design_www.reddog.ie
Board Members
James Morris (Chair)
Alan Gilsenan
Margaret McCarthy MacIntyre
Lesley McKimm
Tristan Orpen Lynch
Kevin Moriarty
Kirsten Sheridan
Chief Executive
Simon Perry
Business Affairs
Head of Business Affairs
Teresa McGrane
Financial Controller
Celine Forde
Business & Legal Affairs Executive
Mark Byrne
Industry Affairs Executive
Patrick O’Neill
Business Affairs Co-ordinator
Gillian Morrow
Accounts Co-ordinator
Suzanne Keane (Part-time)
Production & Development
Production Executives
Alan Maher
Emma Scott
Development Executive
Andrew Meehan
Production & Development Co-ordinator
Sarah Dillon
Applications & Schemes Co-ordinator
Jill McGregor
Marketing
Marketing & Communications Executive
Louise Ryan
About Bord Scannán
Na hÉireann /
The Irish Film Board
Bord Scannán na hÉireann / the Irish Film Board (IFB) is
Ireland’s national film agency. The agency supports and
promotes the Irish film industry and the use of Ireland
as a location for international production.
The value of the audio-visual content production sector
in Ireland is valued at 4557.3 million and employs over
6,000 individual and represents 0.3% of GDP.
“Supporting an increasing number
of Irish films of a quality and appeal
that audiences at home and abroad
will look out for is the day to day job
of the Irish Film Board. This in turn is
a major contributor to the growth
of a broader industry involved in
all forms of content creation and is
central to the ambition of building
Ireland’s Creative and Cultural
industries.”
James Morris, Chairman,
bord Scannán na hÉireann /
the Irish Film Board
Irish Film Commission
Film Commissioner
Naoise Barry
Deputy Film Commissioner
Mags O’Sullivan
VP Irish Film Commission US
Jonathan Loughran
Administration
Executive Assistant
Niamh O’Reilly
Administrative Assistant
Aileen McCauley
Introduction
THE GOALS OF THE IRISH FILM BOARD
• To enable Irish filmmakers to express
As the Board is coming to the end of its four year
term we are taking the opportunity to set out a brief
summary of the activities of the Board during the
term and to record what progress has been made,
both to benchmark against the past and as a record
from which to measure future progress.
The Board defines the aim and purpose of Bord
Scannán na hÉireann/The Irish Film Board (IFB)
under the Film Board Acts and in the present day
context as being:
“To enable a sustainable, successful, and expanding
Irish based filmmaking industry through the
development and employment of Irish creative,
artistic and technical skills and the development of
strong Irish based companies capable of producing,
financing and distributing Irish films on an
international scale.”
Further that the immediate strategies to advance
towards this goal should be anchored in the
principle that Irish filmmaking talent and Irish
based filmmaking enterprises are the primary
drivers of sustainable growth and that the Board
would, to the greatest extent possible, direct its
resources to promoting Talent, Creativity, and
Enterprise.
Following industry consultations, an appraisal of
progress to date and the key issues of immediate
concern to Irish filmmakers and the Irish film
industry, the Board determined that it would
concentrate and prioritise its activities and
investments for the next three years into six defined
goals.
their vision in film and television
productions through a wide and innovative
support system.
• To enable the making of film in Ireland
working continuously to improve the
filmmaking environment from fiscal
measures to on-the-ground support.
• To enable the growth and exposure of
Irish film talent through development and
production initiatives, short film schemes
and talent promotion through local and
international festivals, networks and
partnerships.
• To grow the audience for Irish film
in Ireland and abroad through the
strengthening of the domestic
marketplace and promoting the export of
Irish film internationally.
• To promote an integrated Government
policy for the audio-visual/digital content
sector, with film at its centre through
an integrated approach to creativity,
enterprise and new technologies.
• To deliver value for money to our key
stakeholders and all those who benefit
from the Irish Film Board – our audiences,
Irish filmmakers and talent, key
partnerships and to Government justifying
continued support.
Progress report
2005 to 2008
At the outset the Board undertook a review of the
organisation, following which the management
structure was reorganised to facilitate a stronger
distribution of staff resources in response to
industry needs and delivery of the Board’s priority
goals. As part of this reorganisation the recruitment
of a new CEO took place and in January 2006 Simon
Perry joined as Chief Executive.
The Board also articulated in strong terms that it
carries a dual mandate, to develop and support
Irish filmmakers and the indigenous Irish film
industry and also to be responsible for supporting
international film productions which choose Ireland
as a location for filmmaking.
breakfast on pluto (2005)
In March 2006 the Board and the Executive spent
time consolidating the shared vision, strategy and
goals that are set out in the introduction to this
publication. The IFB head office in Galway and the
Dublin office were both relocated during the term in
order to provide improved services and facilities to
the industry.
Funding
1 Increased Funding
We continue to make the case to Government for
increased funding for the sector as the scale and
ambition of the industry grows. With the support
of the Department of Arts, Sport and Tourism, we
have managed to increase our funding year on year
from 2003 to 2008. The current level of funding for
2009 represents an increase of 90% since 2003
and despite current economic conditions we will
continue to advocate for increased funding on behalf
of the industry.
kisses (2008)
2 Tax Incentives (Section 481)
In 2005 in advance of anticipated changes to the UK
tax regime, the IFB in consultation with the industry,
commissioned a study of Section 481* the tax
incentive for filmmaking, which proposed changes
to the incentive designed to make Ireland more selfsufficient. We submitted ‘Adapting to the Changing
Competitive Dynamics of the International Film
Industry’ in October 2005. The changes proposed
were:
• R
emove the 55/66% limitation on qualifying
expenditure
• Restore the individual tax relief to 100%
• Remove the cap on relief for large budget films
• A new definition of allowable expenses
• Introduce an annual rolling review by the tax strategy group
“When Ireland first
introduced its film
production tax incentive in
1984 few other territories
offered incentives for film
production. Today, all major
film-producing countries
single the film industry out
for specific tax incentives.”
Restoring Viability and
Balance to the Irish Film
Production Industry
Report 2008
The Government listened to the arguments and
in the 2005 Budget they increased the percentage
of allowable Irish spend to 80% and increased the
cap to 235 million. Both of these changes were
significant and indeed for television production,
which does not necessarily have to co-produce
internationally and thus incur territorial
expenditure, it was extremely attractive.
In 2007, as part of the sweeping review of tax
incentive schemes, the Government decided to
commission an independent review of Section 481.
They commissioned Indecon economic consultants
to undertake this review. The IFB made its own
submission to Indecon in June 2007 ‘Creating
a Sustainable Industry in Ireland’ which again
reiterated the need for a strong, competitive stable
relief.
