Bord Scannán na hÉireann/ Irish Film Board - Strategic Plan 2016 - 2020 Building on Success - Screen Ireland
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Bord Scannán
na hÉireann/
Irish Film Board
Strategic Plan
2016 — 2020
—
Building on Success
1
Contents
—
Executive Summary 03
Foreword from the Chairperson 04
Introduction and Message from the Chief Executive 05
Who We Are and What We Do 07
Strategic Context 09
Listening to our Stakeholders 11
Mission 12
Vision and Values 13
Key Challenges 14
Strategic Objectives 15
Measuring Our Success 34
Making it Happen 35
2 01
Executive Summary
—
8 Academy Award
Welcome to the Bord Scannán na hÉireann / Key Challenges Strategic Objectives
Irish Film Board (IFB) Five-Year Strategy,
covering the period 2016 to 2020. We —— P
ositioning the sector as a strategically As part of this strategy, we have identified
prepared this strategy after extensive important contributor to the cultural core strategic objectives which, when taken
Nominations for
consultation with stakeholders in Irish film and economic life of the country as a whole, will strengthen the IFB and help
and the screen content production sector as us build on the industry’s success:
well as detailed contributions from our staff. —— Identifying, nurturing and developing
It sets out our mission statement and vision, creative talent and building a film Vision for 2020
IFB-Supported Films
as well as emphasising the core values culture in Ireland 1. Vision and Leadership
which we hold strongly. 2. Gender Equality and Diversity
—— E
mbracing diversity and gender 3. Building Audiences
Building on Success equality in all its forms and ensuring the
in 2015/16
participation and representation of the Building on our Core Strengths
In 2015 and 2016, we witnessed the most full range of diverse voices in Ireland 4. Development and Support of Creative
extraordinary success of Irish film, television Screen Content Production
and animation. IFB-supported films received —— S
trengthening the links between 5. Development of Talent and Skills
eight Academy Award® nominations (with creative vision, quality of work and 6. Inward Production and Investment
a total of ten nominations for Irish films audience engagement to achieve
and filmmakers), which is an extraordinary critical and commercial success for Strong Foundations
Room
achievement. The IFB-supported film The Irish screen content 7. Increased Investment in the IFB
Lobster won the Jury Prize at the Cannes 8. Partnerships for Screen Production
Film Festival, and Room, also supported by —— R
estoring IFB funding levels to enable 9. Organisational Effectiveness
the IFB, won the prestigious People’s Choice us to fulfil our remit and the strong
Award at the Toronto International Film ambition of Irish filmmakers We have set out an implementation plan to
4 Academy Award® Nominations 2016
Festival. In 2015/16 Irish film has taken over execute the various actions developed in
Best Film, Best Director, Leading Actress, Best Adapted Screenplay
$140 million at the worldwide box office and —— Improving the local landscape by way this strategy.
has generated global sales. of partnerships with state agencies,
Academy Award® Winner
broadcasters and content distributors
Leading Actress
This achievement is the result of investment
and support provided by the IFB over many —— S
trengthening the position of Irish film,
Brooklyn
years and proves that in order to achieve television and animation in the rapidly
national and international recognition it is shifting international marketplace
vital to invest (and continue to invest) in
home-grown talent. —— E
nsuring we have the right skills and
training facilities to allow us to enable
3 Academy Award® Nominations 2016
Carpe Diem – Seize the Day continuous industry growth
Best Film, Leading Actress, Best Adapted Screenplay
Irish film and screen content has achieved —— E
nsuring we have the infrastructure to
Song of the Sea
phenomenal worldwide success, but what support production
comes next? Ireland has a new, improved
and extremely competitive tax incentive for —— E
nsuring Ireland is competitive
production activity in place, but how do we in terms of the international
maximise the benefits of this? We believe that landscape for screen production
Academy Award® Nomination 2015 now is the time to seize the opportunity that
Best Animated Feature this success presents to Ireland, to scale the
industry to the next level. And we believe that
the IFB is the agency to direct and oversee
this growth.
