Robot Revolution – a science 

program exploring Artificial 

Intelligence with one of the world’s 

greatest minds – Professor Rodney 

Brooks – as he races to create 

the world’s first affordable 

personal robot. 

1 X 60 MINUTE 

Essential Viewing Pty Ltd (PC), 

Chris Hilton (EP), Isabel Perez (P), 

Andrea Ulbrick (D/W) 


ARTE France, ABC TV 


SNAKE TALES 

Two completely different teenage 

girls from opposite ends of the 

world are forced to live together in 

a run-down snake park in Outback 

Australia – with only their very 

strange families for company. 


Westside Film & Television Pty Ltd 

(PC), Ann Darrouzet (P), 

Brendan Luno, Alix Beane, 

Anthony Watt (W) 

PRINCIPAL CAST Daniel Nettheim, 

Ralph Strassar, Nicholas Berso 


Nine Network, Beyond 

Entertainment Ltd 


THE ADVENTURES OF 

CHARLOTTE & HENRY 

The Adventures of Charlotte 

and Henry is about the life and 

relationship between two very 

unlikely best friends. An animated 

comic human story, told from the 

perspectives of two very different 

children as they go about their 

daily life and relate to family, 

friends and of course, Henry’s dog 

Kym. While the characters are 

always realistically depicted – feisty, 

funny, idiosyncratic and sometimes 

in conflict – at heart, it is about 

people being kind and decent to 

each other, treating each other 

with respect and with tolerance 

TELEMOVIE 

Optimistic Pictures (PC), 

Paige Livingston (EP), Steve Trenbirth 

(D), Jan Stradling, Lisa Kitching (W) 

PRINCIPAL CAST 

Geneviève Lemon, Russell Dykstra, 

Kodi Smit-McPhee 


Seven Network, Marathon 


DOCUMENTARIES 

ABOUT WOMEN 

About Women is a series 

investigating the modern 

Australian woman – what she 

needs to thrive and survive in the 

21st Century and the obstacles she 

faces on life’s journey. 


Iris Pictures Pty Ltd (PC), 

Jessica Douglas-Henry (EP), 

John Jansen-Moore (P), 

Judith John-Story (D) 




DARWIN’S LOST PARADISE 

This film investigates the scientific 

research and thought which in the 

fields of geology, zoology and 

biology have been inspired to this 

day by Darwin’s discoveries. 

2 X 60 AND 1 X 90 MINUTE 

DOCUMENTARY 

Chapman Pictures Pty Ltd (PC), 

Emmanuel Laurent, 

Penny Chapman, Werner Vennewald 

(P) Katharina von Flotow (D/W), 

Hannes Schuler (D), Jan Lorenzen, 

Simon Nasht (W) 

SALES AND DISTRIBUTION SBS TV, 

ARTE, Monaco Films 


DEAD TIRED 

Is the loss of sleep due to 

contemporary living doing us 

harm? Many scientists believe so 

and now they’ve got the evidence 

to prove it. New medical studies 

reveal that sleep deprivation can 

trigger and exacerbate many 

diseases including heart disease, 

obesity, diabetes and depression. 

The American Sleep Foundation 

reports that sleep deprivation now 

constitutes the number ONE killer 

in the Western World! 

2 X 60 MINUTE DOCU-SERIES 

Paul Scott Films Pty Ltd (PC), 

Paul Scott (P/D/W), 

Georgina Wallace Crabbe (CoP) 


TV, National Geographic Television 

International 


DEATH OF THE MEGABEASTS 

With the very latest scientific 

research, dramatic re-enactments 

and CGI, Death of the Megabeasts 

journeys back 60,000 years to 

come face to face with Australia’s 

megafauna and solve one of the 

biggest mysteries of our past. 


DOCUMENTARY 

Prospero Productions Pty Ltd (PC), 

Ed Punchard, Julia Redwood (EP), 

Franco Di Chiera (D), 

John McCourt (W) 


National Geographic International, 

National Geographic Television 

International 

FFC PARTICIPATION $334,012 tbc 

DRUGS, DEATH AND BETRAYAL 

Drugs, Death and Betrayal lifts 

the lid on the slaughter that 

resulted when two underworld 

tribes went to war over drug 

profits during Melbourne’s 

infamous gangland killings. 

1 X 60 MINUTE 

Carlyon-Miller Productions (PC), 

Terry Carlyon, Robyn Miller (P), 

Terry Carlyon (D) 


ABC TV 


EMBEDDED WITH THE 

MURRI MOB 

A young white girl steps across the 

urban divide to find out what it is 

like to live black. 

1 X 60 MINUTE 

Circe Films Pty Ltd (PC), 

Michaela Perske (EP), Beth Frey (P), 

Sarah Jane Woulahan (D), 

Sophie Meyrick (D) 




EMBEDDED WITH 

SHEIK HILALY 

Does Islam pose a threat to the 

Australian way of life? 

EMBEDDED WITH 

NATIONALISTS 

A Bengali migrant journeys into the 

heartland of Australian 

nationalism. 

2 X 60 MINUTE 

Red Ithaka Productions Pty Ltd 

(PC), Michaela Perske (EP), 

Michaela Perske (P), Gary Doust 

(D),Tina Havelock Stevens (D) 




22 23

GALLIPOLI’S SUBMARINE 

Gallipoli’s Submarine combines the 

intrigue of a hazardous underwater 

expedition to Australia’s greatest 

surviving relic of the Gallipoli 

Campaign, with the dramatised, 

spine-tingling tale of one of the 

most audacious missions ever 

undertaken by a submarine. 


Electric Pictures Pty Ltd (PC), 

Andrew Ogilvie, Crispin Sadler, (EP), 

Steve Westh (D/W) 


ABC, ITV Westcountry, ZDF, 

Alliance Atlantis, NGTI, 


GOODBYE REVOLUTION 

(aka The Portrait Painter) 

A portrait of the artist Shen Jiawei 

and the journey of his life from 

Shanghai to Sydney. 

1 X 60 MINUTE 

Storm Productions Pty Ltd (PC), 

Esben Storm (P/D) 


SBS TV 


GREAT AUSTRALIAN ALBUMS: 

SERIES 2 

Great Australian Albums Series 2 

is a documentary series that 

celebrates and examines those 

iconic Australian albums that have 

had significant popular and critical 

acclaim throughout the world. 

Featuring Nick Cave, 

The Go-Betweens, Hunters & 

Collectors and Powderfinger. 


Mushroom Pictures Pty Ltd (PC), 

Martin Fabinyi, Michael Gudinski 

(EP), Danielle Kelly (P), 

Toby Creswell (P/W), Larry Meltzer (D) 




I, PSYCHOPATH 

I, Psychopath takes us on a road trip 

into the life and mind of a 

psychopath. Former white-collar 

criminal, Sam Vaknin goes in search of 

a diagnosis that proves beyond doubt 

that he doesn’t have a conscience 

and that he can’t be cured. 


Fibro Majestic (PC), 

Jennifer Cummins (EP), Sally Regan (P), 

Ian Walker (CoP), Ian Walker (D/W) 


TV, ZDF, CBC, Off The Fence 


LIONEL ROSE 

Lionel Rose is a classic rags-toriches 

story set against a changing 

cultural and political landscape. It’s 

a story about winning and losing, 

about fame and misfortune. It’s 

also a great love story and a 

testament to human resilience 

and courage. 

1 X 60 MINUTE 

Circe Films Pty Ltd (PC), 

Lizzette Atkins (P), Edward Martin 

(D), David Tiley (W) 

SALES AND DISTRIBUTION SBS TV 


MAKING MUSIC 

Filmmakers Bob Connolly and 

Sophie Raymond follow MLC 

School’s legendary director of 

music, Karen Carey, as she throws 

her young students into musical 

waters over their heads. Fifteen 

months later, at the Sydney Opera 

House, this extraordinary 

educational program comes to 

fruition, and we celebrate the 

making of music and what it can 

give us. 

1 X 60 MINUTE 

Arundel Productions Pty Ltd (PC), 

Bob Connolly, Helen Panckhurst (P), 

Bob Connolly, Sophie Raymond (D) 


ABC TV 

FFC PARTICIPATION $156,181 tbc 

MAVERICK MOTHER 

Tired of waiting for the perfect 

partner, and alarmed by the 

deafening tick-tock of her 

biological clock, 39 year-old 

filmmaker Janet Merewether 

decides to take life into her own 

hands and embark on a journey 

into the new social phenomenon 

of single motherhood by choice. 

1 X 60 MINUTE 

Screen Culture Pty Ltd (PC), 

Janet Merewether (P/D/W) 



MURDER IN THE SNOW 

In September 2006, Chinese 

soldiers shot at a group of pilgrims 

as they fled Tibet. International 

mountain climbers filmed the 

shooting, helped rescue survivors 

and bravely broadcast their story to 

the world. Both sides risked their 

lives. Why? 

1 X 60 MINUTE 

360 Degree Films Pty Ltd (PC), 

Sally Ingleton (P), Mark Gould (D), 

Mark Gould, Sally Ingleton (W) 


SBS TV, National Geographic TV 

International 


MY BIGGEST FAN 

What happens when Tara Morice, 

star of Strictly Ballroom, meets 

Mildred Levine, a 75-year-old, 

lip-synching great grandmother 

from Coconut creek, who is her 

biggest fan? 

1 X 60 MINUTE 

Tara Pictures Pty Ltd (PC), 

Michael Cordell (EP), Tara Morice (P/D/W) 




NAVY DIVERS 

At a time of heightened tension 

and increasing security risks 

throughout the world, Navy Divers 

is a timely exploration of life at 

the front line of national defence 

with unprecedented access to 

the Navy’s most extreme 

training course. 

4 X 30 MINUTE 

Prospero Productions (2006) Pty Ltd 

(PC), Ed Punchard, Julia Redwood 

(EP), Steve Westh, Russell Vines (D), 

John McCourt (W) 


ABC TV, ABC Content Sales 


NEVER SAY DIE MATILDAS 

The Matildas reveals a journey 

of discovery through the eyes of 

three female footballers. From 

the practise games in Australia to 

the World Cup matches in China 

the film will uncover the personal 

stories, expectations, fears and 

sacrifices that these women must 

make to be the best in their 

chosen sport. 

1 X 60 MINUTE 

Essential Viewing Pty Ltd (PC), 

Ian Collie (EP), Peter Scobie (P), 

Helen Barrow (D) 



NOT FORGOTTEN 

Virtually every town and suburb 

across Australia has a monument 

to its own local WW1 heroes: men, 

boys and women who 

‘gave their lives that we might live’. 

We walk past them every day. 

Names carved in stone unseen. 

Lives forgotten. Taking these 

memorials and the long lists of the 

dead as a starting point, Not 

Forgotten brings individual lives 

and stories back to life, reaching 

out to 21st century descendants to 

explore the ways in which 

Australian families, communities 

and the nation as a whole was 

touched and transformed by the 

Great War and how the legacy of 

their experience laid the 

foundations for our 20th 

century history. 

1 X 60 MINUTE 

Firefly Productions Pty Ltd (PC), 

Margie Bryant (EP), Jane Jeffes (D/W/P) 




ON TRIAL 

On Trial, cases from the District 

Court of NSW, is a documentary 

series that offers unprecedented 

access to criminal trials in an 

Australian court. 

4 X 60 MINUTE 

On Trial Television (PC), 

Michael Cordell (EP), Ian Collie (P), 

Susan Lambert (D) 

SALES AND DISTRIBUTION ABC TV 


ONCE BITTEN 

Once Bitten is about second-time 

round relationships - the way we 

love in today’s complex world and 

survive to tell the tale. 


Circe Films Pty Ltd (PC), Beth Frey 

(P), Janette Howe (CoP/W), 

Mark Walker (D) 

SALES AND DISTRIBUTION SBS, 

SBS Content Sales, Maori Television 


PAPER DOLLS – AUSTRALIAN 

PINUPS OF WORLD WAR 2 

A documentary about the 

Australian women who in the 

1940s posed in their swimsuits for 

glamorous shots in magazines, 

newspapers and postcards. 

1 X 60 MINUTE 

Marina Films Pty Ltd (PC), 

Yvonne Collins (P), 

Angela Buckingham (D/W) 

SALES AND DISTRIBUTION: SBS TV 

FFC PARTICIPATION: $139,573 

PNG: RULES OF THE GAME 

Mal Kela Smith is a PNG wild man 

– burly, totally bald, hard-swearing 

and the owner of a fleet of 

helicopters which will fly where 

nobody else dares fly. He is also the 

governor of PNG’s Eastern 

Highland Province and has spent 

thousands of dollars fighting 

corruption in PNG. 

1 X 60 MINUTE 

Arcimedia Pty Ltd (PC), 

John Lewis (P), Chris Owen (LP/W), 

Thom Cookes (D/W) 


SBS TV, ITVS 


RISKING OUR KIDS 

(aka Modernity Paradox) 

After a lifetime of cutting edge 

scientific study into the condition 

of the nation’s children, Fiona 

Stanley believes we are at a crisis 

point, where a toxic physical and 

social environment may reduce the 

life expectancy of future 

generations. Stanley and the film 

eloquently and passionately explore 

the alarming, measurable health 

effects of the way we now bring 

up children – and where we might 

find the ideas and the will to 

improve child health. 