Indecon reported at the end of 2007 and in response,
the Government increased the cap to 250 million
and extended the scheme to 2012 thus ensuring the
stable continuity that the Board had sought.
In 2008 the IFB again made the case, this time
under a different economic outlook – for the
restoration of the investor relief to 100% and
*Note: Section 481 of the Taxes Consolidation Act 1997
Becoming Jane filmed on location in Ireland in 2006
to this end we submitted a position paper in
September 2008 ‘Restoring Viability and Balance
to the Irish Film Production Industry’* which
addresses the need for balance in the industry.
Production and
Development
New Principles and Procedures
In June 2006 we set out our new proposals
for interaction with the industry, new decision
making principles and criteria for development
and production investment. Proposals based on
promoting dialogue between the IFB Executive and
producers which fosters a mature and interactive
relationship between both parties.
Eden stars Eileen Walsh who won the Best
Actress Award at the Tribeca Film Festival
NEW GUIDING PRINCIPLES FOR IFB FUNDING
•ORIGINALITY: Distinctive voices depicting
strong individual world views.
•ADDITIONALITY: IFB funding should make a
difference and engender activity that would
not otherwise occur.
•CULTURAL PRIORITIES / INDUSTRIAL
PRIORITIES: Strong preferences will be
given to Irish initiation, Irish stories and
Irish filmmaking talent. Serious
consideration will be given to Irish stories
initiated overseas and to minority
co-productions where reciprocal funding
Applicants for development funding were
encouraged to submit at an earlier stage than was
previously the practice. The IFB also committed to
a higher level of support on a phased basis. We also
introduced First Draft Loans for writers on their
own, support for writer-directors and directors who
are embarking on projects.
The applications process for production funding
also changed with earlier applications and the
commitment of ‘in principle’ support from the
outset. It was envisaged that this should help in
the financing of projects. The adjudication process
also changed from being one where a Board
member and external panel member was involved
to one which is empowering the Executive to make
decisions and defend them. Successful applications
are then reviewed and ratified by the Board.
We set out new guiding principles across all of our
funding programmes. These are set out in the box to
the left.
exists for Irish projects from other national
funding bodies.
•MAKING CINEMA: Distilling our focus to
big-screen content.
Multiple Project Development
In June 2006 we announced our intention to launch
another round of slate funding in the form of the
*Note: all three IFB reports are available to download on www.irishfilmboard.ie
Multiple Project Development (MPD) initiative. Our
aim being to instill in production companies a sense
of purpose to increase the scale of their operations
within a disciplined framework. We placed a strong
emphasis on diversity of companies in terms
of scale as well as focus. In December 2006 we
announced the successful recipient companies
which were Treasure Entertainment, Element
Pictures, Grand Pictures, Samson Films, Quidam
Productions, Zanzibar Films, Newgrange Pictures,
Cartoon Saloon, Still Films and Blinder Films. In
total 24 million was committed to the scheme over
a two year period.
“Being one of ten companies to
receive MPD funding marked a
watershed for Grand Pictures.
The autonomy it conferred on
our company meant that we could
develop projects independently,
in the knowledge that the IFB
development expertise was
available to us on an as-needed
basis. We now have a significant
slate of projects at various stages
of development which means that
at last, we can plan strategically
as opposed to on a project-byproject basis.”
Michael Garland,
Producer, Grand Pictures
Wide Open Spaces starring Ardal O’Hanlon was
developed with Mpd funding
Co-Production
The end of the UK Sale and Leaseback scheme
signaled a real requirement to move away from
the traditional reliance on UK co-production and to
focus our attention further afield. A key strategy for
the IFB is finding new co-production partners for
Irish projects. We remain an active participant in
Eurimages. IFB executives attend most of the major
festivals in order to assist Irish producers
Dorothy Mills a French-Irish co-production
starring Irish actress Jenn Murray
“Directing ‘George Gently’ for
the BBC has been a fantastic
opportunity for me to work
with an international cast
and to reach a wider audience.
It breaks me into the industry
on an international level,
which will lead to further
opportunities at home and
abroad.”
Daniel O’Hara,
Director ‘George Gently’
To date the International Production
Fund has contributed to 18 projects with
combined budgets of 3165 million and an
Irish expenditure of 3100 million.
networking with other international producers and
assist in accessing international finance.
We have now concluded the co-production
agreement with New Zealand (2008) and we are
currently finalising the South African and German
co-production agreements.
International Production
In response to low levels of incoming production
in late 2005, the Board secured a mid year
supplementary capital grant for three projects ‘The
Tudors’, ‘Becoming Jane’ and ‘Murphys Law’. This
funding was operated again in 2006, 2007 and 2008.
The fund has been successful in securing
talented Irish directors the opportunity to work
on international projects and to redress some of
the post production imbalance that had previously
existed . Ciarán Donnelly and Daniel O’Hara are
both directing episodes of ‘George Gently’ for the
BBC, Brian Kirk is directing the ‘Father & Son’
series for ITV, and a number of Irish directors were
attached to ‘The Tudors’ including Dearbhla Walsh
who has since gone on to direct ‘Little Doritt’ for the
BBC.
Animation
The Secret of Kells to be released in Irish
cinemas in 2009
Animation is a major success story for Ireland.
Much of the current animation talent emanated
from the Sullivan Bluth studio when it was based in
Ireland in the late 1980’s and early 1990’s. The IFB
is a key funder of animation, a growing digital sector
of the industry crossing traditional content and story
development wih new technologies. To date, in 2006
and 2007, the IFB has supported six long-form Irish
animation projects which are being co-produced
with multiple international partners, delivering
significant employment and export outcomes to
the Irish sector. In March 2009 Buena Vista Ireland
(BVI) will release theatrically the feature film ‘The
Secret of Kells’ produced by Cartoon Saloon. Other
successful projects include ‘Skunk Fu!’ and ‘Ugly
Duckling and Me’ which have sold to a wide number
of territories worldwide.
Creative Documentary
In a shift in funding policy, the IFB now places
a greater emphasis on creative documentaries
with theatrical potential. Feature documentaries
continue to find worldwide audiences with recent
international successes including ‘Man on Wire’,
‘Waltz with Bashir’ and ‘Shine a Light’. Irish
documentaries are beginning to realise their big
screen ambitions with the critically acclaimed
‘Saviours’ released in Irish cinemas earlier this year
and the award winning ‘Waveriders’ opening next
spring. Several Irish documentaries were selected
for major international festivals this year, including
‘Seaview’ at the Berlin Film Festival, ‘Fairytale of
Kathmandu’ at the Edinburgh International Film
Festival and ‘Learning Gravity’ at the Telluride Film
Festival. Upcoming major feature documentaries
supported by the IFB include ‘Little Matador’, ‘El
Gusto’ and ‘Colony’.