02 03
Foreword from the Chairperson Introduction and Message
— from the Chief Executive
—
I am delighted to present this Strategic Plan production, the development of talent and The Board of the IFB is excited by these The remit of the IFB is as the development Irish films need to be addressed, as do the I would like to take this opportunity to thank
for the IFB, covering the period 2016 to 2020. skills and inward production and investment. challenges, and in many ways this Strategic agency to promote creative talent working in limitations on resources devoted by those the IFB Board for their vision in delivering this
Key to this will be the funding of, and Plan provides a public statement of intent film, television and animation. Our aim is to public-service broadcasters to TV drama Five-Year Strategy and for their support to
Irish film, television and animation has been support for, creative talent development and regarding the work we will be doing over the develop a sustainable industry for filmmaking (including children’s TV drama) and TV our staff over recent years. I would also like
enjoying tremendous success in recent times, organisational arrangements to support this. next five years. Further work will be carried in Ireland. Our purpose is to support the animation. Computer games are also a major to thank my hardworking colleagues within
and it is the intention of the IFB to help build out by the Board and by the IFB Executive highest quality in creative filmmaking and opportunity not only for Irish technology the IFB for their constant commitment and
on these achievements. The IFB develops The third pillar will focus on a Strong team to bring the strategy to life, including an our ambition is to see this quality recognised but also Irish creativity and storytelling. The dedication to our work. Finally, I want to
and funds a range of projects — primarily Foundation for the IFB in order to deliver on annual business plan, and we will be reporting by Irish and international audiences. This limitations on IFB resources (as well as those express my appreciation of the dedication
feature films, feature documentaries and TV our priorities, including increased funding for annually on our success in achieving the purpose and ambition have already borne on the other public service bodies) brings and commitment of all of the creative and
animation. As a nation, we have great pride investment in film, television and animation, objectives set out in this Strategic Plan for fruit in the recent successes of IFB-funded into strong focus the need for leadership to technical people working on IFB-funded
in the Irish and international recognition dynamic partnerships within the sector and 2016 to 2020. films. With a dynamic industry and artistic create a sustainable environment for creative films. It’s a challenging and competitive
achieved by films such as Room, Brooklyn, an effective organisation that can deliver on leadership and drive, both within the IFB storytelling on screen in Ireland, and the industry, and without them none of this
Viva, Sing Street, Song of the Sea and The these priorities. On behalf of the Board, I would like to thank and in the wider community of filmmakers, central role that the IFB would play in this. would be possible. Thank you again.
Queen of Ireland – and in the quality of Irish our CEO, James Hickey, and his team of even greater success can be achieved.
storytelling presented on screen. In an ideal world the IFB would support professional and committed staff at the IFB; What we do know is that Irish creative James Hickey
Irish creative talent, telling stories on the Minister and officials in the Department The IFB needs to put itself on a secure footing talent in film, television and animation has Chief Executive
This success has taken many years to build screen through all the forms and media that of Regional Development, Rural Affairs, as that development agency and be fully achieved spectacular success in the recent Bord Scannán na hÉireann/Irish Film Board
and many of those directors, writers, actors, technology enables. These now include Arts and the Gaeltacht who have provided and properly resourced. This will enable us past. Irish screen writers, directors, actors,
producers, animators, skilled technicians and feature films and feature documentaries great support to us, our many partner to develop the strength and depth of the designers, animators, technicians, and
many others in the screen industry who are for cinema release and distribution online, organisations in the screen industry who creative talent in screen storytelling in Ireland, other creative artists for screen, have had
now enjoying success have benefited from short films, TV animation, TV drama on work with us and the other public agencies including in particular new and emerging their work recognised for its quality and
investment by the IFB over the last 10 to 15 broadcast television and online, interactive with whom we engage. talent as well as supporting a sustainable innovation worldwide. This creates high-
years. Without our support, many of them content and computer games. To achieve career path for the creative talent already quality jobs in Ireland. It creates economic
would not have been able to develop the kind this ideal and give full effect to the remit of We also remember fondly our beloved working in the sector. The goal is a vibrant and cultural value through the ownership of
of careers they now enjoy. the title Screen Ireland, the IFB needs to be former Chair, Bill O’Herlihy, whose sudden future for artistic quality and excellence intellectual property which in turn generates
resourced both in terms of additional funding and tragic death in 2015 was a major shock in film and screen content for Ireland and employment, exports and revenue for Ireland.