1 X 60 MINUTE DOCUMENTARY 

Rymer Childs/ThunderboxTV (PC), 

Judy Rymer, Bevan Childs, 

Jody Nunn (P), Judy Rymer (D/W) 

SALES AND DISTRIBUTION Ronin 

Films, ABC TV 


ROAD TRIP NATION 

Road Trip Nation is an 

observational documentary series 

following three young people on a 

rugged five-week journey that 

takes in the diversity of Australia, 

our people, our culture and 

landscape as they travel across the 

country in search of inspiration, 

meeting and interviewing 

outstanding Australians. 

4 X 30 MINUTE 

Iris Pictures Pty Ltd (PC), 

Stephen Segaller, Nathan Gebhard 

(EP), Jessica Douglas Henry (P), 

Kalita Corrigan (D) 


TV, WNET 


THE BURNING SEASON 

As the world faces up to the 

impact of climate change, a young 

environmental entrepreneur 

proposes a massive carbon trading 

deal that could protect the forests 

of Indonesia, save the orangutans 

from extinction and redefine the 

Earth’s future. 


Hatchling Productions Pty Ltd (PC), 

Roger Graef, Trish Lake (EP), Jeff Canin 

(CoP), Cathy Henkel (CoP/D/W) 


TV, BBC, CBC, National Geographic 

Television International, WNET 


24 25

THE CURSE OF THE 

GOTHIC SYMPHONY 

This documentary follows the 

journey of a brave and committed 

group of Brisbane musicians, who 

will attempt to break an 80 year 

curse and stage the longest, largest 

and most technically difficult 

symphony ever composed. 

1 X 60 MINUTE 

Fury Productions Pty Ltd (PC), 

Veronica Fury (P), Ranald Wood (D/W) 


ABC TV 


THE FUTURE MAKERS 

The Future Makers - people 

creating solutions that don’t cost 

the earth. Ecological solutions 

inspired by nature, from surprising 

and successful innovators. 

1 X 60 MINUTE DOCUMENTARY 

The Future Makers Pty Ltd (PC), 

Lisa Duff, Maryella Hatfield, 

Krissoula Syrmis (P), 

Maryella Hatfield (D) 


Discovery Asia, First Hand Films 


THE LAST CONFESSION OF 

ALEXANDER PEARCE 

The Last Confession of Alexander 

Pearce follows the final days of 

Irish convict Alexander Pearce’s life 

as he awaits execution. The year is 

1824 and the British penal colony 

of Van Diemen’s Land is little more 

than a living hell. Chained to a wall 

in the darkness of a cell under 

Hobart Gaol, Pearce is visited by 

Father Connolly, the parish priest 

of the fledgling colony and a 

fellow Irishman. The Last 

Confession Of Alexander Pearce 

will draw a visceral and compelling 

picture of a hell on earth and tell 

how one man endured the 

unimaginable by doing the 

unthinkable. 

1 X 60 MINUTE DOCU-DRAMA 

Essential Viewing Group (PC), 

Chris Hilton (EP), Nial Fulton (P/W), 

Michael James Rowland (D) 


TV, History Channel UK, RTE, RDF 

Content Sales, BBCNI 


THE LONG GOODBYE 

Thousands of Baby Boomers are 

living in fear of what may lie 

ahead. On the eve of a dementia 

epidemic, three couples reveal how 

love and humour can balance 

despair for those living 

The Long Goodbye. 

1 X 60 MINUTE 

Luminous Films Pty Ltd (PC), 

Gina Twyble (P), Kaye Harrison (D/W) 

SALES AND DISTRIBUTION ABC TV 


THE MATILDA MODEL 

The Matilda Model is a comedic 

film which looks at the origins of 

the song Waltzing Matilda in order 

to ascertain whether it should 

become the Australian national 

anthem. 

1 X 60 MINUTE 

Olsen Levy Productions Pty Ltd, 

Curtis Levy (P/D/W), 

Helen Panckhurst (P) 


ABC TV 


THE PAGEANT 

The sashed State Finalists line up. 

In this beauty pageant no one 

wants to save the world or the 

environment and there’s no 

mention of feeding starving 

children. The judges are on a booty 

quest for good tits and arse. Miss 

QLD says that if she wins ‘she’ll use 

the money to open a brothel’. 

Welcome to the politically incorrect 

Miss Nude Australia Pageant! 

1 X 60 MINUTE 

Ikandy Films (PC), Janine Hosking 

(P), Martin Taylor (D) 


SBS TV 


(version 1 PIA) 

THE REAL HOBBITS 

The controversial discovery of the 

‘Hobbit’, a new species of human, 

challenges the understanding of 

our origins. 

1 X 60 MINUTE 

Essential Viewing in association 

with Real Pictures (PC), 

Chris Hilton (EP), Aline Jacques 

(CoP) Annamaria Talas (P), 

Simon Nasht (P/D/W) 


ABC TV, ARTE, CBC, RDF 


TWO IN THE TOP END 

John Doyle and Tim Flannery 

explore Australia’s last frontier 

in an eclectic journey across the 

top end from Cairns to Broome. 

As climate change shifts the 

national focus northward the two 

men examine the colourful past, 

present and future of the deep 

north in their inimitable style. 

6 X 30 MINUTE 

Cordell Jigsaw Productions Pty Ltd 

(PC), Michael Cordell, Nick Murray 

(EP), Toni Malone (SP), 

Michael Cordell, Ashley Smith (D) 


ABC TV, ABC Content Sales 


WHATEVER HAPPENED TO 

BRENDA HEAN 

Whatever Happened to Brenda 

Hean tells the remarkable story of 

Brenda Hean - one of the first 

leaders of an environmental 

political party in the world 

- whose fight to save Tasmania’s 

Lake Pedder lead to her mysterious 

disappearance in 1972. Thirty-five 

years later a filmmaker undertakes 

a quest to discover the truth. 

1 X 90 MINUTE 

Big and Little Films Pty Ltd (PC), 

Michael McMahon (P), 

Scott Millwood (P/D/W), 

Mira Robertson (W) 



WHO DO YOU THINK YOU ARE 

– SERIES 2 

Well-known Australians play 

detective as they go in search 

of their family history, revealing 

secrets and surprises from 

the past. 


Artemis International Pty Ltd and 

Serendipity Productions Pty Ltd 

(PC), Brian Beaton, Margie Bryant 

(EP), Celia Tait (SerP), TBC (D/W) 

SALES AND DISTRIBUTION SBS, 

SBS Content Sales, Outright, 

Wall to Wall. 


YOU ONLY LIVE TWICE 

You Only Live Twice explores four 

generations of the Hughes family. 

This is a generational journey 

through the past 100 years of 

Australian life exploring family 

mythology, the power of family 

ties, the love of artistic expression 

and the discovery of a 

quintessential Australian, rat bag, 

and larrikin dynasty like no other. 

1 X 60 MINUTE 

Ruth Cullen (PC), Ruth Cullen (P), 

Brendan Young (D) 


Ruth Cullen, ABC TV 


SPECIAL DOCUMENTARY 

FUND 

BORN IN CAPTIVITY 

Australian filmmakers Daniel 

Fallshaw and Violeta Ayala go to 

the Saharawi refugee camps in 

the Algerian desert to make a 

film about the human price of 

the long lasting political conflict 

in the Western Sahara, and find a 

society where slavery still exists. 

Through the prism of one family, 

Born in Captivity will provide an 

honest picture of this society today 

- a place where slaves cannot 

decide their fate, political leaders 

pretend to be unaware and 

organisations like the UN stand by 

and do nothing. 

United Notions Film (PC), 

Tom Zubrycki (P), Violeta Ayala, 

Daniel Fallshaw (D) 


INDONESIA CALLING: 

JORIS IVENS IN AUSTRALIA 

Indonesia Calling: Joris Ivens in 

Australia recalls the birth of an 

independent Indonesia, the role of 

Australia in its emergence and the 

heritage and impact of a small film 

at a moment of crisis. 

Early Works (PC), 

John Hughes (P/D/W) 


ABC TV 


SALT 

Salt combines the breathtaking 

imagery of internationally 

renowned photo-artist, Murray 

Fredericks, with the hauntingly 

delicate sounds of Aajinta’s 

‘Harmonic Spheres’, as he embarks 

on his annual solo pilgrimage to 

the heart of the world’s most 

desolate environment on Lake 

Eyre, South Australia. 

1 X 30 MINUTE 

Jerrycan Films Pty Ltd (PC), 

Michael Angus (P/D/W) 


ABC TV 


THE BOOT CAKE 

In the small town of Adipur in 

north west India, Charlie Chaplin 

is treated as a god. Filmmaker 

Kathryn Millard travels to Adipur 

for Chaplin’s 116th birthday party. 

In the course of this journey, she 

seeks out some of the ghosts 

and reincarnations of Charlie 

Chaplin’s Tramp. 


Charlie Productions Pty Ltd (PC), 

Kathryn Millard (P/D/W) 


THE SNOWMAN 

The Snowman is a feature 

documentary which involves two 

parallel journeys into mental illness 

and conspiracy theories. In 1978 

Jimmy was a 34 year old happily 

married mountaineer who scored 

his dream job with Operation 

Deepfreeze - training NASA 

astronauts in survival skills in 

Antarctica. Coming back three 

months later, he soon descended 

into schizophrenia and remains 

quite out of touch with 

reality today. 


Pony Films Pty Ltd (PC), 

Rachel Landers (P), Juliet Lamont, 

Rachel Landers (D), Juliet Lamont (W) 


NATIONAL INDIGENOUS 

DOCUMENTARY FUND 

(NIDF) SERIES 10 

SAMSON AND DELILAH: 

THE DOCUMENTARY 

Two Aboriginal youths, plucked 

from obscurity, bring to life, and 

into cinemas worldwide, the 

fictional journey of Samson 

and Delilah. 

1 X 60 MINUTE 

Scarlett Pictures (PC), Kath Shelper, 

Beck Cole (P/D/W) 


ABC TV 


THE INTERVENTION 

The lntervention examines the 

process of the Federal intervention 

taking place in Indigenous 

communities in the Katherine 

region in the Northern Territory 

in the name of neglected and 

abused children. 

1 X 60 MINUTE 

Jotz Productions (PC), 

Tom Zubrycki (P), Julie Nimmo (D/W) 


ABC TV 


26 27

AWARDS 

AUSTRALIAN FILM 

INSTITUTE (AFI) 

AWARDS 2007 

BASTARD BOYS 

Best Screenplay in Television 

THE CIRCUIT 

Best Guest or Supporting Actor in 

a Television Drama 

CLUBLAND 

Best Supporting Actress 

CUTTLEFISH: THE BRAINY 

BUNCH 

Best Cinematography in a 

Documentary 


Best Documentary / Best Editing in 

a Documentary 

GLOBAL HAYWIRE 

Best Sound in a Documentary 

Best Direction in a Documentary 

THE HOME SONG STORIES 

Best Lead Actress / Best Original 

Music Score / Best Cinematography 

/ Best Editing / Best Direction / Best 

Screenplay / Best Production 

Design / Best Costume Design 

LOCKIE LEONARD 

Best Children’s Television Drama 

NOISE 

Best Sound 

ROMULUS, MY FATHER 

Best Film / AFI Young Actor Award 

Best Supporting Actor / Best 

Lead Actor 

INSIDE FILM (IF) AWARDS 

2007 


Best Director / Best Actor 

Best Actress / Best Cinematography 

/ Best Production Design 

NIGGER LOVERS 

Best Short Documentary 

NOISE 

Best Sound / Best Editing 

FILM CRITICS CIRCLE OF 

AUSTRALIA (FCCA) 

AWARDS 2007 

CLUBLAND 

Best Actress – Supporting Role 


Best Feature Documentary 


Best Cinematography / Best 

Screenplay / Best Actress 

NOISE 

Best Director / Best Film / Best 

Actor / Best Cinematography / Best 

Editing / Best Music Score 


Best Actor – Supporting Role / 

Special Acknowledgement – Kodi 

Smit-McPhee 

AWGIE AWARDS 2007 

BASTARD BOYS 

Television Mini-series Original 

CLUBLAND 

Feature Film Original (joint winner) 

Outstanding Australian Script 

DECEMBER BOYS 

Feature Film Adaptation 

DOUBLE TROUBLE 

Children’s Television (C Class.) 


Feature Film Original (joint winner) 

AUSTRALIAN SCREEN 

SOUND GUILD SOUND 

AWARDS 2007 

CURTIN 

Best Sound – Mini-Series 


BUNCH 

Best Sound – Documentary 

NOISE 

Best Sound – Film Sound Mixing / 

Best Sound – Film Sound Design 


Best Sound – Film Sound Recording 

AUSTRALIAN GUILD OF 

SCREEN COMPOSERS 

AWARDS 2007 

STAINES DOWN DRAINS 

Best Television Theme 

STEPFATHER OF THE BRIDE 

Best Music for a Telemovie 

TWO TWISTED 

Best Music for a Television Series 

AUSTRALIAN DIRECTORS 

GUILD AWARDS 2007 

BASTARD BOYS 

Best Direction in a Telemovie 

NOISE 

Outstanding Achievement in Direction 

RAUL, THE TERRIBLE 

Best Direction in a Documentary – 

Stand Alone 

TRIPPING OVER 

Best Direction in a Television Series 

OTHER AWARDS 

(FEATURE FILMS) 

THE BLACK BALLOON 

Berlin Intl. Film Festival – Crystal 

Bear – Best Feature 

CLUBLAND 

Australian Cinematographers 

Society State Awards – Bronze 

Award (Features – Cinema) / Movie 

Extra FilmInk Awards – Best 

Australian Newcomer / St Tropez 

Antipodean Film Festival – 

Audience Award / Valenciennes 

Intl. Film Festival – Jury Prize 

DR PLONK 


Society, State Awards – Silver 

Award, Features – Cinema 


Aljazeera Intl. Documentary Film 

Festival – Golden Award, Best 

Feature Documentary / Australian 

Film Critics Association Awards – 

Best Documentary / NSW Premier’s 

Literary Awards – Script Writing 

Award / Rome Film Festival – Cult 

Prize for Best Documentary Film / 

San Francisco Intl. Film Festival – 

Golden Gate Awards – Special Jury 

Prize / Silverdocs – AFI/Discovery 

Channel Doc Festival – Writers 

Guild of America Documentary 

Screenplay Award 


Brisbane Intl. Film Festival – Fipresci 

Intl. Jury Award / Golden Horse 

Awards – Best Original Screenplay; 

Best Leading Actress / Hawaii Intl. 