Producer Recoupment
saviours
Fostering an enterprising environment is a key
objective of the IFB and in 2007 we introduced a
formalised process of Producer Recoupment. This
channels 50% of the IFB’s recoupment of its original
investment in the film back to the producer. This
is intended to empower producers to drive better
deals and increase their share in the film revenues
which will then be re-invested in companies. This
mechanism is consistent with government policy
promoting a strong business environment and
international best practice.
Developing Irish
Talent
Short Films - New Talent
Short films are a vital platform and training
opportunity for new talent. The IFB has consistently
produced many award winning short films which
depict Irish talent globally. Following a major
CATALYST PROJECT
THE CATALYST PROJECT IS A NEW
INITIATIVE AIMED AT DEVELOPING
NEW IRISH TALENT. IT WAS LAUNCHED
IN 2007 IN PARTNERSHIP WITH FÁS
SCREEN TRAINING IRELAND (STI), THE
BROADCASTING COMMISSION OF IRELAND
(BCI), FILMBASE AND TV3. THREE FEATURE
FILM PROJECTS WERE SELECTED AND
WILL PREMIERE IN 2009.
review in 2007 we introduced a new range of short
film schemes: Signatures (replacing Short Cuts),
Virtual Cinema (shorts on digital platforms), Reality
Bites (short documentaries) and we kept the highly
popular Frameworks (animation) and Short Shorts.
We envisage filmmakers will use these short film
schemes to develop their creative skills, using
the training space to take more creative risks,
not always allowed in more commercial projects.
Irish language applications are welcomed and
encouraged for all of these schemes.
Irish Talent on Film DVD
IFB invests up to 31 million in Irish short
film schemes every year
Our short films provide an ideal platform and
reference point for promoting new talent to
international audiences. To this end every year we
produce the popular Irish Talent on Film DVD series,
which showcases the diversity and range of Irish
directors, producers, writers, cast and crew working
in the industry. The DVD is distributed at all IFB
international events, and is sent to international
film festivals, talent agents, production companies
as well as libraries, Government Departments,
primary and secondary schools, and it is continually
used as a key reference for Irish talent.
Irish Short Film Promotion
The promotion of our shorts is of critical importance
to the IFB in developing new audiences for our
films. To help us achieve this goal, we have
partnered with the Irish Film Institute (IFI) who have
committed to screening one short film per month in
front of a feature film. We also ensure that all of our
short films are entered into the top festivals around
the world and the success rate has been very high.
Over the last four years Irish short films have been
selected to screen at the Berlin, Cannes, Sundance,
Rotterdam, Edinburgh, Venice and ClermontFerrand film festivals.
New Boy winner of over 20 international awards
including Best Narrative Short at the Tribeca Film
Festival
Apart from film festival screenings, we also ensure
that there are many opportunities for Irish audiences
to view our shorts. Local screenings include: Electric
Picnic, St Patrick’s Festival and Dublin Culture
Night. In addition over 14 shorts have been released
in front of a feature film in Irish cinemas during
this period. The Virtual Cinema short films are now
available to view on our website.
European Film Promotion
The IFB’s membership of European Film Promotion
ensures there is a wide range of opportunities for
international promotion available for Irish talent,
including the Shooting Star and Producer on the
Move schemes. Young Irish actors from Padraic
Delaney (‘The Wind that Shakes the Barley’) to Ruth
Negga (‘Breakfast on Pluto’) have been introduced
to the international film industry at the Berlin Film
Festival providing invaluable new contacts and
networking opportunities.
Reflecting the IFB’s focus on European coproduction, the Producer on the Move scheme
provides young accomplished Irish producers with
an opportunity to meet with a range of respected
European producers at the Cannes Film Festival.
Producers Macdara Kelleher (‘Kisses’), Martina
Niland (‘Once’) and John McDonnell (‘The Wake
Wood’) have all benefited from this scheme over the
past few years.
Once, Academy Award Winner for Best
Original Song
Recognising Irish Talent
In an industry which is talent based it is important
to recognise that Irish talent. Over the last four
years, the IFB has been a funder of the Irish Film
and Television Awards (IFTA’s). We have sponsored
the ‘Breakthrough Talent Award’ which was recently
renamed the ‘IFB Rising Star Award’ to promote
exceptional new talent working in the industry.
Over the last few years this award has recognised
the growing talent of actress Saoirse Ronan
(Atonement), directors Perry Ogden (Pavee
Lackeen) and Niall Heery (Small Engine Repair).
International achievements - irish talent
Irish talent in front of and behind the camera has
gained major international acclaim for the levels of
excellence they have achieved in their professions.
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The Wind That Shakes The Barley, winner of the
Palme D’Or at the Cannes Film Festival
INTERNATIONAL ACHIEVEMENTS - IRISH FILM
The success of the IFB over the past four years
can be measured by the international success
of Irish films, many of which have screened
and won awards at the world’s top film festivals
including Cannes, Sundance, Berlin, Toronto,
Venice, London, Tribeca, Edinburgh and Pusan.
Highlights include:
•The Wind that Shakes the Barley’, Palme
d’Or award winner for Best Film, Cannes
Film Festival 2006, became the highest
grossing IFB supported film, taking over 24.1
million at Irish box office.
•Martin McDonagh’s Irish short film ‘Six
Shooter’ scooped the Academy Award for
Best Short Film in 2006.
•‘Garage’ directed by Lenny Abrahamson
picked up the CICEA Award at the prestigious
Directors Fortnight strand, Cannes Film
Festival 2007.
•Since winning the Audience Award at the
Sundance Film Festival 2007 ‘Once’ directed
by John Carney has taken over $10 million
at the North American box office, received
18 award nominations and won 14 awards
including the Academy Award for Best
Original Song 2008 and the Best Foreign Film
Prize at the Independent Spirit Awards 2008.
•Eileen Walsh won the Best Actress award for
her role in ‘Eden’ at the Tribeca Film Festival
in 2008.
•‘Kisses’ received international critical
acclaim and was selected for the Locarno,
Telluride, Toronto, London and Thessaloniki
film festivals in 2008.