There are three central pillars to this Five-Year and personnel. This would involve not only to all at the IFB. Bill brought dynamism and its taxpayers who support this work. It promotes an image of Ireland as dynamic
Strategy. The first, is setting out a Vision for looking at all the potential sources of funding huge commitment to the development of and innovative as well as highlighting its
2020. The Strategic Plan provides a vision of film agencies but also working closely with the IFB and the wider screen industry, and With limitations on funding, the IFB has locations and scenic imagery for a worldwide
for the IFB and we will be working with all other organisations in the screen content this strategic plan, which he was very keen continued a strong commitment to feature audience, promoting inward tourism and
our stakeholders to promote and develop a production sector so that the best outcomes to progress, will be Bill’s enduring legacy films including feature documentary growing revenue for the Irish economy.
vision for the industry overall. We will focus are achieved for screen content production – for us all. films for cinema release. The IFB also
on Leadership, Gender and Diversity and culturally and economically. supports the development of creative Our vision over the next five years is for
Building Audiences for Irish film, television Dr Annie Doona talent through its short film schemes. In Irish creative talent in film and screen
and animation. In December 2015 we Developing and maintaining a successful Acting Chair addition, we support TV animation and content to strengthen and deepen and for
published a Six Point Plan on Gender Equality screen industry in Ireland is not solely the Bord Scannán na hÉireann/Irish Film Board TV drama where we have seen gaps in world-class storytelling on screen to give a
which is close to my heart and we will be responsibility of the IFB, and we will continue other public supports for storytelling on full and equal voice to the diversity of Irish
working actively with all our stakeholders with to work closely with our colleagues in central screen. In this way we can rightly claim cultural life for Irish audiences as well as
a view to achieving the targets and goals set government and with a wide range of state our central role as the development on the world stage. We are hugely excited
out in this plan. agencies and the public-service broadcasters agency for screen content in Ireland. by the creative possibilities and will be
in areas such as funding, infrastructure, job pursuing every opportunity to bring them
The second pillar will be to Build on our creation, taxation, and other incentivisation The IFB’s Mission, Vision, and Values need to fruition so that the widest diversity of
Core Strengths which will focus on the measures which are vital in helping to move to be seen in this wider context. Issues such Irish and international audiences can see
development and support of creative screen the industry forward. as public-service broadcaster funding of the work of Irish creative talent on screen.
04 05
Who We Are and What We Do
—
In 2015/2016 Irish
Bord Scannán na hÉireann/The Irish Film Film Production Film Audience
Board (IFB) was established as a state
agency for film funding under the Irish —— Providing production investment loans for —— Supporting the Irish film programme in
Film Board Act 1980. The remit of the IFB is feature film, feature documentaries and local festivals
Film grossed over $140*
set out as follows: “The Board shall assist TV animation projects
and encourage by any means it considers —— Supporting Irish film and television awards
appropriate the making of films in the State —— Enabling Irish companies to own and
and the development of any industry in the exploit their own intellectual property —— Supporting and promoting Irish films at
million at the theatrical
State for the making of films”. This remains major international markets and festivals
the statutory remit of the IFB to this day. —— Support short film schemes across live which provide an international sales launch
The IFB operates under the aegis of the action, documentary and animation pad for our output
Department of Regional Development, Rural
box office worldwide.