Film Festival – Halekulani Golden 

Orchid for Best Feature; 

Achievement in Acting Award / 

Torino Film Festival – Best Actress 

LUCKY MILES 

Asian Festival of First Films – Best 

Film; Best Producer / Intl. Film 

Festival Pacific Meridian – Best Script 

/ Middle East Intl. Film Festival – Jury 

Prize - Best New Director / St Tropez 

Antipodean Film Festival – Best Film 

NOISE 


Society, State Awards – Gold Award, 

Features - Cinema / Australian Film 

Critics Association Awards – Best 

Australian Film / Leeds Intl. Film 

Festival - Special Mention / St Tropez 

Antipodean Film Festival – Best Actor 




Features – Cinema / Movie Extra 

FilmInk Awards – Best Australian Film 

SEPTEMBER 


Society, State Awards – Bronze 

Award, Features – Cinema 

STORM WARNING 



Award, Features – Cinema / 

Screamfest Horror Film Festival – 

Best Special Effects Makeup 

TEN CANOES 

Mount Shasta Intl. Film Festival – 

Best Foreign Film 

UNFINISHED SKY 



Award, Features – Cinema / 

Brisbane Intl. Film Festival – 

Audience Award / Method Fest – 

Jury Award – Best Picture 

CHILDREN’S TELEVISION 

DRAMA 

DOGSTAR 

Apollo Awards – Best 

Animated Opening Sequence / 

Hugo Television Awards – 

Animated Series – Certificate of 

Merit / WA Screen Awards – 

Outstanding Achievement for 

Animation Production 

DOUBLE TROUBLE 



Award, Telefeatures, TV Drama, 

Mini Series 

LOCKIE LEONARD 

ATOM Awards – Best Children’s 

Television Series / Chicago Intl. 

Children’s Film Festival – 2nd Prize, 

Live Action Television Program / TV 

Week Logie Awards – Most 

Outstanding Children’s Program 

MORTIFIED 

Golden Chest Intl. TV Awards – 

Bronze Chest – Special Jury Prize 

for Children’s Series; Best Child’s 

Role / Seoul Drama Awards – Best 

Juvenile Drama 

ADULT TELEVISION DRAMA 

ANSWERED BY FIRE 

Gemini Awards – Best Picture 

Editing in a Dramatic Program 

BASTARD BOYS 



Award, Telefeatures, Television 

Drama, Mini Series / Queensland 

Premier’s Literary Awards – 

Television Script 

THE CIRCUIT 

Hugo Television Awards – 

Mini-Series – Silver Hugo / TV 

Week Logie Awards – Graham 

Kennedy Award – Most 

Outstanding New Talent / WA 

Screen Awards – Outstanding 

Achievement for Screenwriting; 

Outstanding Achievement for 

Drama Production; Outstanding 

Achievement for Series Production 

CURTIN 


Society, State Awards – Gold 


Mini Series / TV Week Logie 

Awards – Silver Logie – Most 

Outstanding Drama 

RAIN SHADOW 



Telefeatures, TV Drama, Mini-Series 

SEA PATROL 




DOCUMENTARIES 

4 



Award, Documentaries, Cinema 

and Televison / Hugo Television 

Awards – Gold Plaque 

BOM BALI 



Award, Dramatised Documentaries 


BUNCH 

ATOM Awards – Best Documentary 

Science, Technology and the 

Environment / Australian 

Cinematographers Society, State 

Awards – Gold Award, Best 

Wildlife & Nature Film / Celebrate 

The Sea Festival – Highest 

Achievement, Professional Feature 

Length Films / CMS Vatavaran 

Environment & Wildlife Film 

Festival – Best Animal Behaviour / 

Festival Intl. Du Film Maritime – 

Best Scientific Research / Green 

Screen Intl. Wildlife Film Festival – 

Best Film Editing / New York 

Festivals – Grand Festival Award – 

Best Documentary; Gold World 

Medal – Nature & Wildlife Films / 

World Media Festival / Gold 

Intermedia – Globe Award – Best 

Documentary, Research & Science 

END OF THE RAINBOW 

Belfast Film Festival – Maysles 

Brothers Award for Best 

Documentary / Intl. Documentary 

Film Festival Amsterdam – First 

Appearance Competition Award 

NIGGER LOVERS 

Flickerfest Intl. Short Film Festival 

– Highly Commended / Wairoa 

Maori Film Festival – Intl. Best Short 

Documentary / ATOM Awards – 

Best Documentary Short Form 

TWO MUMS AND A DAD 

Atom Awards – Best 

Documentary General 

28 29

INVESTMENT OVERVIEW 

CUMULATIVE INVESTMENTS FROM 1988/89 — 2007/08 

YEAR OF 

INVESTMENTS 

FEATURE FILMS 

YEAR OF 

INVESTMENTS 

NO. OF 

PROJECTS 

NO. OF 

PROJECTS 

PRODUCTION 

SLATE ($) 

PRODUCTION 

SLATE ($) 

FFC 

INVESTMENT ($) 

FFC 


NON-FFC 


NON-FFC 


NON-FFC 

INVESTMENT (%) 

1988/89 34 69,021,178 38,934,579 30,086,599 43.6 

1989/90 57 179,956,214 78,423,725 101,532,489 56.4 

1990/91 41 136,365,628 64,053,389 72,312,239 53.0 

1991/92 51 113,487,600 65,333,689 48,153,911 42.4 

1992/93 65 109,823,210 67,583,315 42,239,895 38.5 

1993/94 59 103,858,513 68,025,916 35,832,597 34.5 

1994/95 63 119,078,549 70,517,086 48,561,463 40.8 

1995/96 62 142,703,888 72,522,143 70,181,745 49.2 

1996/97 54 90,005,407 49,880,465 40,124,942 44.6 

1997/98 58 128,674,593 69,169,040 59,505,553 46.2 

1998/99 55 108,309,251 53,075,685 55,233,566 51.0 

1999/00 65 135,384,816 72,463,735 62,921,081 46.5 

2000/01 48 131,762,254 62,454,107 69,308,147 52.6 

2001/02 54 109,948,356 56,471,442 53,476,914 48.6 

2002/03 53 150,977,194 68,643,747 82,333,447 54.5 

2003/04 56 134,584,269 62,516,864 72,067,405 53.5 

2004/05 66 232,252,491 89,570,633 142,681,858 61.4 

2005/06 64 186,953,513 76,692,424 110,261,089 59.0 

2006/07 74 198,006,126 73,990,566 124,015,560 62.6 

2007/08 86 291,462,491 85,437,015 206,025,476 70.7 

TOTAL 1,165 2,872,615,541 1,345,759,566 1,526,855,975 53.2 

NON-FFC 


1988/89 6 28,100,647 19,149,449 8,951,198 31.9 

1989/90 14 102,268,749 34,822,049 67,446,700 66.0 

1990/91 12 73,036,849 25,511,678 47,525,171 65.1 

1991/92 13 50,165,277 29,961,778 20,203,499 40.3 

1992/93 13 38,626,884 25,433,040 13,193,844 34.2 

1993/94 9 27,729,492 19,820,967 7,948,525 28.6 

1994/95 11 45,793,912 28,362,065 17,431,847 38.1 

1995/96 11 62,611,374 31,576,395 31,034,979 49.6 

1996/97 12 44,646,087 29,014,691 15,631,396 35.0 

1997/98 13 59,004,546 34,867,361 24,137,185 40.9 

1998/99 11 46,268,389 26,295,065 19,973,324 43.2 

1999/00 13 62,407,084 35,505,658 26,901,426 43.1 

2000/01 10 75,086,966 33,739,446 41,347,520 55.1 

2001/02 10 46,025,256 23,136,645 22,888,641 49.7 

2002/03 11 65,108,110 29,738,193 35,369,917 54.3 

2003/04 10 46,278,025 22,742,377 23,535,648 50.9 

2004/05 14 104,193,817 46,212,145 57,981,672 55.6 

2005/06 17 85,132,596 39,568,217 45,564,379 53.5 

2006/07 15 98,875,470 38,628,820 60,246,650 60.9 

2007/08 23 159,730,845 48,054,777 111,676,068 69.9 

TOTAL 248 1,321,130,405 622,140,816 698,989,589 52.9 

Three feature fi lms approved for funding in 1998/99 were terminated prior to cashfl ow and these funds were reallocated to the feature fi lm slate in 1999/00. Excluded are 

production loans, print and advertising loans and Film Fund projects. Excludes lapsed projects War Crimes, Red Rain, Emily, Rosenberg’s Goanna and Atlanta’s Child (a project that 

found alternative funding after approval). Global Haywire was fi rst approved as a documentary in 2004/05 and then subsequently contracted as a feature fi lm in 2006/07. 

Large-format fi lms and Offi cial Co-productions are included within each genre. All fi gures are at 30 June 2008 inclusive of variations to prior year projects. 

ADULT TELEVISON DRAMA 

YEAR OF 

INVESTMENTS 

NO. OF 

PROJECTS 

PRODUCTION 

SLATE ($) 

FFC 


NON-FFC 


NON-FFC 


1988/89 4 19,789,660 6,780,000 13,009,660 65.7 

1989/90 11 43,894,756 29,193,233 24,701,523 45.8 

1990/91 6 29,948,450 17,125,926 12,822,524 42.8 

1991/92 3 18,428,526 7,327,364 11,101,162 60.2 

1992/93 8 32,674,542 16,855,065 15,819,477 48.4 

1993/94 5 31,007,961 17,815,533 13,192,428 42.5 

1994/95 6 24,445,216 14,072,334 10,372,882 42.4 

1995/96 7 26,517,370 12,740,055 13,777,315 52.0 

1996/97 4 21,171,045 8,323,916 12,847,129 60.7 

1997/98 4 19,861,682 8,456,467 11,405,215 57.4 

1998/99 5 21,311,198 9,978,924 16,332,274 62.1 

1999/00 8 35,984,529 18,350,094 17,634,435 49.0 

2000/01 3 13,126,262 5,813,540 7,312,722 55.7 

2001/02 6 18,195,651 9,774,092 8,421,559 46.3 

2002/03 6 24,553,718 11,873,881 12,679,837 51.6 

2003/04 8 34,253,075 16,958,783 17,294,292 50.5 

2004/05 8 54,330,398 16,330,391 38,000,007 69.9 

2005/06 9 47,974,790 15,977,633 31,997,157 66.7 

2006/07 8 45,353,650 13,054,055 32,299,595 71.2 

2007/08 11 59,764,452 12,617,435 47,147,017 78.9 

TOTAL 130 637,586,931 269,418,721 368,168,210 57.7 

CHILDREN’S TELEVISON DRAMA 

YEAR OF 

INVESTMENTS 

NO. OF 

PROJECTS 

PRODUCTION 

SLATE ($) 

FFC 


NON-FFC 


NON-FFC 


1988/89 6 11,898,172 7,156,418 4,741,754 39.9 

1989/90 3 9,487,185 5,992,159 3,495,026 36.8 

1990/91 6 25,843,279 17,089,603 8,753,676 33.9 

1991/92 8 32,497,745 20,263,599 12,234,146 37.6 

1992/93 6 26,657,583 16,716,299 9,941,284 37.3 

1993/94 5 29,277,212 20,179,990 9,097,222 31.1 

1994/95 6 31,655,168 16,786,373 14,868,795 47.0 

1995/96 5 39,213,458 19,626,006 19,587,452 50.0 

1996/97 3 15,472,015 6,691,549 8,780,466 56.8 

1997/98 6 38,074,452 18,742,141 19,332,311 50.8 

1998/99 4 19,585,532 8,962,326 10,623,206 54.2 

1999/00 3 20,016,945 9,338,291 10,678,654 53.3 

2000/01 4 29,722,147 15,298,355 14,423,792 48.5 

2001/02 5 32,551,300 15,992,657 16,558,643 50.9 

2002/03 5 44,224,813 18,109,522 26,115,291 59.1 

2003/04 4 36,672,969 13,356,800 23,316,169 63.6 

2004/05 8 56,920,802 18,475,487 38,445,315 67.5 

2005/06 5 31,531,581 11,849,744 19,681,837 62.4 

2006/07 5 27,527,147 11,677,869 15,849,278 57.6 

2007/08 7 43,190,091 14,487,632 28,702,459 66.5 

TOTAL 104 602,019,596 286,792,820 315,226,776 52.4 

DOCUMENTARIES 

YEAR OF 

INVESTMENTS 

NO. OF 

PROJECTS 

PRODUCTION 

SLATE ($) 

FFC 


NON-FFC 


NON-FFC 


1988/89 18 9,232,699 5,848,712 3,383,987 36.7 

1989/90 29 14,305,524 8,416,284 5,889,240 41.2 

1990/91 17 7,537,050 4,326,182 3,210,868 42.6 

1991/92 27 12,396,052 7,780,948 4,615,104 37.2 

1992/93 38 11,864,201 8,578,912 3,285,289 27.7 

1993/94 40 15,803,848 10,209,426 5,594,422 35.4 

1994/95 40 17,184,253 11,296,314 5,887,939 34.3 

1995/96 39 14,361,686 8,579,687 5,781,999 40.3 

1996/97 35 8,716,260 5,830,309 2,865,951 32.9 

1997/98 35 11,733,913 7,103,071 4,630,842 39.5 

1998/99 35 16,144,132 7,839,370 8,304,762 51.4 

1999/00 41 16,976,258 9,269,692 7,706,566 45.4 

2000/01 31 13,826,879 7,602,766 6,224,113 45.0 

2001/02 33 13,176,119 7,568,048 5,608,071 42.6 

2002/03 31 17,090,553 8,922,151 8,168,402 47.8 

2003/04 34 17,380,200 9,458,904 7,921,296 45.6 

2004/05 36 16,807,474 8,552,610 8,254,864 49.1 

2005/06 33 22,314,546 9,296,830 13,017,716 58.3 

2006/07 46 26,249,859 10,629,822 15,620,037 59.5 

2007/08 45 28,777,103 10,277,171 18,499,932 64.3 

TOTAL 683 311,878,609 167,407,209 144,471,400 46.3 

30 31

FILMS WITH A 

THEATRICAL RELEASE 

GONE 

Universal Pictures Intl. 