• J
oan Bergin won the Emmy for Best Costume for
‘The Tudors’ two years in a row, 2007 and 2008
• J
onathan Rhys Meyers was nominated for a
Golden Globe for Best Performance for an Actor
in ‘The Tudors’ in 2007
• I rish cinematographer Seamus McGarvey
was nominated for an Oscar for his work on
‘Atonement’ in 2008
• I rish actress Saoirse Ronan was nominated for
an Academy Award for Best Supporting Actress in
‘Atonement’ in 2008
• D
aniel Day Lewis won the Academy Award for
Best Actor in ‘There Will Be Blood’ in 2008
• I rish actress Saoirse Ronan was nominated for
an Academy Award for Best Supporting Actress in
‘Atonement’ in 2008
• C
onsolata Boyle was nominated for the Academy
Award for Best Achievement in Costume Design
for her work on ‘The Queen’ in 2007
• C
artoon Saloon won the award for European
Producer of the Year at the Cartoon Forum
against stiff competition from much larger
European animation companies
• F
or his role in the TV movie ‘Elvis’ Jonathan Rhys
Meyers won a Golden Globe and was nominated
for an Emmy in 2006
• P
eter J Devlin received an Academy Award
nomination for Best Achievement in Sound for his
work on the feature film ‘Transformers’ in 2008
Marketing
New Brand and Online Presence
In 2006 we rebranded the agency acquiring a new
look and a new logo to reflect the creative and
innovative industry we represent. Our new logo was
inspired by audiences engaging with Irish film on
the big screen and small screens.
In 2007 we integrated our new brand to our website,
creating a new reference portal for the Irish film
industry with relevant, up-to-date information and
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online services. New services include weekly box
office figures, updated news stories from around
the world, increased volume of local news stories,
trailers, information panel podcasts and short films
online.
The website is still a work-in-progress and in time
we hope that it will host all of the IFB funded archive
of short films online.
New Online Interactive Services
Online Locations Gallery
The online locations gallery provides interactive web
access to location photographs from across Ireland.
This gallery was enhanced in early 2008 to include:
• I nteractive web brochures
• D
irect contacts and addresses for the locations
• D
etailed descriptions for the locations.
IRISH FILM BOARD ONLINE
•The IFB Virtual Cinema short films
have attracted an audience of over
46,000 viewers, with ‘The Perils of
Internet Dating’ receiving over 19,000
hits alone.
•Traffic to the Irish film board website
has increased by 42% in the second
half of 2008.
•The IFB website receives an average
of 12,000 visits per month
•Traffic across the online Crew and
Services Directory increased by 32%
in 2008.
• A
A route planning
• D
iscounts on Irish hotels
• G
oogle mapping function
Since the enhancements to the gallery, traffic
across this database has increased by over 400%
since 2007.
Irish Co-producers Database
Our website now features a new searchable Irish coproducers database which is based on a company’s
previous credits. The database is intended to
represent all types of audio-visual companies.
Through our offices in Ireland and Los Angeles we
regularly receive requests from overseas producers
searching for Irish production companies to coproduce their project. This database enables foreign
companies to find an appropriate Irish partner.
Crew and Services Directory
This directory provides visitors with an up-to-date
guide to local Irish crew, services and facilities.
It provides those working in the industry an
opportunity to list their contact details and credits.
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virtual cinema - The Perils of internet dating
Communications
Over the past four years the IFB has focused
on ensuring a continued two-way flow of
communication with both the local and
international industry. In order to achieve enhanced
communication between the agency and our clients
we have:
• I ntroduced information panels for all new
IFB activities and policies with an opportunity
for industry feedback on new policies and
programmes
• I nitiated an annual “Meet the Board” event where
all industry issues could be openly discussed with
the Board and the Executive
• I ncreased IFB industry networking festival events
to encourage international contacts
• I ntroduced an on-going subscription newsletter
service to promote the Irish film industry to both
local and international contacts
Waveriders, winner of the Audience Award at the
Dublin International Film Festival
IRISH FILM FESTIVALS
Irish film festivals are an important platform for
increasing audiences and awareness for Irish
film. The IFB has increased its involvement with
local Irish film festivals over the past four years,
• I ncreased international advertising and publicity
campaigns to promote new Irish film and Ireland
as a film location
• S
ponsored the Student Media Awards to engage
with new film graduates and to increase the
awareness of the services the IFB provides
• I ntroduced a new company wide database
management system for industry contacts and
projects
positioning ourselves as an “Industry Partner”
and encouraging an increased focus on local
content.
The IFB now partners with the Dublin, Galway
and Cork film festivals as well as Stranger
than Fiction, Guth Gafa, Darklight, Lights Out!
and the Dingle film festivals. Our aim has
been to encourage industry focused events
with international guests and to engage new
audiences for Irish films.
Developing New
Audiences
Distribution
The challenge of distribution is immense. In 2008
we spent a considerable amount of time reviewing
the Irish market and how best this serves Irish
producers and their films. In 2009 we expect to
be able to address some of the key fault-lines in
the distribution market. Many producers are now
experimenting as to what can be done and what are
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new viable business models. The monetisation of
content exploitation can be a challenge but we are
open to exploring new idea with producers.
DIGITAL CINEMA
IN 2007 WE CO-COMMISSIONED A
Development of the Arthouse
Cinema Network
Since 2004 the IFB has collaborated with the Arts
Council on the Cultural Cinema Consortium which
in 2008 yielded results with the opening of the
Light House Cinema, offering Dublin cinema-goers
increased diversity of programming and providing
another much needed venue for Irish films. We are
also now beginning to see the fruits of the work of
Solas in Galway, which is in the process of building a
new four-screen Arthouse cinema facility.
Education
The education of young people to appreciate film,
to have critical voices and to be cine and digital
literate is a key component to building audiences
for film. We have supported international master
classes in the National Film School at the IADT and
we will continue to work closely with the IFI on the
transition year project. In 2009 we will continue our
support for film appreciation at primary, secondary
and third level education.
REPORT ON THE DIGITISATION OF IRISH
CINEMAS AND THE OPPORTUNITIES FOR
IRISH AND WORLD CINEMA. ‘DIGITAL
CINEMA IN IRELAND; A REVIEW
OF CURRENT POSSIBILITIES’ WAS
LAUNCHED AT THE ACCESS CINEMA
2008 PROGRAMME LAUNCH.
THE IFB AND THE ARTS COUNCIL, ON
FOOT OF KEY FINDINGS FROM THE
REPORT PROVIDED FIRST ROUND
FUNDING FOR THE INSTALLATION OF
DIGITAL CINEMA EQUIPMENT IN TEN
SCREENS, TYING INVESTMENT TO NONMAINSTREAM PROGRAMMING.
Irish Film Channel
In early 2008 the IFB secured an Irish film channel
on the free to air, public service, digital multi-plex,
which was written into the 2008 Broadcasting Bill.