Affairs, Arts and the Gaeltacht. We have Film Distribution —— Creation of Irish Shorts DVD and
a staff complement of 14, with a further promotion of short film talent
6 in Screen Training Ireland. Our work is —— Funding P&A spend and assisting with the
overseen by a Board of up to 7 members promotion and distribution of the feature —— IFB Media Hub
appointed by the Minister. films in cinemas throughout Ireland
Film Location
What We Do —— Assisting distributors with distribution
strategies including the broadcast and —— Promoting inward investment and Ireland
—— Provide leadership and strategic vision online availability of these films as a location for international production
for Irish film and the Irish film industry
Film Industry Support —— Providing advice and support for
—— Provide a wide range of funding for film international companies seeking to locate
and screen content —— Through Screen Training Ireland, investing production activity to Ireland
in people and skills development
—— Foster an environment for a successful —— Organising a number of inward and
and growing Irish filmmaking culture, —— Supporting industry guilds outward trade missions on an annual basis
telling our own stories for Irish and
international audiences —— Supporting Creative Europe desks in —— Working in partnership with EU
partnership with industry counterparts on co-production
We fulfil our remit through a number of
activities as set out below: —— IFB website, industry communications,
social media management
Film Development
—— Supporting creative talent and Irish
production companies
—— Providing development loans for feature
film, feature documentaries, TV animation
and international TV drama
—— Enabling Irish companies to own and
exploit their own intellectual property
* figures to June 2016
06 07
Strategic Context
—
“ We have the great
Scope and Remit Policy Landscape
“Film” is not defined in the Irish Film Board Government policy for the IFB, which
Act 1980 or in subsequent IFB legislation. The funds, supports, and develops the Irish
intangible, which is the ‘soft
IFB operates on the basis of a wide definition film industry, forms part of policy for the
of the types of films we fund, including: audiovisual production sector overall. Other
aspects of government policy include the
—— feature films (live action and animation) Section 481 tax relief for film production,
power’ aspect of millions of
—— feature documentaries public service broadcaster funding, the
—— TV animation Broadcasting Authority of Ireland (BAI)
—— TV drama development Sound & Vision Scheme (funded by a
portion of the television licence fee), and
people all around the world
The IFB has not as yet included computer the mandating of a quota for programming
games in its remit even though this from independent television companies for
has been embraced in other European RTÉ. A series of policy and strategy reports
territories. Television drama production and initiatives have shaped the audiovisual
seeing films made by Irish
and development, including Irish-language industry and the role of the IFB within it
television drama, has been supported in the over the past two decades, including most
past, but due to funding constraints only recently the 2011 Creative Capital report1.
the development of high-end international However, aspects of previous reports were
directors and producers,
television drama is currently supported. not implemented, and at present there is
no clear overarching government vision or
In December 2015, legislation was passed strategy for the audiovisual industry.
by the Oireachtas to facilitate a change of
written by Irish scriptwriters
name for the IFB to “Screen Ireland”. Our Changing Times
ambition at the IFB is to embrace our role
as Screen Ireland, the national development The audiovisual production sector has
agency for creative screen content changed, and will continue to change,
taken from Irish novels and
production. However, our capacity to do dramatically. Technological advances are
so at present is subject to limitations on affecting every aspect of the industry
funding and staff resources. including filming, visuals, sound, and
consumption, now fragmented across
played by Irish actors. This
cinemas, DVDs, Blu-Ray, tablets, and
smartphones. This presents challenges in
terms of training and skills development,
for example, but also opportunities to
is... enormously powerful,
increase the audience for and impact
of Irish film, television and animation,
domestically and internationally.
economically”
* Irish Independent article “ The Oscar trail
of success can be a huge boost to ‘Brand 1 or details on the Creative Capital report and other policy and strategy
F
David McWilliams, Economist Ireland’ abroad”, David McWilliams documents from previous years, please see our website.
08 09
Listening to our Stakeholders
—
Developing Talent –
In late 2014/early 2015, Crowe Horwath carried out an extensive consultation with
stakeholders in the screen content production sector in respect of their views on what
the IFB’s future strategy should focus on. Below is a broad sample of what we heard.
The Next Generation: Theme
Vision and leadership
You Said
There is an absence of a clear, communicated
What this tells us
We need to set a clear vision for the IFB
Ireland has won 10
vision for the industry and the IFB, and the and to reclaim the cultural and artistic
leadership has focused on economic rather voice for film
than cultural/artistic aspects
Academy Award
Perceptions of the IFB The IFB is seen as hardworking, but with We need to strengthen our resources,
resource challenges and a perceived lack of build on our strengths, and ensure our
transparency in decision making organisation is accountable and open
Nominations and Two
Remit of the IFB Mixed views on whether the remit of the We need to consider the impact of any
IFB should extend more substantially into extension of our remit on our capacity in
non-feature film areas of screen content and terms of resources
recognition of the resource constraints
Academy Awards Balance between indigenous industry
and foreign direct investment
It is recognised that inward investments
support the audiovisual industry in Ireland,
but some are concerned about the balance
We need to work on ensuring the right
balance of resource allocation in respect of
inward production and on ways to make it
for Best Short Film
for indigenous production and the lack of work for creative talent development here
opportunities to develop Irish creative talent
Development of creative talent The current funding structures are focused on We need to focus on ways to nurture and
since 2002.