19 July 2007 

LUCKY MILES 

Dendy Films 

19 July 2007 

THE HOME 

SONG STORIES 

Dendy Films 

23 August 2007 

DR PLONK 

Palace Films 

23 August 2007 


Palace Films 

13 September 2007 

THE DECEMBER BOYS 

Roadshow 


SEPTEMBER 

Hopscotch 

29 November 2007 

32 

NIGHT 

Dendy Films 

7 February 2008 

THE BLACK 

BALLOON 

Icon Films 

6 March 2008 

DEATH DEFYING 

ACTS 

Dendy Films 

13 March 2008 

HEY HEY, 

ITS ESTHER 

BLUEBURGER 

Buena Vista Intl. 

20 March 2008 

GLOBAL 

HAYWIRE 

Hopscotch 

10 April 2008 

UNFINISHED SKY 

Palace Films 

19 June 2008 

HEY HEY, IT’S ESTHER BLUEBURGER 

CORPORATE GOVERNANCE 

STATEMENT 

THIS STATEMENT OUTLINES THE 

MAIN CORPORATE 

GOVERNANCE PRACTICES IN 

PLACE THROUGHOUT THE 

FINANCIAL YEAR. 

BOARD OF DIRECTORS 

ROLE OF THE DIRECTORS 

The primary role of the board is 

the achievement of the 

corporation’s policy objectives. 

To fulfil this role, the board is 

responsible for the overall 

corporate governance of the 

corporation including 

implementing its strategic 

direction, approving and 

monitoring capital expenditure, 

setting remuneration, establishing 

and monitoring the achievement 

of management’s goals and 

ensuring the integrity of internal 

control and management 

information systems. It is also 

responsible for approving and 

monitoring financial and 

other reporting. 

The board has delegated 

responsibility for operation and 

administration of the corporation 

to the chief executive officer and 

executive management. 

BOARD PROCESSES 

The board has established a 

framework for the management 

of the corporation including a 

system of internal control, a 

business risk management process 

and the establishment of 

appropriate ethical standards. To 

assist in the execution of its 

responsibilities, the board has also 

established an audit committee. 

The agenda for meetings is 

prepared in conjunction with the 

chairperson, chief executive officer 

and company secretary. Standing 

items include the chief executive 

officer’s report, financial reports, 

strategic matters, governance 

and compliance. Submissions are 

circulated in advance. 

DIRECTOR EDUCATION 

The corporation has a formal 

process to educate new directors 

about the nature of the business, 

current issues and the corporate 

strategy. Directors also have 

the opportunity to meet 

with management to gain a 

better understanding of 

business operations. 

ACCESS TO CORPORATION 

INFORMATION 

Each director has the right of 

access to all relevant corporation 

information and to the corporation’s 

executives. This process is 

formalised in a written protocol 

which requires any requested 

information be made available to 

all directors. The advice received by 

the director is made available to all 

other members of the board. 

COMPOSITION OF THE BOARD 

The names of the directors of the 

corporation in office at the date 

of this report are set out in the 

Directors’ Report on page 37 of 

this report. 

The composition of the board is 

determined using the following 

principles: 

a minimum of three and a 

maximum of nine directors, with 

a broad range of expertise 

all board members are 

independent non-executive 

directors 

a number of directors have 

extensive knowledge of the film 

and television industry as 

producers 

a non-executive independent 

director is appointed as 

chairperson 

a maximum period of six years 

service, subject to re-election 

every three years. 

An independent director is a 

director who is not a member of 

management (a non-executive 

director) and who: 

has not within the last three 

years, been employed in an 

executive capacity by the 

corporation 

within the last three years, 

has not been a principal or 

employee of a material 

professional adviser, or a 

material consultant to 

the corporation 

has no material contractual 

relationship with the corporation 

other than a director of the 

corporation. 

AUDIT COMMITTEE 

The audit committee has a 

documented charter, approved by 

the board. The chairperson may 

not be the chairperson of the 

board. The committee advises on 

the establishment and 

maintenance of a framework of 

internal control for the 

management of the corporation. 

The members of the audit 

committee during the year were: 

Mr P Oneile 

(appointed as chairman 1 July 2005) 

Mr P Davey 

(appointed 1 July 2005) 

Mr A Walton 

(appointed 9 February 2006) 

The external auditors, the chief 

executive officer and chief 

commercial officer, are invited to 

audit committee meetings at the 

discretion of the committee. The 

committee met two times during 

the year and committee members’ 

attendance record is disclosed in 

the table of directors’ meetings. 

33

The responsibilities of the audit 

committee include: 

reviewing the annual reports 

assessing corporate risk 

management processes 

monitoring compliance with the 

corporation’s Fraud Control Plan 

and monitoring prompt and 

appropriate rectification of any 

deficiencies or breakdowns 

identified 

monitoring the procedures to 

ensure compliance with the 

Corporation’s Act 2001 and all 

other regulatory requirements 

addressing any material matters 

outstanding with auditors, 

Australian Taxation Office and 

the Australian Securities and 

Investments Commission 

reviewing and making 

recommendations to the board 

on remuneration packages and 

policies applicable to the 

executive officers and directors of 

the corporation. 

The audit committee reviews the 

performance of the external 

auditors on an annual basis and 

normally meets with them during 

the year to: 

discuss the external audit plan, 

identifying any significant 

changes in structure, operations, 

internal controls or accounting 

policies likely to impact the 

financial statements and to 

review the fees proposed for the 

audit work to be performed 

review the draft annual financial 

report and recommend board 

approval of the financial report 

review the results and findings of 

the auditor, the adequacy of 

accounting and financial controls 

and to monitor the 

implementation of any 

recommendations made. 

RISK MANAGEMENT 

OVERSIGHT OF THE RISK 

MANAGEMENT SYSTEM 

The board oversees the 

establishment, implementation and 

review of the corporation’s risk 

management system. Management 

34 

has established and implemented 

the risk management system for 

assessing, monitoring and 

managing operational, financial 

reporting, and compliance risks for 

the corporation. 

RISK PROFILE 

Comprehensive practices have 

been established to ensure: 

board approval (above delegated 

authority) of all film and 

television investments and 

variations thereto 

occupational health and safety 

standards and management 

systems are monitored and 

reviewed to achieve high 

standards of performance 

business transactions are 

properly authorised and executed 

the quality and integrity 

of personnel 

financial reporting is accurate 

and complies with the financial 

reporting regulatory framework. 

QUALITY AND INTEGRITY 

OF PERSONNEL 

Appraisals are conducted at least 

annually for all employees. Training 

and development, and appropriate 

remuneration and incentives with 

regular performance reviews create 

an environment of co-operation 

and constructive dialogue. 

FINANCIAL REPORTING 

The chief executive officer and 

the chief commercial officer have 

declared to the board that the 

corporation’s financial reports are 

founded on a sound system of risk 

management and internal 

compliance and control which 

implements the policies adopted 

by the board and that there are in 

place appropriate fraud control 

mechanisms that meet the 

Attorney’s guidelines. 

Monthly actual results are reported 

against budgets approved by the 

directors, and revised forecasts for 

the year are prepared regularly. 

ETHICAL STANDARDS 

All directors, managers and 

employees are expected to act 

with the utmost integrity and 

objectivity, striving at all times to 

enhance the reputation and 

performance of the corporation. 

Every employee has a nominated 

supervisor to whom they may refer 

any issues arising from their 

employment. 

CONFLICT OF INTEREST 

Directors and senior management 

must keep the board advised, on 

an ongoing basis, of any interest 

that could potentially conflict with 

those of the corporation. The 

board has developed procedures 

to assist directors and senior 

management to disclose potential 

conflictsof interest. 

Where the board believes that a 

significant conflict exists for a 

director on a board matter, the 

director concerned does not 

receive the relevant board papers 

and is not present at the meeting 

whilst the item is considered. 

Details of director related entity 

transactions with the corporation 

are set out in Note 16. 

AUDIT 

The board has requested the 

independent external auditor to 

undertake, in addition to the audit 

of the financial statements, an 

additional assurance audit to 

assess whether the company’s 

accounting and administrative 

procedures and processes are 

operating effectively and 

transactions are appropriately 

authorised and recorded 

completely, accurately and reliably 

for the production of financial 

statements. This additional 

assurance audit, which has the 

limitations of audit sampling 

techniques, is over and above that 

required to form an opinion on 

the financial statements. 

ENVIRONMENTAL REGULATION 

The company’s operations are 

not subject to any significant 

environmental regulation 

under either Commonwealth 

or State legislation. 

ORGANISATION 

OVERVIEW 


MANAGER 

Antonia Barnard 

PRODUCTION 

OFFSET 

CO-ORDINATORS 

Susan Wells 

Michele McDonald 

PRODUCTION 

OFFSET 

ASSISTANT 

Marsha White 

RECOUPMENT 

MANAGER 

Doris Petrevcic* 

SENIOR 

RECOUPMENT 

ANALYST 

Susie Gates 

RECOUPMENT 

ANALYSTS 

Georgia Britton 

Elizabeth Newman 

Bernadette Rheinberger 

RECOUPMENT 

ASSISTANT 

Kate Fielder 

FINANCIAL 

CONTROLLER 

Betty Fehir 

FINANCE 

ASSISTANT 

Peta Jeffery 

INFORMATION 

SERVICES 

MANAGER 

Steve Marks 

OFFICE 

ADMINISTRATOR 

Kym Yam 

RECEPTIONIST / 

OFFICE ASSISTANT 

Robyn Schwarz 

Nelly Shipley 

POLICY MANAGER 

Mary Anne Reid 

(resigned Nov 2007) 

POLICY & PR 

CO-ORDINATOR 

Karolina Lipiec 

The Overview refl ects all staff who have occupied permanent positions during the year. 

Total number of staff as at 30 June 2008: 42 *Staff in Melbourne offi ce. 

FFC BOARD OF 

DIRECTORS 

CEO Brian Rosen 

CHIEF COMMERCIAL OFFICER / COMPANY SECRETARY 

Ross Pearson 

BUSINESS AFFAIRS 

MANAGER / 

COMPANY 

SECRETARY 

Keith Lupton 

LEGAL MANAGERS 

Mark Broomhead* 

Amy Carr 

Madeleine Enfield 

Rebecca Hardman 

BA CO-ORDINATOR 

Helen Canham 

ASSISTANT BA 

CO-ORDINATOR 

Anna Hale 

BA EXECUTIVE 

ASSISTANT 

Linda McClelland 

BA / LEGAL 

ASSISTANT 

Angela Chang 

EVALUATION 

MANAGERS 

Tait Brady* 

Scott Meek 

EVALUATION 

CO-ORDINATORS 

Stephanie Dow* 

Paul Kennedy 

SENIOR 

INVESTMENT 

MANAGER 

Ross Matthews* 

INVESTMENT 

MANAGERS 

Sally Browning 

Chris Oliver 

Julia Overton 

PROJECT 

MANAGERS 

Lindsay Lipson* 

Heather Oxenham 

CO-ORDINATORS 

Philippa Campey 

Karen Dess 

ASSISTANTS 

Mim Davis 

Amanda Lansdowne 

35

FINANCIAL REPORT 

FOR THE YEAR ENDED 30 JUNE 2008 

DIRECTORS’ REPORT 37 

INCOME STATEMENT 39 

BALANCE SHEET 

STATEMENT OF 

40 

CASH FLOWS 

NOTES TO THE 

41 

FINANCIAL STATEMENTS 42 

DIRECTORS’ DECLARATION 57 

AUDITOR’S REPORT 

TO MEMBERS 

58 

SCORCHED 

36 

DIRECTORS’ REPORT 

ABN 22 008 642 564 

THE DIRECTORS OF SCREEN AUSTRALIA PRESENT THEIR REPORT TOGETHER WITH THE FINANCIAL REPORT 

FOR THE YEAR ENDED 30 JUNE 2008 AND THE AUDITOR’S REPORT THERE ON. 

DIRECTORS 

There were no directors in office 

at the date of this report. Under 

section 31(2) of the Screen 

Australia and National Film and 

Sound Archive (Consequential and 

Transitional Provisions) Act 2008, 

the Minister has determined that 

Screen Australia is required to 

prepare and lodge this report and 

the accompanying financial report. 