This will provide an opportunity for Irish audiences
to see Irish films which have completed their initial
commercial cycle along with the best of European
and world cinema during prime time, uninterrupted
by commercial breaks. It will also provide a platform
for education, broadcasting films on the schools
curriculum which will be broadcast in the mornings
and afternoons. This represents a valuable long
term platform for Irish filmmakers to reach and
grow Irish audiences.
14
Undressing My Mother, Ken Wardrop’s graduate
film from IADT went on to win numerous awards
at international festivals
Cinemobile
We have increased our funding for Cinemobile
over the last four years to provide more regional
audiences with an opportunity to see Irish films
on the big screen. In addition, the Cinemobile is
now offering a new education programme to both
primary and secondary schools, screening both
feature length and short film programmes to over
10,000 pupils nationwide.
Developing
Industry
partnerships
the light house cinema
FILM AND TOURISM
FILM IS RECOGNISED AS A VAUABLE MEDIUM
THROUGH WHICH TO PROMOTE IRELAND
AS A TOURIST LOCATION. THE IFB WORKS
CLOSELY WITH TOURISM IRELAND AND DUBLIN
TOURISM IN ORDER TO TAKE ADVANTAGE OF
CROSS PROMOTIONAL OPPORTUNITIES FOR
FILM AND TOURISM.
FOREIGN TOURISTS SPENT 14.9 BILLION IN
IRELAND IN 2007. 15% OF THE 7.7 MILLION
VISITORS THAT VISITED IRELAND THAT YEAR
CITED “FILM” AS THE REASON THEY WERE
INFLUENCED TO TRAVEL TO IRELAND. 15%
ACCOUNTS FOR 1.15 MILLION VISITORS
AND CAN BE VALUED AT 4735 MILLION IN
INTERNATIONAL TOURIST SPEND.
For a successful industry it is essential that we
develop and maintain good relations with other
stakeholders and develop good cross-agency
relationships.
The IFB work with the following organisations on
an on-going basis: An Comhairle Ealaíon / the
Arts Council, Culture Ireland, Irish Film Institute,
FÁS/Screen Training Ireland, Enterprise Ireland,
Broadcasting Commission of Ireland, Northern
Ireland Screen, RTE, TG4, TV3, IBEC, Screen
Directors Guild of Ireland, Irish Playwrights and
Screenwriters Guild, Screen Producers Ireland,
Film Group Unions, Irish Film Classification
Office, Filmbase, IFTN/IFTA, the Regional
Film Centres, Udaras na Gaeltachta, the FILM
DUBLIN Partnership, Network of Regional Film
Offices, Local City and County Councils, local and
international film festivals, IADT / National Film
School, MEDIA, Dublin Tourism, Tourism Ireland,
Failté Ireland, IDA Ireland, Location Managers Guild
of Ireland, Access Cinema, local and international
distributors and sales agents, international
broadcasters, international funding agencies and all
exhibitors of Irish films.
Department of Arts, Sport and Tourism, Department
of Communications Energy and Natural Resources,
15
Department of Education, Department of
Enterprise, Trade and Employment, Department of
Justice and the Revenue Commissioners.
Thank you to all our partners who help us support
the screen industries.
CANNES FILM FESTIVAL
• Irish industry membership at the Irish
Pavilion in Cannes has increased by
25% since 2005
The Irish Film
Board on the
International
Stage
Irish Film Board in north america
• Since 2007 we have partnered with
Culture Ireland to host a larger and
more significant Irish presence to
promote our films and to provide new
networking contacts for our producers
• In 2008 the Irish Pavilion was
redesigned to ensure it remained an
important business resource for the
In late 2006, the IFB opened an office in Los
Angeles to market Ireland as a film and television
location in North America. The key role of the IFB
North American office is to facilitate producers
in attracting inward production from the North
American market, act as a focal point for Irish talent
in North America and assist the introduction of
Irish producers to the North American market. In
February 2008, the North American office organised
a trade mission of leading Irish production
companies and hosted several networking events
with leading US companies.
Irish industry attending the festival.
Irish Film Board in Europe
16
The IFB has always maintained strong links with
Europe. We are an active participant in Eurimages,
the Council of European Co-production Fund from
which since 2004 we have managed to secure
15.4 million for Irish projects. We are an active
participant in European Film Agency Directors
(EFAD) which meet to discuss issues concerning
European film funding: cultural tests, state aid
and interaction with the European Commission. In
2008 we played host to the European Film Agency
Research Network (EFARN) who meet to discuss
methods of standardising statistical data in all
European territories. We are a founding member of
the European Film Commission network.
New Irish Pavilion at the Cannes Film Festival
International Film Festivals
Promoting new Irish film and the benefits of Ireland
as a film location to the international film industry at
the worlds largest film and TV festivals, is one of the
agency’s key functions. To this end our marketing
activities in this area have grown enormously.
Increased International Presence
We have increased the presence of the Irish industry
at key festivals all over the world with the following
marketing events:
• In 2006 we initiated what has become an annual
Irish networking reception at the Berlin Film
Festival with over 150 key international industry
guests.
Award winners Joan Bergin, Glen Hansard,
Marketa Irglova and John Carney in LA as part of
the Irish delegation during Oscar Week.
• We extended the Irish presence in Berlin in 2007
and secured a stand at the European Film Market
- an increasingly important market for Irish
producers.
• We have co-sponsored the Enterprise Ireland
‘Ireland on Screen’ stand at MIPTV and MIPCOM
for the last four years.
• In 2008 we hosted an event at the Sheffield
Doc-Fest highlighting new Irish feature-length
documentaries and our interest in co-production.
• In 2008 we hosted a networking reception at the
Encounters Short Film Festival in Bristol together
with a special retrospective of Irish short films.
• Since 2007 we have partnered with the Cork Film
Festival on a stand at the Clermont-Ferrand Film
Festival to promote new Irish shorts.
• In 2008 we organised a trade mission to Los
Angeles for Irish producers and partnered with
Culture Ireland.
• We continue to offer support and opportunities to
Irish producers who wish to work in LA.
Irish Film – A Valuable Cultural Export
Frankie, winner of UIP Prix Award for Best Irish
Short at the Berlinale Film Festival
Irish films, telling Irish stories and celebrating Irish
culture, have been exported all over the world.
‘The Wind that Shakes the Barley’, which tells the
story of the Irish civil war, and ‘Once’, a love story
17
told through music, have sold to over 120 countries
between them. ‘Kings’, a story of Irish immigrants
living in London produced in the Irish language was
the first Irish language film to be submitted for the
Best Foreign Language Film Award for the 2008
Academy Awards.