producers and are project-based rather than support creative talent to ensure a vibrant and
supporting talent development creative industry in the future
Development of the indigenous industry Stakeholders would like to see a stronger We need to support a diverse range of Irish
Irish voice and confidence in Irish film, with filmmakers in their articulation of a vision
a longer-term development approach and an for Irish film, supporting the industry with
emphasis on diversity, gender in particular innovative approaches
Education and training Screen Training Ireland is well-regarded and We need to build on Screen Training Ireland’s
stakeholders are happy to see it continue strengths and work with education and
under the aegis of the IFB; additionally there training providers and with the industry to
should be closer integration with third-level bring them closer together
education and pathways into the industry
10 11
Mission Vision and Values
— —
The IFB’s mission is to support and promote Irish film, television Vision
Our vision sees IFB as a leadership
and animation through fostering Irish artistic vision and our organisation advocating for a
vibrant, creative and sustainable
diverse creative and production talent, growing audiences, Irish film, television and animation Talent and Skills
industry, with diverse voices, talent
and attracting filmmakers and investment into the country. and opportunities, which speaks to
Creativity and
and connects Irish film culture with Value for Money
Innovation
audiences at home and abroad.
We deliver on our mission through: Policy Values
In leading and supporting the industry, our
policy is to value and support the following: Policy Values
Providing leadership, Promoting Irish films to Audiences Diversity
direction and advocacy major international markets
for the Irish film industry
Generating inward Partnerships Enterprise
Development and Production investment by promoting
funding for Irish film Ireland as a film location
and screen content and advising international Professional
companies on locations
Investing in people and
Open Creative
skills development through Engaging with European IFB Organisational Values
Screen Training Ireland counterparts on mutually Our organisational values are fundamental
in informing and shaping both our
beneficial policy initiatives IFB Values corporate and individual behaviour within
the IFB. We strive to provide the values set
Promoting the distribution out on the left.
of supported feature Accountable Effective
films, bringing Irish film
to wider audiences
Efficient
12 13
Key Challenges Strategic Objectives
— —
2
The timing of this strategy is particularly
apt because it is about building on success.
—— Restoring IFB funding levels to
enable us to fulfil our remit and the
Focus of Strategy
Irish film received eight Academy Award® strong ambition of filmmakers The purpose of this strategy is to help ensure a clear vision and plan
nominations in 2015/16, which for a country for the IFB and to streamline our focus into a number of strategic
of our size is a spectacular achievement. It —— Improving the local landscape by way priority areas. This strategy aims to support the case for restoring
is clear that Ireland has vibrant talent, and of partnerships with state agencies, funding and for enhancing support for the sector, and is built upon
what is needed is the requisite framework broadcasters and content distributors our strategic analysis and feedback from our stakeholders.