The directors of the company at 

any time during or since the end 

of the financial year are listed 

below. The terms of all of these 

directors ended on 30 June 2008: 

Graham Bradley, Chairman 

(resigned June 30 2008) 

Paul Oneile 


Peter Davey 


Alastair Walton 


Paul Dainty 


Sandra Gross 


Particulars of directors’ 

qualifications, experience, 

period of appointment and 

special responsibilities are 

contained in a section `Board 

of Directors’ at pages 8 and 9 of 

the Annual Report. 

COMPANY SECRETARIES 

The company had two company 

secretaries during the financial 

year. Both company secretaries 

resigned on 30 June 2008: 

Ross Pearson BA, FCPA, AICD 

was appointed as Chief 

Commercial Officer and a company 

secretary in November 2004. Mr 

Pearson is a fellow of CPA Australia 

and has 17 years experience as 

company secretary for major 

corporates including 10 years as 

company secretary for listed public 

companies. 

Keith M Lupton BA, LLB, LLM, 

PhD was appointed as Business 

Affairs Manager and company 

secretary in 1995. 

PRINCIPAL ACTIVITIES 

The principal activities of the 

company during the year were 

to provide funding support for 

qualifying Australian film and 

television productions. There were 

no significant changes in the 

nature of these activities during the 


OPERATING RESULT 

The net profit of the company 

for the year ended 30 June 

2008 was $2,200,889 (2007 

$1,673,111 loss). This is after 

recognising as revenue a 

Commonwealth grant of 

$70,500,000 (2007 

$70,500,000) and impairment 

and other losses relating to 

equity film investments of 

$66,857,366 

(2007 $72,556,367). 

The company is exempt from 

income tax under Division 50 

of the Income Tax Assessment 

Act 1997. 

REVIEW OF OPERATIONS 

A review of operations is contained 

in the Annual Report on pages 

7 to 16. 

SIGNIFICANT CHANGES 

IN STATE OF AFFAIRS 

There were no significant changes 

in the state of affairs of the 

company during the 2007/08 


AFTER BALANCE 

DATE EVENTS 

The operations of Film Finance 

Corporation Australia Limited 

(FFC), the Australian Film 

Commission (AFC) and Film 

Australia Limited (FAL) were 

transferred into a new statutory 

authority, Screen Australia, on 

1 July 2008. On 1 July 2008 the 

company ceased operations and 

all of its assets and liabilities, rights 

and obligations were transferred to 

Screen Australia pursuant to 

the Screen Australia and National 

Film and Sound Archive 

(Consequential and Transitional 

Provisions) Act 2008. The 

shareholder applied for voluntary 

deregistration on 11 July 2008. 

ENVIRONMENTAL 

REGULATION 

The company’s operations are not 

subject to any significant 

environmental regulations under 

either Commonwealth 

or State legislation. 

DIVIDENDS 

No dividend has been paid or 

declared during the year. 

LIKELY DEVELOPMENTS 

AND RESULTS 

As noted above, the company 

ceased operations on 1 July 2008 

37

FILM FINANCE CORPORATION AUSTRALIA LIMITED 

and the shareholder has applied 

for voluntary deregisteration of 

the company. 

MEETINGS OF DIRECTORS 

The number of meetings of 

directors and attendances at 

those meetings are set out in 

Notes to the Financial Statements – 

note 16(b). 

DIRECTORS’ BENEFITS 

No director has received or become 

entitled to receive, during or since 

the financial year, any benefit 

because of a contract made by the 

company with the director, a firm 

of which the director is a member, 

or an entity in which the director 

has a substantial financial interest, 

other than in respect of: 

(a) during the financial year, 

benefits arising under the 

contracted transactions detailed 

in Note 16(c) to the Financial 

Statements (Director and 

director-related transactions). 

(b) since the financial year up 

to the date of this report there 

are no benefits arising under 

contracted transactions. 

Directors’ remuneration is disclosed 

in Note 16(a) to the Financial 

Statements (Directors’ 

remuneration). 

INDEMNIFICATION AND 

INSURANCE OF OFFICERS 

AND AUDITORS 

Since the end of the previous 

financial year, the company paid 

a premium in relation to a 

contract insuring the directors 

and officers of the company 

against a liability arising from 

their duties as directors and 

officers, other than for conduct 

involving a wilful breach of duty 

in relation to the company. 

The company has not otherwise, 

during or since the financial year, 

38 

indemnified or agreed to indemnify 

an officer or auditor of the 

company against a liability incurred 

as such an auditor or officer. 

AUDITOR’S 

INDEPENDENCE 

DECLARATION 

The auditor’s independence 

declaration is set out on page 59 

and forms part of the directors’ 

report for the financial year ended 

30 June 2008. 

Signed at Sydney this 16th day of 

September 2008 in accordance 

with a resolution of the directors 

of Screen Australia. 

Glen Boreham 

Chairman of Screen Australia 

INCOME STATEMENT 


INCOME 

ABN 22 008 642 564 

STATEMENT OF RECOGNISED INCOME 

AND EXPENSE 


2008 ($) 2007 ($) 

NET PROFIT/(LOSS) FOR THE YEAR NOTE 13 2,200,889 (1,673,111) 

TOTAL RECOGNISED INCOME AND EXPENSE FOR THE YEAR 

ATTRIBUTED TO MEMBERS OF THE COMPANY note 13 2,200,889 (1,673,111) 

The above statement should be read in conjunction with the accompanying notes. 

2008 ($) 2007 ($) 

Revenue 

Commonwealth Grant 70,500,000 70,500,000 

Interest 3,067,599 2,622,463 

Application and administration fees 2,457,439 2,489,602 

Film Investment profits note 3b 1,999,091 2,306,118 

Disbursement fees 1,293 992 

Marketing services − 240,000 

TOTAL REVENUE 78,025,422 78,159,175 

TOTAL INCOME 78,025,422 78,159,175 

EXPENSES 

Impairments and other losses relating to 

film investment contracts note 3 66,857,366 72,556,367 

Employee and related expenses 4,833,005 4,048,308 

Legal, audit and other professional services 987,874 492,963 

Property rentals and related expenses 504,150 427,240 

Depreciation and amortisation expenses 204,042 195,926 

Net less on disposal of plant and equipment note 3c 354 628 

Other expenses 2,437,742 2,110,854 

TOTAL EXPENSES 75,824,533 79,832,286 

NET PROFIT/(LOSS) FOR THE YEAR 

NET PROFIT/(LOSS) ATTRIBUTABLE TO MEMBERS 

2,200,889 (1,673,111) 

OF THE COMPANY note 13 2,200,889 (1,673,111) 

39


BALANCE SHEET 


CURRENT ASSETS 

40 

2008 ($) 2007 ($) 

Cash note 4 5,818,534 1,008,629 

Committed funds note 5 21,000,000 20,350,000 

Receivables note 6 680,054 1,134,886 

Film loans note 7 538,766 324,202 

Prepayments 94,759 26,302 

TOTAL CURRENT ASSETS 28,132,113 22,844,019 

NON-CURRENT ASSETS 

Equity film investments note 8 41,868,694 30,709,251 

Plant and equipment note 9 628,750 729,221 

Committed funds note 5 4,636,633 4,388,715 

TOTAL NON-CURRENT ASSETS 47,134,077 35,827,187 

TOTAL ASSETS 75,266,190 58,671,206 

CURRENT LIABILITIES 

Payables note 10 416,988 385,015 

Provisions note 11 564,309 529,149 

Lease Incentive note 12 67,555 67,555 

TOTAL CURRENT LIABILITIES 1,048,852 981,719 

NON-CURRENT LIABILITIES 

Provisions note 11 28,635,282 14,488,703 

Lease incentive note 12 264,592 332,127 

Distribution Guarantee note 5 4,636,633 4,388,715 

TOTAL NON-CURRENT LIABILITES 33,536,507 19,209,545 

TOTAL LIABILITIES 34,585,359 20,191,264 

NET ASSETS 40,680,831 38,479,942 

EQUITY 

Contributed equity note 13 5 5 

Retained profits note 13 40,680,826 38,479,937 

TOTAL EQUITY 40,680,831 38,479,942 


STATEMENT OF CASH FLOWS 


CASH FLOWS FROM OPERATING ACTIVITIES 

ABN 22 008 642 564 

2008 ($) 2007 ($) 

Commonwealth grant received 70,500,000 70,500,000 

Interest received 2,951,721 2,316,754 

Film investment profits received 638,033 741,204 

Net GST recovered 7,229,293 8,618,954 

Other operating revenue receipts 3,348,412 3,336,338 

GST paid to suppliers (7,382,089) (7,840,733) 

Other payments to suppliers and employees (8,678,595) (7,155,324) 

NET CASH PROVIDED BY OPERATING ACTIVITIES note 22b 68,606,775 70,517,193 

CASH FLOWS FROM INVESTING ACTIVITIES 

Loan repayments received 20,990 9,356 

Film investments recouped and underages 7,901,118 7,890,546 

Film loan advances paid (243,740) (969,911) 

Equity film investments paid (70,648,536) (63,131,000) 

NET CASH USED FOR INVESTMENTS AND LOANS (62,970,169) (56,201,009) 

Purchase of plant and equipment (98,202) (43,760) 

Proceeds from sale of plant and equipment − 364 

Other proceeds 1,790 743 

Other investing activities (12,754) (76) 

NET CASH USED IN OTHER INVESTING ACTIVITES (109,166) (42,729) 

NET CASH USED IN INVESTING ACTIVITES (63,079,335) (56,243,738) 

FINANCING ACTIVITIES 

Repayment of amount borrowed under lease incentive arrangement (67,535) (67,560) 

NET CASH USED IN FINANCING ACTIVITIES (67,535) (67,560) 

Net increase in cash held 5,459,905 14,205,895 

Cash at the beginning of the financial year 21,358,629 7,152,734 

CASH AT THE END OF THE FINANCIAL YEAR note 22a 26,818,534 21,358,629 


41


NOTES TO THE FINANCIAL STATEMENTS 


1. STATEMENT OF 

SIGNIFICANT 

ACCOUNTING 

POLICIES AND BASIS 

OF PREPARATION 

The financial report is a general 

purpose financial report which has 

been prepared in accordance with 

the Corporations Act 2001 and 

Australian Accounting Standards. 

Film Finance Corporation Australia 

Limited is a public company 

formed and domiciled in Australia. 

The financial report has been 

prepared on an accruals basis and 

is based on historical costs and 

does not take into account 

changing money values or, except 

where stated, current valuations 

of non-current assets. Cost is 

based on the fair values of the 

consideration given in exchange 

for assets. 

Significant judgements made in the 

application of the accounting 

policies that have the most 

significant effect on the amounts 

recognised in the financial report 

are disclosed where applicable 

in the relevant notes to the 

financial statements. 

The financial report has been 

presented in Australian dollars. 

Amounts have been rounded to 

the nearest dollar unless 

otherwise stated. 

Set out below is a summary of 

the significant accounting policies 

adopted by the company in the 

preparation of this financial report. 

The accounting policies have been 

consistently applied. 

A. REVENUE RECOGNITION 

(i) Commonwealth grant revenue 

is recognised as revenue in the year 

in which it is received; 

(ii) Interest income is recognised as 

it accrues; 

42 

(iii) Application and administration 

fees are recognised primarily at 

the commencement of cash 

flow investment payments to 

film projects, or in certain 

specific instances on issue of 

invoice; and 

(iv) Film investment profits are 

recognised on cash receipt of 

amounts after recoupment of 

the investment (Note 1 J). 

All revenue is stated net of the 

amount of goods and services 

tax (GST). 

B. INCOME TAX 

The principles of tax effect 

accounting as set out in 

Accounting Standard AASB 112 

Income Taxes do not apply as the 

company is exempt from income 

tax under Division 50 of the 

Income Tax Assessment Act 1997. 

C. PLANT AND EQUIPMENT 

Plant and equipment is brought 

to account at historical cost, 

less any accumulated depreciation 

and impairment losses (see note 

1M). Purchases of plant and 

equipment are recognised in 

the Balance Sheet, except for 

purchases costing less than 

$2,000, which are expensed 

in the year of acquisition (other 

than where they form part of a 

group of similar items which are 

significant in total). 

The depreciation or amortisation, 

on a straight line basis, is over 

the estimated useful life to 

the company of each asset 

commencing from the time 

the asset is held ready for use. 

Leasehold improvements are 

amortised over the unexpired 

portion of the lease or estimated 

useful life of improvements, 

whichever is shorter. 

Recoverable amount is assessed 

on the basis of depreciated 

replacement cost. 

The gain or loss on disposal of 

plant and equipment is determined 

as the difference between the 

carrying amount of the asset at 

the time of disposal and the 

proceeds of disposal, and is 

included in the operating result 

in the year of disposal. 

The depreciation rates used 

for each class of depreciable 

assets are: 

Computers, video and office 

equipment 33% p.a. 

Motor vehicles 15% p.a. 

Office furniture 

and fittings 20% p.a. 

Leasehold improvements 

are amortised over the 

unexpired period 

of the lease 10% to 21% p.a. 

D. EMPLOYEE BENEFITS 

(i) Salaries and annual leave 

Liabilities for salaries and annual 

leave expected to be settled 

within 12 months of the year 

end represent present obligations 

resulting from employees’ 

services provided to reporting 

date, calculated at undiscounted 

amounts based on salary rates 

that the company expects to pay as 

at reporting date including related 

on-costs. 