Film and television plays a significant role in
promoting Irish culture and a depiction of Ireland
on the international stage. The worldwide
exposure of Irish talent also benefits other Irish
cultural exports such as music and theatre.
The IFB is keen to ensure that Irish films are
handled by reputable international sales agents with
excellent track records and international contacts.
In the recent past IFB films have sold globally, to
be exploited theatrically, on DVD and television.
Projects of note include:
• ‘Once’, a low budget indigenous feature film shot
on the streets of Dublin was distributed in North
America by Fox Searchlight, grossing $10m on its
theatrical release. The highly regarded Summit
Entertainment sold the film to almost every
international territory available.
• ‘The Wind that Shakes the Barley’, a European
co-production directed by Ken Loach was sold
worldwide by Pathe and distributed theatrically in
40 territories.
• ‘Shrooms’ a horror film set in rural Ireland was
sold internationally to over 30 territories and
was released theatrically in the US by Magnolia
Pictures.
• ‘Niko and the Way to the Stars’, an animated
European co-production is currently being sold
by Telepool and has achieved distribution in
almost every territory throughout the world. The
Weinstein Company will distribute in the UK and
the US.
• ‘The Escapist’, a UK/Ireland co-production is
being sold by Goalpost Films and subsequent
to the film’s premiere at the Sundance Film
Festival has sold several international territories
including a theatrical sale to IFC in the US.
18
niko and the way to the stars
“It’s been inspiring to discover
that a small personal Dublin
film with a specifically local
flavour can find an audience
internationally and actually
sell around the world. It
shows that Ireland is as
viable a place as any to create
sustainable, independent
cinema, and that’s very
encouraging.”
Lance Daly,
Director ‘Kisses’
total value of feature film,
tv drama, animation and
television production
Year
Value
Irish Spend
2001
2259m
2141.6m
2002
2190.9m
2122.6m
2003
2320.2m
2151.4m
2004
2169.8m
2106.7m
2005
2152.4m
296.9m
2006
2280m
2161m
2007
2195.7m
2143.2m
2008*
2246m
2159m
• ‘Dead Meat’, a low budget horror film was sold to
many international territories by Cinema Vault,
who also distributed the film in North America.
The knock on effects of Irish films being viewed by
international audiences is plain to see, where other
cultural exports can benefit from the exposure.
With technological advances regarding new
distribution platforms such as video on demand
(VoD), it is increasingly likely that Irish films over
the coming years will reach a wider international
audience than ever before.
Industrial Impacts
Economic Activity
Source: IBEC Audiovisual Federation
*estimate
As film is an economic as well as a cultural
enterprise we monitor the economic returns we
achieve. IFB production loans 1993 – 2008 have
a leverage factor of 1:10. For every 11 of IFB
investment, 110 is generated from other sources.
In 2006 the Irish audio visual spend in the economy
had risen to 1161 million – this was the highest ever
Irish audio-visual spend in the economy. Estimates
for 2008 represent a high local independent sector
spend at 1159 million.
audio visual Industry Survey
In 2008 the IFB embarked on a major industry
survey in order to gauge the exact value, size
and character of the Irish audio-visual content
production industry. Following a tendering process
we commissioned PricewaterhouseCoopers (PwC)
to carry out this piece of research on our behalf.
In the process we surveyed over 3500 freelance
personnel and 300 companies involved in the sector.
The results show:
• T
he overall value of the audio-visual content
production industry is worth over 1550 million
• T
he industry employs over 6,000 individuals
AV your say awareness campaign
19
• A
udio-visual content production represents 0.3%
of GDP
• I t is highly integrated across all sections of the
industry
• I t comprises a highly educated workforce with
59% of people having reached degree level or
higher
• I t is comprised of highly motivated and
committed individuals
Industry Strategic Plan
Following publication of the audio visual industry
survey, we aim to facilitate an industry forum
in early 2009 to create a strategic plan for the
next phase of development of the industry. It will
be a plan for the industry by the industry. The
information provided by the publication of the survey
together with this most recent progress review is
intended to contribute to a strategy review. This
will involve all stakeholders in the wider content
production industry in order to produce a five year
action plan and blueprint for Government and the
industry for a new growth phase of the industry.
“It is rare that a designer gets
the opportunity to flex their
talent three times on a single
project. Rarer still, to believe
that there are not the skills
in Ireland to build a show of
the magnitude of ‘The Tudors’.
Pattern cutting, corsetry,
jewelry, shoes, crowns – you
name it we made it.”
Joan Bergin,
Designer and Emmy Winner,
The Tudors
Infrastructure
World-class infrastructure is vital to the film
industry in terms of competitiveness and delivery.
In 2005 the IFB was informed that Ireland’s only
large scale film studio production facility, Ardmore
Studios was experiencing severe accumulated
financial deficits and was likely to close. In
response, following discussions with the company
and the Department of Arts, Sport and Tourism,
the IFB agreed to provide the company with direct
funding in order that the situation be stabilised.
We then commissioned PricewaterhouseCoopers
to carry out a confidential study of film studio
infrastructure and the economic and business
conditions underpinning studio facilities.
In addition the IFB’s International Production Fund
was successful in helping to attract the major US TV
series ‘The Tudors’ into Ireland in 2006, 2007, and
20
The Tudors filmed at Ardmore Studios
2008. The producers located the series in Ardmore
Studios. Following delivery of the PWC report and
various feasibility studies to the Department of
Arts, Sport and Tourism, further discussions have
taken place directly between the studios and the
Department.
ifb Production Activity
The overall value of IFB supported production
activity increased from the end of 2001 at 427.7
million to 4128.8 million at the end of 2008 – an
increase of 465%.
Regional Investment
Ondine filmed on location in Cork
The Regional Support Fund was established in 2004.
It aims to encourage Irish filmmakers to shoot live
action feature films and television drama outside
the Dublin – Wicklow area. The cap for this fund
increased from 1125,000 to 1250,000 per project.
Since 2005, 28 Irish feature film and television
projects with combined budgets of 183 million have
generated a local expenditure of 118 million. The
fund has achieved its original aim to extend the
range of filming in locations across Ireland thus
increasing overall spend on local labour, goods and
services.