to harness this momentum. The principal Building on Our
challenges and opportunities we need to —— Strengthening the position of
address include: Irish film in the rapidly shifting Core Strengths
international marketplace
—— Positioning the sector as a strategically
important contributor to the cultural —— Ensuring we have the right skills Strategic Priority Areas Development and Support of
and economic life of the country and training facilities to aid the
growth of the industry — Creative Screen Production
—— Identifying, nurturing and
1
developing creative talent and —— Capitalsing on the new and improved tax
building a film culture in Ireland incentive Section 481 to scale the industry Development and Nurturing
—— Embracing diversity and gender —— Ensuring we have the infrastructure of Talent and Skills
equality in all its forms and ensuring the to support production
participation and representation of the
full range of diverse voices in Ireland —— Ensuring Ireland is competitive Inward Production and
in terms of the international
—— Strengthening the links between landscape for screen production Vision for 2020 Investment
creative vision, quality of work
and audience engagement to
Vision and Leadership for
3
achieve critical and commercial
success for Irish screen content
the Screen Sector
Gender and Diversity
Building Audiences Strong Foundations
Increased Investment
Partnerships for Screen
Production
Organisational Effectiveness
14 15
Vision for 2020 16 17
Vision and Leadership Gender and Diversity
for the Screen Sector —
—
Positioning the IFB at the centre of industry —— Seeking a ‘root and branch’ review of how As part of our artistic leadership role in film 5. S
upporting education initiatives in
and artistic leadership for film and screen feature film is funded in Ireland, including and screen content it is vitally important schools and colleges in the area of
content production in Ireland is at the heart examination of alternative and innovative that we represent a contemporary Ireland Irish culture
of the IFB’s vision for the next five years. Our approaches (including contributions from with all of its uniqueness, originality of voice
role sees us as promoting the environmental and levies on broadcasters and other and cultural diversity. In doing so we want to 6. W
orking with our partners in funding film
conditions so that growth and creativity can content users) and comparative practices provide a breadth of storytelling and serve a and screen content, including the public
achieve its full potential. in other EU countries and elsewhere wide range of audiences. service broadcasters RTÉ and TG4, as well
as the Broadcasting Authority of Ireland
We want to support the growth and —— Commissioning a full study of the screen We are committed to addressing the issue (BAI) Sound and Vision Scheme, so that
development of a dynamic sector, creating content sector including employment of gender inequality in Irish filmmaking and gender equality and diversity is promoted
great work, jobs and exports in a vibrant levels, turnover and the strategic potential screen content, in particular the roles of in publicly funded screen content
and innovative environment. We want to of the sector. This will then be followed writers and directors. For the purposes of this
achieve full recognition for the sector in the through with annual data collection and five-year strategy our main focus in ensuring a Intended Outcomes
strategically important role it plays both industry measurement so that policy diversity of voices in Irish film and filmmaking
in Ireland and internationally, so that the development is fully informed by accurate will be on gender. —— A more inclusive diversity of creative
benefits of improved support for the sector statistical information talent and screen content across the full
are strongly advocated for. Key Actions spectrum of Irish society
—— Working with European Film Agency
We will engage with government and other Directors on the development of EU —— Tasking the new Head of Creative —— That diversity within Irish society is fully
stakeholders in the sector so that the vision policies on film and screen content, Production and Talent Development reflected in the film and screen content
for Irish culture and creativity is promoted including initiatives on the Digital Single to work to achieve enhanced levels of production sector, within the workforce
and the value of Irish screen content is Market (DSM), the Audiovisual Media diversity in films and screen content as a whole and in the audiences for
fully recognised for its cultural, social and Services Directive (AVMSD) and directives supported by the IFB whom the film content in created
economic merits. in relation to copyright and e-commerce
—— Continuing to implement the Six Point Plan —— That the target of 50/50 gender parity in
Key Actions —— Playing an active role as the Creative on Gender Equality published in December creative talent working in screen content
Europe Desk co-ordinator, supporting the 2015, including the following initiatives: is achieved
—— Taking an industry leadership / Irish audiovisual sector, accessing funding
advocacy role by engaging intensively and opportunities that the Creative Europe 1. T
he collection, publication and —— That diversity and gender equality
with government for a strong policy programme provides monitoring of data on gender inequality are embedded within the funding
engagement with storytelling on screen in process of all publicly funded film
Ireland, so that there is a coherent public Intended Outcomes 2. E
ngagement with production companies and screen content
sector approach to the development and and representative organisations to raise
funding of the sector —— Positioning of IFB in industry leadership awareness of gender imbalance and
working with them in education and
—— Providing artistic leadership, nurturing —— Positioning of IFB in artistic leadership training initiatives highlighting unconscious
and developing creative talent on screen. bias in creative decision making
This will include intensive engagement —— Sustainable funding for film and screen
with writers, directors and producers content 3. E
nhancing the skills and capacities of
and the creation of a new post of Head creative decision makers in relation to
of Creative Production and Talent —— Evidence-based policy for the screen diversity and equality issues in the creative
Development content production sector decision-making process
—— Promoting the economic and cultural 4. C
ontinuing training and mentorship
value of inward production and the vital initiatives through Screen Training Ireland
role played by tax incentives (Section 481)
and other measures promoting Ireland in
the competitive world market of screen
content production
18 19Building Audiences
—
“Ireland’s presence globally
The IFB will increase audience access to —— Building a networked approach to
IFB-funded films in cinema, online and exhibition and programming through
broadcast television and will promote strategic partnerships to increase the
Irish film culture. Audience consumption circulation of Irish films
is through its culture, that’s
is shifting at a dramatic pace as is the
many ways in which audiences can now —— Building in structured feedback after a
engage. Theatrical windows are still film’s distribution life with the producer
important in terms of generating profile and the distributor
our strongest identifier.