(ii) Sick leave 

No provision has been made 

for sick leave as all sick leave is 

non-vesting and the average sick 

leave taken by employees is less 

than the annual entitlement for 

sick leave. 

(iii) Long Service Leave 

The provision for employee 

benefits for long service leave 

represents the present value of the 

estimated future cash outflows to 

be made resulting from employees’ 

services provided to reporting date. 

The provision is calculated using 

expected future increases in 

salary rates including related 

on-costs and expected settlement 

dates based on experience with 

employee departures and is 

discounted using the rates 

attaching to national government 

bonds on reporting date which 

most closely match the terms 

of maturity of the long service 

leave liabilities. The unwinding 

of the discount is treated as long 

service leave expense. 

(iv) Superannuation 

All employees join the company’s 

non-contributory employer 

accumulation / defined 

contribution fund which is 

administered by an external 

manager or a fund of their 

choice. The company’s fund 

provides lump sum benefits on 

retirement, resignation, death 

or disablement. 

The company contributes 

varying amounts for each 

member subject to a minimum 

percentage of salary equal to 

the Superannuation Guarantee 

Charge rate (9%). Contributions 

on behalf of employees by the 

company are charged as expenses 

when incurred. The company is 

under no obligation to make up 

any shortfall in the fund’s assets to 

meet payments due to employees. 

E. ALLOWANCE FOR 

DOUBTFUL DEBTS 

The collectibility of debts is 

assessed at year end and allowance 

is made for any specific 

doubtful accounts. 

F. FOREIGN CURRENCY 

All foreign currency transactions 

are translated to Australian 

currency at the rate of exchange 

applicable at the dates of the 

transactions. 

Amounts receivable and payable 

in foreign currencies are translated 

at the rates of exchange ruling at 

balance date. 

Gains and losses arising on 

transactions are recognised in 

the result for the year. 

Exchange differences arising on 

hedged transactions, if any, 

undertaken to hedge foreign 

currency exposures are brought 

to account in the income 

statement when the exchange 

rates change. 

G. OPERATING LEASES 

Lease payments under operating 

leases, where substantially all the 

risks and benefits remain with the 

lessor, are charged as expenses 

over the accounting periods in 

which they are incurred. 

H. GOODS AND SERVICES TAX 

Revenues, expenses and assets 

are recognised net of the amount 

of goods and services tax (GST), 

except where the amount of 

GST incurred is not recoverable 

from the Australian Taxation 

Office (ATO). 

In these circumstances the GST 

is recognised as part of the cost 

of acquisition of the asset or as 

part of the expense. 

Receivables and payables are 

stated with the amount of the 

GST included. 

The net amount of GST 

recoverable from the ATO is 

included as a current asset in the 

balance sheet. 

Cash flows are included in the 

statement of cash flows on a 

gross basis. 

The GST components of cash 

flows arising from investing and 

financing activities which are 

recoverable from, or payable to, 

the ATO are classified as 

operating cash flows. 

I. EQUITY FILM INVESTMENTS 

AND FILM LOANS 

Film projects contracted at year 

end and drawndown are treated 

ABN 22 008 642 564 

as either an equity film investment 

or a film loan: 

- Equity film investments include 

a loan component for the amount 

invested at no interest. Film 

investments also give the FFC an 

equity interest in the film copyright 

and the right to participate in any 

profits from the film project; and 

- Film loans are repayable as 

specified in the relevant production 

loan agreement. 

Equity film investments are carried 

at unrecouped cost less amounts 

written off. 

Due to the financial risk profile of 

film investment and the historic 

revenue performance generally of 

films, losses on film investments 

usually occur. 

Where there is objective evidence 

that an impairment loss has been 

incurred, the amount of the loss is 

measured as the difference 

between the film asset’s carrying 

amount and the present value of 

estimated future cash flows. An 

allowance for impairment is 

recognised against the film 

investment. The amount is 

recognised as an expense. 

If, in a subsequent period, the 

amount of the impairment loss 

decreases and the decrease can be 

related objectively to an event 

occurring after the impairment was 

recognised, such as film sales, the 

previously recognised impairment 

loss is reversed by adjusting the 

impairment allowance account. 

The amount of the reversal is 

recognised in profit or loss. 

J. PROVISION FOR ONEROUS 

FILM CONTRACTS 

Where the company was 

contractually committed to provide 

funds to filmmakers at year end, 

provision was made for the excess 

of the funds to be provided over 

the amounts expected to be 

recouped from the related 

portion of each film investment 

in the future. 

43


K. DERECOGNITION OF 

FINANCIAL LIABILITIES 

In 2006, the company extinguished 

some liabilities through 

defeasance. 

Assets were given up to extinguish 

the principal and all future 

interest of a debt, and any 

differences in the carrying values 

of assets foregone and the liability 

extinguished were brought to 

account in the profit and loss 

for the period that the 

defeasance occurred. 

In all cases when defeasance 

occurred, the company will 

not be required to pay any part 

of the debt or meet any 

guarantees or indemnities 

associated with the debt. 

The remaining defeased amounts 

of $219,270 were brought back on 

balance sheet on 30 June 2008. 

L. FILM PROJECT COMMITMENTS 

Film projects approved and 

awaiting to be contracted are 

treated as film financing 

commitments note 14 b. 

M. IMPAIRMENT OF ASSETS 

The carrying amounts of assets are 

reviewed annually to determine 

whether the assets have suffered 

any impairment loss. 

44 

2. MERGER OF 

OPERATIONS OF FILM 

FINANCE CORPORATION 

AUSTRALIA LIMITED, THE 

AUSTRALIAN FILM 

COMMISSION AND FILM 

AUSTRALIA LIMITED INTO 

SCREEN AUSTRALIA 

The operations of Film Finance 

Corporation Australia Limited 

(FFC), the Australian Film 

Commission (AFC) and Film 

Australia Limited (FAL) were 

transferred into a new statutory 

authority, Screen Australia, on 1 

July 2008. 

On 1 July 2008 the company 

ceased operations and all of its 

assets and liabilities, rights and 

obligations were transferred to 

Screen Australia pursuant to the 

Screen Australia and National Film 

and Sound Archive (Consequential 

and Transitional Provisions) Act 

2008. The shareholder applied for 

voluntary deregistration of the 

company on 11 July 2008. 

Although the entity was required 

by legislation to cease operations 

on 1 July 2008 and may not be 

regarded as a going concern on 30 

June 2008, the financial 

statements have been prepared on 

the same basis as if the entity were 

a going concern. Having regard to 

the circumstances of the transfer 

of assets, liabilities, rights and 

obligations to Screen Australia, this 

basis of accounting is considered 

the most meaningful to the users 

of the financial report. 

3. ADDITIONAL PROFIT/LOSS DISCLOSURES 

ABN 22 008 642 564 

2008 ($) 2007 ($) 

Profit/(loss) has been arrived at after charging the following items: 

Loans and receivables (classification per note 17b) – 

Impairment losses on Equity film investments (note 3a) 

Net expense from movements in provision 

66,857,366 72,556,367 

for employee and related expenses 

Depreciation and amortisation by class of asset: 

84,638 135,438 

Depreciation of computers, office and video equipment 38,441 68,292 

Depreciation of motor vehicles 2,980 2,980 

Depreciation of office furniture and fittings 6,573 6,814 

Amortisation of leasehold improvements 

Legal, audit and other professional services include: 

156,048 117,840 

Auditors’ remuneration for audit services 44,000 43,000 

Provided against sundry receivable for underwriting fee 33,000 − 

Operating lease expenses for premises and office equipment 463,275 387,649 

3a The amount expensed as impairment losses on film 

investments and provided for onerous film investment contracts 

is made up of: 

Impairment losses on current year film investments 46,490,552 55,532,015 

Impairment losses on prior year film investments 6,280,249 2,973,877 

Provided for onerous film investment contracts 14,086,565 14,050,475 

66,857,366 72,556,367 

3b Equity film investment profits received: 

Total profit on equity film investments included in loss for the year 1,999,091 2,306,118 

3c Disposal of plant and equipment: 

Proceeds − 364 

Less: carrying amount 354 992 

NET (LOSS) INCLUDED IN PROFIT/LOSS FOR THE YEAR (354) (628) 

4. CASH 

Cash at bank 5,817,402 1,007,425 

Cash on hand 1,132 1,204 

5. COMMITTED FUNDS 

5,818,534 1,008,629 

Current 

A term deposit (2007 bank accepted commercial bill) was purchased 

to fund commitments to projects not contracted at financial year end 

See note 14b for details 21,000,000 20,350,000 

Non-current 

A term deposit was deposited with a bank which together with 

accumulating interest is to fund a commitment to a distribution 

guarantee payable in 2011 to investors in a film project and recorded 

as a Non-current Liability-Distribution Guarantee. 4,636,633 4,388,715 

45


6. CURRENT RECEIVABLES 

46 

2008 ($) 2007 ($) 

GST refund from Australian Taxation Office 652,605 959,022 

Sundry receivables 60,449 175,864 

Less: Provision against sundry receivables 33,000 − 

7. CURRENT FILM LOANS 

27,449 175,864 

680,054 1,134,886 

Film loans outstanding at the beginning of the year 1,304,563 344,008 

Add, principal and interest for new loans in current year 243,740 969,911 

Less, repayments of loans 20,990 9,356 

1,527,313 1,304,563 

Less: Allowance for impairment loss 988,547 980,361 

538,766 324,202 

Movements in allowance for impairment loss 

Allowance for impairment loss at beginning of year 980,361 58,200 

Add, charged to profit and loss 8,186 922,161 

ALLOWANCE FOR IMPAIRMENT LOSS AT END OF YEAR 988,547 980,361 

8. NON-CURRENT EQUITY FILM INVESTMENTS 

Equity film investments at the beginning of the year 346,555,767 289,310,556 

Add, new investments and additions to existing investments 70,896,454 63,553,042 

Less, recouped from film makers 6,974,396 6,307,831 

410,477,825 346,555,767 

Less: Allowance for impairment loss 368,609,131 315,846,516 

Total recoupments for the year ended 30 June 2008 were $8,543,036, which includes $1,568,640 

which was taken directly to profit as the related investments had previously been written-off. 

41,868,694 30,709,251 

Movements in allowance for impairment loss 

Allowance for impairment loss at beginning of year − investments 315,846,516 258,262,785 

Add: charged to profit and loss 52,762,615 57,583,731 

ALLOWANCE FOR IMPAIRMENT LOSS AT END OF YEAR 368,609,131 315,846,516 

Comprising 

Allowance for impairment loss − film loans 988,547 980,361 

Allowance for impairment loss − equity film investments 368,609,131 315,846,516 

369,597,678 316,826,877 

9. PLANT AND EQUIPMENT 

ABN 22 008 642 564 

2008 ($) 2007 ($) 

Computer equipment − at cost 245,456 232,754 

Less, accumulated depreciation 188,752 192,918 

NET CARRYING AMOUNT 56,704 39,836 

Leasehold improvements − at cost 1,295,495 1,238,428 



Motor vehicle − at cost 19,864 19,864 



Office equipment − at cost 106,666 134,218 



Office furniture and fittings − at cost 448,390 451,413 



Video equipment - at cost 114,568 115,645 



TOTAL NET CARRYING AMOUNT 628,750 729,221 

Movements in plant and equipment 

Net carrying amount at beginning of year 729,221 882,381 

Add, additions at cost 103,923 43,760 

833,144 926,141 

Less disposals at cost 65,806 30,594 

767,338 895,547 

Add, depreciation adjustment on disposals 65,454 29,600 

832,792 925,147 

Less, amortisation and depreciation expense 204,042 195,926 

NET CARRYING AMOUNT AT END OF YEAR 628,750 729,221 

10. CURRENT PAYABLES 

Accrued expenses 416,988 385,015 

11. PROVISIONS 

416,988 385,015 

Current 

Provision for employee benefits 

Non-current 

564,309 529,149 

Provision for employee benefits 307,792 258,314 

Provision for onerous film contracts 28,137,040 14,050,475 

Provison for make good on leased premises 190,450 179,914 

28,635,282 14,488,703 

Make good provision. The company’s leased premises are required to be returned to the lessor in original 

condition. The provision for make good is measured at the present value of the expected cost of 

refurbishment as at each reporting date. 

47


12. LEASE INCENTIVE LIABILITY 

48 

2008 ($) 2007 ($) 

Current 67,555 67,555 

Non-current 264,592 332,127 

TOTAL LEASE INCENTIVE LIABILITY 332,147 399,682 

The lease incentive relating to a rent-free period is recognised as a liability. Rental payments, which commenced in 

June 2005, are allocated between rental expense and a reduction of the liability on a straight line basis over 

the remainder of the lease to June 2013. 

13. CAPITAL AND RESERVES 

Movements in capital and reserves 

SHARE RETAINED GENERAL TOTAL 

CAPITAL PROFITS RESERVE EQUITY 

($) ($) ($) ($) 

Balance at 1 July 2007 5 38,479,937 − 38,479,942 

Total recognised income and expense − 2,200,889 − 2,200,889 

BALANCE AT 30 JUNE 2008 5 40,680,826 − 40,680,831 

Balance at 1 July 2006 5 − 40,153,048 40,153,043 

Total recognised income and expense − (1,673,111) − (1,673,111) 

Transfer from general reserve − 40,153,048 (40,153,048) − 

BALANCE AT 30 JUNE 2007 5 38,479,937 − 38,479,942 

The general reserve resulted from prior period allocations of retained profits for non-specific purposes and in 

prior years was released to retained profits when the result for the year was a loss. 