Counties which have benefited from regional film
production include:
Clare Love And Savagery Cork Ondine, The Eclipse,
The Wind That Shakes The Barley Donegal The
Wakewood, A Shine Of Rainbows, Dead Long
Enough, 48 Angels Galway Rasai Na Gaillimhe,
Na Cloigne, Uncle Max II, Nothing Personal,
Showbands, Summer Of The Flying Saucer, Aifric
Kerry Ondine, The Wind That Shakes The Barley,
The Running Mate, Kildare Wide Open Spaces,
My Boy Jack Kilkenny Breakfast On Pluto Leitrim
Shrooms Louth Puffball, Small Engine Repair Mayo
The Daisy Chain Monaghan The Race, Middletown,
Shrooms Offaly Eden Sligo Occi Vs The World, 32A’
Garage CICAE Art and Essai Cinema Prize winner at
Cannes Film Festival filmed on location in Offaly
21
Chairman’s closing
remarks
The growth in activities initiatives and investments
carried out by the IFB in the last four years is
a direct result of the continued and committed
financial support from the Minister and the
Department of Arts, Sport and Tourism. It is their
view that the industry continues to justify that
support. Of course with progress comes ambition
and the challenges that lie ahead to continue to
increase the number and quality of Irish films
and build sustainable and expanding Irish film
enterprises are formidable. For this reason the
efforts and achievements of the IFB remain a work
in progress. We have some way to go to realize the
ambition of creating an industry where Irish talent
and Irish based enterprises increasingly not only
own the equity in the work they create but also
retain control of its world wide exploitation. We hope
that the proposed Industry Strategy Forum due in
the early part of 2009 will go some way to identifying
the next steps towards achieving this goal.
The total number of full-time staff in the Irish
Film Board was established in 2001 at 16 and this
resource has not changed since then. What has
changed is that since 2001 the funding of the IFB
has more than doubled increasing by 128% and this
additional funding has resulted in a major increase
in the number of activities, responsibilities, and
total outputs. This recorded year on year increase
in productivity has only been possible because
of the enormous dedication, commitment and
professionalism of every person working in the IFB.
The work of all the industry bodies including, Screen
Producers Ireland, the Screen Directors Guild
of Ireland, the Irish Playwright & Screenwriters
Guild, the IBEC Audio Visual Federation, Film
Group of Unions are equally vital to maintaining
the progress of the industry. The IFB can only be
really effective for the industry in partnership with
the industry. Where there are issues of common
interest, the industry’s ability to present a united
22
front to Government and policy makers increases
the impact ten fold.
By statute the number of Board Members is seven
and since the setting up of the Bord Scannán na
hEireann/Irish Film Board it has been the practice
of successive Minister’s to appoint Board Members
from within the industry or related arts areas. This
practice is not always the policy in State Boards
but in the case of the IFB, I believe it serves the
industry well that practitioners are prepared to give
a considerable amount of their time to serving on
the Board.
“If the annual value of the
domestic market today for content
production is over half a billion
Euro and directly employs 6000
people, which it is and does, that
is a big enough base from which
to build an industry with major
export potential. Making a plan to
achieve this is the challenge for
the Board and the industry in the
year ahead”
James Morris, Chairman,
Bord Scannán na hÉireann/
the Irish Film Board
IRISH FILM
BOARD /
STATISTICS
2008
qui autem matrimonio iunctus est, cogitat ea
23
1 Irish Cinema Trends 2001 – 2006
2001
2002
2003
2004
2005
2006
322
326
329
335
352
401
25.21
25.40
25.59
25.85
25.76
26.43
4.16
4.44
4.40
4.29
3.99
4.20
15.94m
17.32m
17.43m
17.26m
16.40m
17.85m
283.04m
293.50m
297.50m
2100.90m
294.40m
2114.81m
+ 9.0%
+ 12.6%
+ 4.3%
+ 3.5%
- 6.4%
+21.6%
2001
2002
2003
2004
2005
2006
Screens
24,912
25,623
26,269
26,633
26,922
27,787
Average Ticket Price
26.31
26.64
26.57
26.78
26.88
25.97
2.45
2.43
2.29
2.42
2.15
2.20
926.86m
925.96m
877.70m
931.33m
833.06m
885.13m
25,127.59m
25,271.31m
24,985.60m
25,363.03m
24,777.44m
25,284.23m
+12.8%
+2.8%
-5.4%
+7.6%
-10.9%
+10.6%
Screens
Average Ticket Price
Annual cinema attendance (frequency per capita)
Admissions
Gross Box Office
Box Office Yearly Variance
Source: Media Salles
2 European Cinema Trends 2001 – 2006
Annual cinema attendance (frequency per capita)
Admissions
Gross Box Office
Box Office Yearly Variance
Source: Media Salles – figures include EU and EEA member states
24
3 Financing breakdown of IFB Feature Film, Animation & TV Drama 2001 - 2007
*Other Irish financing includes Irish Bank Gap, Private Equity, Deferments and Producer Investment
*Other international financing includes Bank Gap, US Studio Equity, EU Public Funding and ROW Equity
Irish Film Board
12.21%
Other International Financing
21.89%
Section 481 (Net)
9.77%
qui autem matrimonio iunctus est, cogitat ea
Irish Broadcasters (TV)
3.12%
German Co-production
4.71%
Irish Broadcasters
(Feature Film) 0.71%
Canadian Co-production
5.97%
Broadcasting Commission
of Ireland 1.76%
Eurimages
1.23%
Other Irish Financing
8.33%
International Sales
7.52%
UK Tax Finance
4.11%
Sale & Leaseback/
UK Tax Credits
3.05%
UK Broadcasters
11.94%
UK Screen Agencies
3.67%
25
4 IFB Project & Investment Analysis in feature film, tv drama and animation 2001 - 2008
The categories coverd are feature film, both indigenous and incoming co-productions, television and animation.
26
5 Net worth of the Irish Audiovisual Industry
Includes feature film, independent television, and animation
ALL FIGUReS are in millions
Year
Total
Expenditure
Irish
Expenditure
Non-Irish
Expenditure
Irish Expenditure
% of Total
Expenditure
Net Benefit to
the Exchequer
2001
2259.0
2141.6
2117.4
54.7%
223.6
2002
2190.9
2122.6
268.3
64.2%
221.2
2003
2320.2
2151.4
2168.8
47.3%
230.0
2004
2169.9
2106.7
263.2
62.8%
212.2
2005
2152.3
296.9
255.4
63.6%
216.8
2006
2279.9
2161.2
2118.7
57.6%
219.5
2007
2195.7
2143.2
252.5
73.2%
216.8
2008*
2246
2159
287
64.6%
–
Source: IBEC AudioVisual Federation
*2008 figures estimated
6 Government Contributions to the IFB 2003 - 2009
The Oireachtas grant in respect of the IFB’s capital expenditure is funded under the Productive Sector Operational Programme and the
Employment, Human Resources Development Operational Programme of the National Development Plan 2007 – 2013.