for films and there are considerable
opportunities in building new relationships —— Working with Irish broadcasters
across a wide range of platforms. to promote Irish film to a wide
television audience
With really clever targeted
Key Actions
—— Continuing our successful strategy of
—— Continuing to build cinema audiences engagement with international A-list
for IFB films by focusing on audience festivals to promote Irish film and Irish
support, I think we could
development as part of the funding film talent
process at the development and
production funding stages —— Working with film festivals in Ireland
and internationally to support and
have a world-class content
—— Increasing cinema distribution promote the exhibition of Irish work,
funding and planning, to maximise in conjunction with Culture Ireland
cinema-going audiences in all and the Irish Film Institute
funding decisions for IFB films
creation sector in Ireland.”
Intended Outcomes
—— Continuing to build our relationships
with local, UK and US distributors and —— Increased cinema and digital audiences for
international sales agents, which are Irish film
vital to the success of Irish films
—— Increased access to Irish film for audiences
—— Supporting early engagement between
producers and distributors and creating —— Promotion of IFB-funded films Lenny Abrahamson,
incentives that supports early partnership
—— Partnerships developed with distributors, Academy Award® Nominated Director
—— Developing a new strategy supporting the broadcasters, and other funders
delivery of IFB films to digital audiences
including VOD, subscription VOD (SVOD)
and over-the-top (OTT: the term used for + Additional funding will enable us to:
the delivery of film and TV content via —— Increase funding for distribution across all
the internet) including tracking revenue platforms
streams and promoting audience access
—— Establish a regional exhibition fund for
—— Working with the Department of Irish film
Regional Development, Rural Affairs, Arts
and the Gaeltacht, and the Arts Council —— Establish an education partnership
on the completion of the Arthouse outreach fund for Irish film
Cinema Network which will greatly
enhance the circulation of Irish films
*LA Times article “Irish Film Board has growing
ambition for its industry after 2016 Oscars”
20 21Building on Our Core Strengths 22 23
Development and Support of Development and Nurturing
Creative Screen Production of Talent and Skills
— —
We will continue to support and develop budget, and low-budget films to new Irish IFB will support the development, nurturing, —— Developing a film strategy for young + Additional funding will enable us to:
those creating and producing film and cinema, mid-range films and major Irish
+ Additional funding will enable us to:
and maintenance of talent and skills for the people which will aim to discover next —— Increase the IFB investment in skills
—— Increase development funding for
screen content in Ireland by providing feature films screen industry in Ireland. Finding, nurturing, generation filmmakers and training
feature films and to resource a full range
funding and other supports. We will and developing creative talent through
of development of screen content
strengthen the creative process and —— Ensuring that the Creative Team is properly supporting development and production, is —— Developing links with third level education
explore new ways of helping creative resourced in order to be strengthened to a clear goal for IFB. Through Screen Training and training institutions to support
—— Improve and increase production
talent achieve full potential. deliver talent development initiatives Ireland we will continue to expand the graduate pathways into the industry
funding supports for feature films and to
development and support of a whole range of
resource a full range of screen content
The primary focus of the production and —— The development of concentrated skills and training for the audiovisual sector. —— Establishing an education forum at
development team is to engage with supports for animation screen content primary, secondary and third levels in
—— Establish support for the creative
writers, directors and producers of films through targeted development and The current level of funding for skills Ireland to link industry with the education
storytelling elements of computer games
and screen content to achieve the best support for short films and lower budget development and training in Ireland is wholly system from the earliest stage
quality and diversity of the work supported animation projects inadequate to support the potential growth
by the IFB. High-quality screen production of the sector and priority must be given to —— Advocating for and strongly supporting
depends on the collaboration of the —— The promotion of Irish writers, directors, developing a sustainable model for funding a levy on the Section 481 incentive which
creative team involved, supported by the producers, actors and other creative training and skills. will form the basis of a skills fund to