14. EXPENDITURE COMMITMENTS 2008 ($) 2007 ($) 

(a) Operating lease commitments 

Non-cancellable future operating lease rentals of premises and office 

equipment not provided for in the financial statements and payable: 

Within one year 466,230 492,983 

One year or later and no later than five years 1,585,824 1,711,048 

Later than five years − 377,443 

Goods and Services Tax. Some of these commitments will be taxable 

acquisitions on which GST will be payable. 

(Corresponding input tax credits will be claimable.) 205,205 258,147 

(b) Film financing commitments 

The company has entered into various film financing commitments 

as an investor, jointly or otherwise in the normal course of business. 

Approved projects not yet contracted - numerous variations to film contracts: 

2,257,259 2,839,621 

Payable within one year 405,913 11,868,061 

Goods and Services Tax. These commitments to projects will be taxable 

acquisitions on which GST will be payable. 

(Corresponding input tax credits will be claimable.) 40,591 1,186,806 

446,504 13,054,867 

(c) Total expenditure commitments 2,703,764 15,894,488 

15. CONTINGENT LIABILITIES 

ABN 22 008 642 564 

2008 ($) 2007 ($) 

At 30 June 2008, the FFC had guaranteed any shortfall in the 

repayment of a $1,000,000 bank borrowing by a film producer, 

together with interest thereon at 12.5% per annum. It is expected 

that the bank borrowing will be repaid by the film producer shortly 

after 30 June 2009 from the proceeds of a film producer tax offset 

connected with a particular feature film under production. 

The borrowing was made by the producer in May 2008. 1,015,411 − 

16. REMUNERATION OF DIRECTORS, DIRECTOR AND DIRECTOR RELATED 

TRANSACTIONS AND OTHER DIRECTOR DISCLOSURES 

(a) Directors’ remuneration 

Total income paid or payble, or otherwise made available, to all 

directors of the company from the company or any related party: 

- Directors’ fees are at rates determined by the Remuneration Tribunal 

- Amounts paid to a prescribed superannuation fund for the provison 

of retirement benefits for directors at rates established by the 

157,040 168,910 

Superannuation Guarantee Charge 

- Insurance premiums in relation to a contract insuring the directors 

14,134 15,202 

of the company against a liability arising from their duties as directors 12,716 12,666 

The number of directors whose income from the company or any 

related party falls within the following bands: 

183,890 196,778 

2008 2007 

NUMBER NUMBER 

$20,000 to $29,999 5 6 

$40,000 to $49,999 1 1 

(b) Meetings of directors 

The board met on nine occasions during the year. The audit 

committee met on two occasions. The number of directors’ and 

audit committee meetings attended by each of the directors 

during the financial year were: 

DIRECTORS’ 

MEETINGS 

Number of 

meetings 

attended 

Number of 

meetings 

held 

6 7 

AUDIT COMMITTEE 

MEETINGS 

Number of 

meetings 

attended 

Name of Director 

Graham Bradley, Chairman 9 9 − − 

Paul Oneile 8 9 2 2 

Peter Davey 9 9 2 2 

Alastair Walton 4 9 2 2 

Paul Dainty 6 9 − − 

Sandra Gross 9 9 − − 

Number of 

meetings 

held 

49


16. REMUNERATION OF DIRECTORS, DIRECTOR AND DIRECTOR-RELATED 

TRANSACTIONS AND OTHER DIRECTOR DISCLOSURES (CONTINUED) 

(c) Director-related transactions 

Transactions involving directors and director-related entities occurred in the ordinary course of the FFC’s business 

since the board includes directors actively involved in the film and television industries. The FFC’s policy was that 

transactions involving directors and director-related entities were to be on commercial terms that were no more 

favourable than those available to others and consistent with the FFC’s investment guidelines. 

The processes applied by the FFC in dealing with conflicts of interest are set out in the Corporate Governance 

Statement contained in this Annual Report. 

To identify when a director had a material personal interest in a transaction, the board adopted a set of 

principles, some more stringent than the law requires. The board acknowledged that no code of practice could 

be exhaustive, and that the onus was always upon each director to declare any personal interest that may not 

have been covered by the code of practice. 

The board considered that a director had a material personal interest in a film in the following circumstances: 

(i) where the director, or the partner or child of the director, had a production role in the film; 

(ii) where the director was an officer (a director, secretary, executive officer or employee) of: 

(a) the production company or the parent of that company; or 

(b) a company acquiring commercial exploitation rights in the film; 

(iii) where the director or the director’s firm acted as the solicitor, accountant, auditor or advisor for: 

(a) any person with a production role in the film; 

(b) the production company; 

(c) a company acquiring commercial exploitation rights in the film; or 

(d) an investor in the film; 

(iv) where the director, or a company of which the director is a shareholder or an officer (other than the FFC), 

was entitled to receive a payment from the budgeted cost of the film; and 

(v) where the director had an ownership interest either directly or indirectly exceeding 5% in any entity which 

transacted with the FFC. 

The following transactions in the current year involved directors or director-related companies. The amounts 

stated are the FFC’s investment in the relevant film and television productions. 

Peter Davey 

In 2007/08 investments totalling $7,245,000 in two features films in which distribution rights were acquired by a 

subsidiary of Village Roadshow Ltd where Peter Davey is head of corporate development. 

Mr Davey did not receive relevant board papers and was not present during board discussions on Producer Tax 

Offset Applications, Evaluation Letters of Intent, or investment proposals where any subsidiary of Village 

Roadshow Ltd has an interest. 

Mao’s Last Dancer $4,500,000 

The Square (comprising investment and distribution guarantee) $2,745,000 

In 2006/07 investments totalling $6,848,945 were approved comprising $6,500,000 for the feature film 

Dirt Music and a contract variation of $348,945 for December Boys, a previously approved investment 

in which distribution rights were acquired by a subsidiary of Village Roadshow Ltd where Mr Davey is head 

of corporate development. 

50 

17. ADDITIONAL FINANCIAL INSTRUMENTS DISCLOSURE 

(a) Terms, conditions and accounting policies 

Financial instrument Nature of underlying instrument (including 

terms and conditions affecting the amount, 

timing and certainty of cash flows) 

ABN 22 008 642 564 

Accounting policies and methods (including 

recognition criteria and measurement basis) 

Financial assets Financial assets are recognised when control over 

future economic benefits is established and the 

amount of the benefit can be reliably measured. 

Cash Funds are deposited at call with the company’s 

bank. Temporarily surplus funds are deposited into 

bank at-call money market accounts. Interest is 

earned on daily balances on bank and money 

market accounts and is credited at month-end. 

Committed Funds Note 5. 

Bank accepted 

commercial bill 

This bank deposit matured in 3 days with an 

effective interest rate of 6.23% pa (2007 only). 

Bank term deposit These bank deposits mature in 7 days with an 

effective interest rate of 7.70% pa. 

Bank term deposit 

(relating to distribution 

guarantee) 

The bank term deposit matures in 2011 with an 

effective interest rate of 6.54% pa. 

Note 4. Cash at bank and on hand is recognised at 

nominal amounts. Interest is credited to revenue as it 

accrues. 

This deposit was stated at the lower of cost and 

effective accrued interest and net realisable value. 

Effective accrued interest is recognised in sundry 

receivables. 

The deposits are stated at the lower of cost and net 

realisable value. Effective interest is recognised in 

sundry receivables. 

The term deposit is stated at the lower of cost and 

accumulated interest and net realisable value. 

Receivables Credit terms are net 30 days. Note 6. These sundry receivables (other than accrued 

interest) are recognised at the nominal amounts less 

any allowance for impairment. 

Allowances for impairment are made when 

collection is judged to be less rather than more likely. 

Film Loans These loans are largely unsecured. Interest may be 

charged on loans depending on the particular 

arrangements. 

Equity film investments These investments are largely unsecured. 

Recoupment of investments generally are from 

earnings for the film projects following release 

which could be two years or more from initial 

production funding. 

Note 7. These loans are recognised at cost less any 

allowance for impairment to recoverable values. 

Notes 1(i) and 8. These accounting policies are set 

out in Note 1(i). 

Financial liabilities Financial liabilities are recognised when a present 

obligation to another party is entered into and the 

amount of the liability can be reliably measured. 

Payables Settlement is usually made net 30 days. Note 10. Payables and accruals are recognised at 

their nominal amounts, being the amounts at which 

the liabilities will be settled. Liabilities are recognised 

to the extent that goods or services have been 

received. 

Lease incentive Lease incentive liability reduces from 

commencement of rental payments in June 2005 

over the remainder of the lease to June 2013. 

Distribution guarantee Settlement will be made in 2011 together with 

interest accumulating at 6.54% pa (2007 6.54% 

pa). 

Note 12. The lease incentive liability is recognised at 

the nominal amount at which the liability will be 

settled. 

Note 5. The distribution guarantee to investors in a 

film project is recognised at the amount equal to the 

value of the corresponding term deposit including 

accrued interest. 

Onerous film contracts Relates to funds committed under film contracts. Notes 1(k) and 11. The accounting policies are set 

out in Note 1(k). 

Provision for make good 

on leased premises 

Leases, with options for renewals, end in 2009 and 

2013. A borrowing cost rate of 5.8% pa (2007 

5.8% pa) has been used in determining the 

provision required at reporting date. 

Note 11. Leased premises are required to be returned 

to the lessor in original condition. The provision is 

measured over the periods of the leases at the 

expected cost of refurbishment at each reporting 

date. 

51


17. ADDITIONAL FINANCIAL INSTRUMENTS DISCLOSURE (CONTINUED) 

(b) Interest rate risk 

The company’s exposure to interest rate risk and the effective weighted average interest rate for classes of 

financial assets and financial liabilities is set out below: 

52 

Weighted 

average 

interest 

rate 

Class value 

at floating 

interest 

rate ($) 

Class value 

at fixed 

interest rate 

(due within 

12 months) 

($) 

Class value 

at fixed 

interest rate 

(due more 

than 3 

years) ($) 

Class value 

Non-interest 

bearing ($) 

Class value 

($) 

2008 

Financial assets 

Held-to-maturity financial assets 

Committed funds-bank term deposit 

Committed funds-bank term 

7.70% 21,000,000 21,000,000 

deposit (re distribution guarantee) 6.54% 4,636,633 4,636,633 

− 21,000,000 4,636,633 − 25,636,633 

Loans and receivables 

Cash 6.13% 5,817,402 1,132 5,818,534 

Receivables 680,054 680,054 

Film Loans 538,766 538,766 

Equity film investments 41,868,694 41,868,694 

5,817,402 − − 43,088,646 48,906,048 

5,817,402 21,000,000 4,636,633 43,088,646 74,542,681 

Financial liabilities 


Lease incentive 332,147 332,147 

Distribution guarantee 6.54% 4,636,633 4,636,633 

Employee benefits 6.45% 872,101 872,101 

872,101 − 4,636,633 749,135 6,257,869 

Non-financial liabilities 

Onerous film contracts 28,137,040 28,137,040 

Provision for make good 5.80% 190,450 190,450 

1,062,551 − 4,636,633 28,886,175 34,585,359 

2007 

Financial assets 

Held-to-maturity financial assets 

Committed funds-bank accepted 

commercial bill 

Committed funds-bank term 

6.23% 20,350,000 20,350,000 

deposit (re distribution guarantee) 6.54% 4,388,715 4,388,715 

− 20,350,000 4,388,715 − 24,738,715 

Loans and receivables 

Cash 4.80% 1,007,425 1,204 1,008,629 

Receivables 1,134,886 1,134,886 

Film Loans 324,202 324,202 

Equity film investments 30,709,251 30,709,251 

1,007,425 − − 32,169,543 33,176,968 

1,007,425 20,350,000 4,388,715 32,169,543 57,915,683 

Financial liabilities 


Lease incentive 399,682 399,682 

Distribution guarantee 6.54% 4,388,715 4,388,715 

Employee benefits 6.26% 787,463 787,463 

787,463 − 4,388,715 784,697 5,960,875 

Non-financial liabilities 

Onerous film contracts 14,050,475 14,050,475 

Provision for make good 5.80% 179,914 179,914 

967,377 − 4,388,715 14,835,172 20,191,264 

The company is precluded by its Constitution from borrowing, other than short term facilities for working purposes. 

17. ADDITIONAL FINANCIAL INSTRUMENTS DISCLOSURE (CONTINUED) 

ABN 22 008 642 564 

(c) Financial risk management 

The company’s film investment activities expose it to financial risk. Due to the inherent risk of film investment 

and the historic performance generally of Australian films, losses on film investments are expected to occur. 

Allowance for impairment loss is made for film investments based on the likely amount that will not be recouped. 

The company does not enter into trade financial instruments for speculative purposes. Market risk is low because 

the company has only a small foreign currency balance and the fixed interest bill assets mature in 3 days. The 

bank term deposit at a fixed interest rate has a corresponding liabilty at the same interest rate. Credit risk in 

relation to film investments is high for the reason stated above. Liquidity risk is negligible because the company 

does not have borrowings. As a result of the nature of the company’s business, internal policies have been put in 

place to deal with the management of financial risk, that is, the company’s exposure to market, credit, liquidity 

and cash flow and fair value interest rate risk. 