Government Contribution
2003
2004
2005
2006
2007
2008
2009
Administration Grant
21,615,000
21,845,000
22,050,000
22,126,000
22,659,000
23,197,000
23,099,000
Capital Grant
29,153,000
210,000,000
212,400,000
215,000,000
217,000,000
220,000,000
217,317,000
–
–
21,500,000
22,300,000
22,500,000
–
–
210,768,000
211,845,000
215,950,000
219,426,000
222,159,000
223,197,000
220,416,000
Supplementary
Total
27
7 Applications to the IFB 2002 - 2008
Year
No. Applications
No. of
Applications
Approved
% of Successful
Applications
2002
746
190
25.5%
2003
780
166
21.3%
2004
694
178
25.6%
2005
739
199
26.9%
2006
728
198
27.2%
2007
827
186
22.5%
2008*
733
149
20.3%
*2008 figures until October
Breakdown of applications to THE IFB 2006 - 2008
2006
2007
2008*
No. of
Succ.
% Succ.
No. of
Succ.
% Succ.
No. of
Succ.
% Succ.
App.
App.
App.
App.
App.
App.
App.
App.
App.
Production Funding
41
24
58.6%
41
26
63.4%
35
22
62.9%
Animation Production
6
4
66.6%
8
5
62.5%
4
4
100%
Documentary Production
29
18
62.0%
41
29
70.7%
44
21
47.7%
Development Fiction
311
94
30.2%
356
69
19.4%
193
44
22.8%
Animation Development
5
4
80.0%
8
4
50%
12
4
33.3%
Documentary Development
11
0
0%
-
-
-
-
-
-
Completion
14
10
71.4%
21
11
52.4%
14
1
7.1%
Schemes
249
22
8.8%
336
29
8.6%
409
31
7.6%
Production Fund International
8
6
75.0%
6
4
66.6%
7
7
100%
Regional Support Fund
4
2
50.0%
3
3
100%
10
10
100%
Prints & Advertising
5
4
80.0%
7
6
85.7%
5
5
100%
Multiple Project Development
45
10
22.2%
Total
728
198
27.2%
827
186
22.5%
733
149
20.3%
Category
28
*2008 figures until October
8 Competent Authority Co-production Certification
The IFB also operates as Ireland’s Competent Authority for co-production certification. The table below illustrates the number of projects
certified by the agency.
Year
Number
Co-Production Countries
2001
11
UK (11), Germany (2), Italy (1), Portugal (1), Denmark (1)
2002
10
UK (10), Germany (1), Denmark (1), The Netherlands (1), Spain (1)
2003
9
UK (9)
2004
6
UK (6), Germany (1)
2005
7
UK (5), Germany (1), Denmark (2), France (2), Belgium (1), Canada (1)
2006
17
UK (13), Canada (3), Germany (2), Denmark (1), Portugal (1), Spain (1), France (1), Sweden (1), Hungary (1)
2007
6
UK (3), Canada (1), France (1), Spain (2), Germany (1), Denmark (1), Finland (1)
2008
11
Canada (5), UK (3), Germany (2), France (1), Spain (1)
*N.B. Not all of these projects are in receipt of IFB funding. The number certified reflects bi-lateral & multi-lateral co-productions.
9 Eurimages
Eurimages, founded by the Council of Europe, provides production finance for European co-productions.
Ireland’s Contribution
Funding Received for Irish Projects
2003
2004
2005
2006
2007
2008
2195,558
2222,560
2242,639
2263,067
2283,654
2278,346
-
2890,000
21,130,000
21,216,000
21,100,000
21,120,000
10 Leverage of IFB Production Finance
BSE/IFB production investment outlays have a leveraging factor of approximately 1:10, as the 271.04 million worth of production loans in feature
films, TV drama & Animation between 1993 – 2007 stimulated production worth 2681.20 million.
11 Cumulative Strike Rate of Scripts Developed
Years
Projects Developed
Projects Produced
Strike Rate
1993 – 2008*
873*
111
12.7%
*Figures up until September 2008
29
12 Irish cinema releases of IFB Films 2002 - 2008
Category
2002
2003
2004
2005
2006
2007
2008
Shorts
3
11
13
3
5
3
5
Features
5
7
10
9
8
9
10
13 IFB Box Office
The following is a listing of the highest grossing IFB films at the Irish box office in the year 2007.
Film
Distributor
Box Office
1
The Simpson’s Movie
Fox
26.14m
2
Shrek the Third
Paramount
25.69m
3
Harry Potter and the Order of the Phoenix
Warner Bros.
23.94m
4
Spider-Man 3
Sony
23.51m
5
Pirates of the Caribbean: At World’s End
Walt Disney Co.
23.37m
6
The Bourne Ultimatum
Universal
23.06m
7
Transformers
Paramount
22.97m
8
Ratatouille
Walt Disney Co.
22.92m
9
Die Hard 4.0
Fox
22.57m
10
Knocked Up
Universal
22.30m
Source: Nielsen EDI
The following is a listing of the highest grossing IFB films at the Irish box office
Film
Distributor
Box Office
1
Mamma Mia!
Universal
26.43m
2
The Dark Knight
Warner Bros.
26.30m
3
Sex and the City
Entertainment
24.14m
4
Indiana Jones and the Kingdom of the Crystal Skull
Paramount
23.64m
5
Kung Fu Panda
Paramount
23.14m
6
In Bruges
Universal
23.03m
7
Hancock
Sony
22.89m
8
Quantum of Solace
Sony
22.89m
9
High School Musical 3: Senior Year
Walt Disney Co.
22.47m
10
Wall-E
Walt Disney Co.
22.25m
Source: Nielsen EDI
Figures up until 09/11/08
30
14 DVD RETAIL
The following is a listing of the top 10 feature film DVD retail sales 2007.
Film
Distributor
1
Happy Feet
Warner
2
The Simpson’s Movie
Fox
3
Casino Royale
Sony
4
High School Musical 2
Walt Disney Co.
5
Transformers
Paramount
6
Shrek the Third
Paramount
7
Borat
Fox
8
The Departed
Entertainment
9
Harry Potter and the Order of the Phoenix
Warner Bros.
10
The Wind That Shakes the Barley
Pathe
Source: Chart Track
The following is a listing of the top 10 Irish feature film DVD retail sales 2007.
Film
Distributor
1
The Wind That Shakes the Barley
Pathe
2
The Field
Ferndale Films
3
Michael Collins
Warner Bros.
4
My Left Foot
Ferndale Films
5
The Van
Fox
6
Adam and Paul
Clarence
7
The General
Warner Bros.
8
Once
Icon
9
Dancing at Lughnasa
Ferndale Films
10
The Commitments
Fox
Source: Chart Track
31
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