(d) Foreign exchange risk 

The only foreign currency financial asset or liability at 30 June 2008 (and 30 June 2007) is foreign currency cash 

held equivalent to A$385 (2007 A$404). The company’s policy is to enter into forward foreign exchange 

contracts to hedge contracted foreign currency net receivables or payables in excess of US$500,000. The terms 

of these receivables or payables are generally within two years. No such transactions occurred during the year to 

30 June 2008 (and year to 30 June 2007) and as at that date there are no hedged positions. 

(e) Credit risk exposure 

Credit risk represents the loss that would be recognised if counterparties failed to perform as contracted. The 

maximum exposure to credit risk on financial assets is the carrying amount net of allowances for impairment 

loss. The company minimises concentration of credit risk by undertaking transactions with a number of 

counterparties and with limits on investment amounts in projects and with any one producer and corporate 

group in a financial year. Risk is concentrated in the film and television industry in Australia. Significant cash is 

deposited throughout the year in an Institutional Money Market fund which conforms to an S&P AAAm rating. 

(f) Liquidity risk - onerous film contracts 

Where the company was contractually committed to provide funds to film makers at year end, provision is made 

for the excess of the funds to be provided over the amounts expected to be recouped from the related portion 

of each film investment in the future. As the funds to be provided are covered by revenue monies already 

received from Government prior to year end and held in cash at bank and 7 day term deposits, there is no 

liquidity risk. 

(g) Net fair values of financial assets and liabilities 

Net fair values of financial assets and liabilities are determined by the company on the following bases: The net 

fair values of film investment-loans and equity film investments are determined in accordance with the statement 

of accounting policies note - 1(i) at amounts not exceeding recoverable amounts. These amounts have not been 

discounted to present values. The carrying amounts for cash, committed funds, receivables, payables, lease 

incentive, distribution guarantee, onerous film contracts and employees benefits approximate fair value. 

There are no derivatives or hedge instruments entered into during the year or existing at 30 June 2008 

(and at 30 June, 2007). 

(h) Sensitivity analysis 

The effect of a 2% per annum increase in interest rates based on year end cash at bank and term deposits 

(excluding the term deposit relating to the distribution guarantee liability) would be an increase in annual profit 

and equity of $536,348 (2007 $427,149). The effect of a 2% per annum decrease in interest rates would be a 

decrease in annual profit and equity of $536,348 (2007 $427,149). 

The company was not subject to any other significant market risks. 

53


18. SEGMENT INFORMATION 

The company operates predominantly within one business and 

one geographic location, being the financing of film and television 

production in Australia. 

19. FINANCING FACILITIES 

The company is precluded by its Constitution from borrowing for 

the purpose of financing its activities, other than short term facilities 

for working purposes. No short term facilities have been arranged. 

The company has a corporate credit card facility of $66,000. 

Liabilities are settled within the interest free period. 

20. ECONOMIC DEPENDENCY 

The company was substantially dependent on continued funding from the 

Australian Government support through grants to maintain its activities. 

21. EXECUTIVE REMUNERATION 

54 

2008 ($) 2007 ($) 

The aggregate amount of total remuneration received by or due to be 

received by the three key management personnel with greatest 

management authority 

The aggregate amount of separation and redundancy/termination 

816,122 688,479 

benefit payments included in the above aggregate remuneration 69,220 − 

22. NOTES TO STATEMENT OF CASH FLOWS 

(a) Reconciliation of cash 

For the purpose of this statement of cash flows, cash includes cash 

on hand and in banks and investments in highly liquid money market 

instruments. Cash at the end of the financial year as shown in the 

statement of cash flows is reconciled to the related items in the balance 

sheet as follows: 

Cash at the end of the year is shown in the balance sheet as: 

Cash at bank and on hand note 4 5,818,534 1,008,629 

Committed funds-term deposit 

(2007 bank accepted commercial bill) note 5 21,000,000 20,350,000 

26,818,534 21,358,629 

22. NOTES TO STATEMENT OF CASH FLOWS 

(CONTINUED) 

ABN 22 008 642 564 

2008 ($) 2007 ($) 

(b) Reconciliation of net profit/(loss) to net cash provided by 

operating activities 

Net profit/(loss) 2,200,889 (1,673,111) 

Depreciation and amortisation 204,041 195,926 

(Profit)/loss on sale of plant and equipment note 3c 354 628 

Increase in provision for employee entitlements note 3 84,638 80,352 

Increase in provison for make good leased premises 10,536 10,536 

Increase in allowance for impairment losses - loans 8,186 922,161 

Increase allowance for impairment losses - investments 52,762,615 57,583,731 

Increase in provision for onerous contracts 14,086,565 14,050,475 

Amounts previously written-off investments subsequently recovered (930,607) (1,564,913) 

Receivable written off 33,000 11,000 

(Increase)/decrease in prepayments (68,457) (16,023) 

Decrease in receivables 

(Increase)/decrease in sundry receivables 

304,122 1,381,438 

Accrued interest on term deposit relating to distribution guarantee (247,918) (292,112) 

Other 132,557 (16,710) 

(Decrease)/increase in trade payables - (66,149) 

(Decrease)/increase in other payables and accrued expenses 26,254 (90,036) 

NET CASH PROVIDED BY OPERATING ACTIVITIES 68,606,775 70,517,193 

23. SET-OFF AND EXTINGUISHMENT OF DEBT 

The company at 30 June 2006 (and 2005) had, with others, 

entered into production and investment agreements with producers. 

The company’s liability under these agreements was extinguished by 

defeasance whereby the company lodged sufficient funds with a 

trustee to service the debts. 

Outstanding defeased debt amounts 

The company received interest on the defeased funds at money market 

rates until the debts were paid by the trustee to the production companies. 

− 1,022,377 

24. DISBURSEMENT ADMINISTRATION SERVICE 

In 2007 the company commenced providing assistance to producers and 

investors of various films by administering the receipt and disbursement 

of returns.The funds received for this purpose are held in a separate 

bank account. The accounting records of the Disbursement Service are 

maintained on a cash receipts and payments basis. 

The company charges a set up and service fee for providing this facility. 

The fees earned in 2008 were $1,293 (2007 $992). 

Details of the Disbursement Administration Service are set out on the 

following page. 

55


24. DISBURSEMENT ADMINISTRATION SERVICE 

(CONTINUED) 

56 

2008 ($) 2007 ($) 

Disbursement administration service 

Statement of receipts and payments for year ended 30 June 2008. 

Balance 1 July − − 

Add, receipts 143,730 74,165 

Funds available for disbursement 143,730 74,165 

Less, payments (57,360) (74,165) 

BALANCE 30 JUNE 86,370 − 

Disbursement administration service 

Statement of assets and liabilites as at 30 June 2008. 

Assets: 

Cash at bank 86,370 − 

TOTAL ASSETS 86,370 − 

Liabilities: 

Amounts held pending disbursement 86,370 − 

Other including unclaimed disbursements and unidentified receipts − − 

TOTAL LIABILITIES 86,370 − 

25. ACCOUNTING STANDARDS AND INTERPRETATIONS 

ISSUED NOT YET EFFECTIVE 

At the date of completion of the financial report, numerous accounting 

standards and interpretations issued by the Australian Accounting Standards 

Board were not yet effective. None of these standards or interpretations will 

have any impact on the FFC in the period of initial application because the FFC 

will have ceased to exist. The FFC had no assets, liabilities, income, expenses, 

equity, contingent assets or contingent liabilities, or any rights or obligations, 

after 30 June 2008 (see note 2). 

DIRECTORS’ DECLARATION 

ABN 22 008 642 564 

On 1 July 2008, Film Finance Corporation Australia Limited ceased operations and all of its assets and liabilities, 

rights and obligations were transferred to Screen Australia pursuant to the Screen Australia and National Film 

and Sound Archive (Consequential and Transitional Provisions) Act 2008. The shareholder applied for voluntary 

deregistration on 11 July 2008. 

There were no directors in office at the date of this report. Accordingly, under section 31(2) of the Screen 

Australia and National Film and Sound Archive (Consequential and Transitional Provisions) Act 2008, 

the Minister has determined that Screen Australia is required to prepare and lodge the directors’ report, 

the accompanying financial report and the following declaration. 

In the opinion of the directors of Screen Australia: 

(a) the financial statements and notes, set out on pages 39 to 56, are in accordance with the 

Corporations Act 2001, including: 

(i) giving a true and fair view of the financial position of the company as at 30 June 2008 and performance, 

as represented by the results of operations and cash flows, for the year ended on that date; and 

(ii) complying with Australian Accounting Standards and the Corporations Regulations 2001; and 

(b) there are reasonable grounds to believe that Screen Australia will be able to pay the debts of Film Finance 

Corporation Australia Limited when they become due and payable. 

Signed in accordance with a resolution of the directors of Screen Australia: 

Glen Boreham 

Chaiman of Screen Australia 

Dated this 16th day of September 2008 

57

INDEPENDENT AUDITOR’S REPORT 

TO THE MINISTER FOR ENVIRONMENT, HERITAGE AND THE ARTS 

SCOPE 

I have audited the accompanying financial report of Film Finance Corporation Australia Limited, which comprises the Balance 

Sheet as at 30 June 2008, and the Income Statement, Statement of Recognised Income and Expense and Statement of Cash 

Fows for the year ended on that date, Notes to the Financial Statements, including a Statement of Significant Accounting 

Policies, and the Directors’ Declaration. 

The Directors’ Responsibility for the Financial Report 

The Film Finance Corporation Australia Limited ceased operations on 1 July 2008 and all of its assets and liabilities, rights 

and obligations were transferred to Screen Australia pursuant to the Screen Australia and National Film and Sound Archive 

(Consequential and Transitional Provisions) Act 2008. The shareholder applied for voluntary deregistration on 11 July 2008. 

Under Section 31(2) Screen Australia and National Film and Sound Archive (Consequential and Transitional Provisions) Act 

2008, the Board of Directors of Screen Australia is responsible for the preparation of the financial report for Film Finance 

Corporation Australia Limited. 

The Board of Directors of Screen Australia is responsible for the fair presentation of the financial report in accordance 

with Australian Accounting Standards including Australian Accounting Interpretations, and the Corporations Act 2001. 

Until 30 June 2008, the Directors of Film Finance Corporation Australia Limited were responsible for establishing and 

maintaining internal controls relevant to the preparation and fair presentation of the financial report that is free from 

material misstatement, whether due to fraud or error; selecting and applying appropriate accounting policies; and making 

accounting estimates that are reasonable in the circumstances. From 1 July 2008, these responsibilities rest with the 

Board of Directors of Screen Australia. 

Auditor’s Responsibility 

My responsibility is to express an opinion on the financial report based on my audit. I conducted my audit in accordance 

with Australian National Audit Office Auditing Standards, which incorporate Australian Auditing Standards. These Auditing 

Standards require that I comply with relevant ethical requirements relating to audit engagements and plan and perform 

the audit to obtain reasonable assurance whether the financial report is free from material misstatement. 

An audit involves performing procedures to obtain audit evidence about the amounts and disclosures in the financial report. 

The procedures selected depend on the auditor’s judgement, including the assessment of the risks of material misstatement 

of the financial report, whether due to fraud or error. In making those risk assessments, the auditor considers internal control 

relevant to the entity’s preparation and fair presentation of the financial report in oder to design audit procedures that are 

appropriate in the circumstances, but not for the purpose of expressing an opinion on the effectiveness of the entity’s 

internal control. An audit also includes evaluating the appropriateness of accounting policies used and the reasonableness 

of accounting estimates made by the Directors, as well as evaluating the overall presentation of the financial report. 

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

Independence 

In conducting my audit, I have complied with the independence requirements of the Corporations Act 2001. 

Auditor’s Opinion 

In my opinion; the financial report of Film Finance Corporation Australia Limited is in accordance with the Corporations Act 2001, 

including: 

i) giving a true and fair view of Film Finance Corporation Australia Limited’s financial position as at 30 June 2008 and of 

its performance for the year ended on that date; and 

ii) complying with Australian Accounting Standards, including the Australian Accounting Interpretations and the 

Corporations Regulations 2001. 

Australian National Audit Office 

P Hinchey 

Senior Director 

Delegate of the Auditor-General 

Sydney 


PO BOX A456 

SYDNEY SOUTH NSW 1235 

130 ELIZABETH STREET 

SYDNEY NSW 

PHONE (02) 9367 7100 

FAX (02) 9367 7102 

AUDITOR’S INDEPENDENCE DECLARATION TO 

THE DIRECTORS OF SCREEN AUSTRALIA 

Under Section 31 of the Screen Australia and National Film and Sound Archive (Consequential and Transitional 

Provisions) Act 2008, the Board of Screen Australia is required to prepare and lodge the final Annual Report and 

accompanying financial report for the Film Finance Corporation Australia Limited. 

In relation to our audit of the financial report of the Film Finance Corporation Australia Limited for the year 

ended 30 June 2008, to the best of my knowledge and belief, there have been: 

(i) no contraventions of the auditor independence requirements of the Corporations Act 2001; and 

(ii) no contravention of any applicable code of professional conduct. 

Australian National Audit Office 

P Hinchey 

Senior Director 

Delegate of the Auditor-General 


PO BOX A456 

SYDNEY SOUTH NSW 1235 

130 ELIZABETH STREET 

SYDNEY NSW 

PHONE (02) 9367 7100 

FAX (02) 9367 7102 

58 59

THE END OF AN ERA, 

TURN OVER TO CELEBRATE 

20 YEARS OF THE FFC 

1988 TO 2008 

This is the final Annual Report of the 

Film Finance Corporation Australia Limited. 

On 1 July 2008 the FFC merged with 

the Australian Film Commission and 

Film Australia Limited to become 

Screen Australia.

Annual Report - Screen Australia

Create successful ePaper yourself

Delete template?

Save as template?