resources and funding of the IFB. personnel at international festival markets support the industry skills requirements
to international talent agents Alongside this IFB Strategic Plan, the IFB
Key Actions and the BAI have commissioned a new Intended Outcomes
—— Assign a share of the producer corridor to strategy for the development of skills in the
—— Providing production funding to be shared with other Irish creative talent audiovisual sector. —— Implementation of strategy for the
creative screen productions in Ireland (writers and directors) development of skills for the whole
and to creative co-productions Key Actions audiovisual industry including a more
with Irish involvement. Funding will Intended Outcomes sustainable model of funding training
prioritise feature films and feature —— Overseeing, along with the BAI, the
documentaries for cinema release —— High-quality creative films to be made implementation of forthcoming strategy —— More integration of training with
with smaller amounts of funding also in Ireland and with Irish involvement to develop skills and training for the inward production in order to maximise
provided for television animation and internationally audiovisual sector in Ireland opportunities
other forms of screen content
—— More access to development funding to —— Considering the outcome and —— Clearer career pathways and more ‘on
—— Providing development funding for Irish ensure that projects going into production implications of this strategy for Screen the job’ opportunities
feature films, feature documentaries and are of the highest quality Training Ireland and IFB
major international TV drama so that the —— Improved co-ordination and support
quality of the work can attract local and —— Identification and nurturing of existing and —— Implementing, along with other industry for education and training in the
international funding for production new talent in relation to creative screen stakeholders, the strategy for skills sector
content production development
—— Creating a new position of Head —— Increased skills and capacity building in
of Creative Production and Talent —— Finding ways to link training and the audiovisual sector
Development to provide artistic and development to funded productions
creative leadership in the support of more effectively —— Strong creative talent and the opportunity
screen production to develop and hone skills and experience
—— Addressing the challenge of training
—— The development of career paths for and development for creative roles —— Strong links between industry and
filmmakers through graduated steps in in the industry (i.e. screenwriters, education
film production from short films, micro- directors and actors in particular)
including the development of
shadowing and mentorship
opportunities, showcasing and specific
talent development initiatives
24 25Inward Production and Investment
—
“ Ireland has become
The IFB will continue to promote inward —— Promoting Ireland though trade
production of feature film, TV drama and missions to major international
animation projects as well as the development industry hubs and co-production
of a network and infrastructure for production partner territories including EU, US
an important part of
in Ireland. This will support the growth and Canada, India and China
development of the sector in Ireland and
increase jobs, exports and the international —— Working with IDA Ireland on the
promotion of Ireland as a tourism destination. infrastructural requirements of
Star Wars history.”
the sector and the foreign direct
Key Actions investment opportunities within it,
creating jobs and exports
—— Promoting the new Section 481 tax
incentive to achieve exponential —— Ensuring that environmental conditions
growth and development in film, TV that support inward investment and
drama, animation, visual effects and employment are strong and competitive Candice Campos, Vice President,
post-production
Intended Outcomes Physical Production, Lucasfilm
—— Recruitment of a new Inward
Production Manager —— Increased production levels in Ireland
“ Ireland is the best
—— Develop the Film Dublin Partnership and —— More employment within the sector
build new stakeholders
—— Greater capacity of the regions to attract
—— Build filmmaking fabric in the regions, inward production
place in the world
develop our relationships with local county
councils, and create a regional filmmaking —— Increased state-of-the-art infrastructure
fund to stimulate regional activity commensurate with plans to develop the
creative screen industry in Ireland
to shoot a film.”
—— Liaising closely with the industry and with
government to ensure that Ireland’s need —— Improved access to urban and rural
for studio infrastructure is properly and locations
objectively assessed, and the appropriate
actions taken by key parties involved —— Enhanced facilities and services available
in Ireland
—— Upgrading and improving the database
of film locations to improve its content
Whit Stillman, Director, Love & Friendship
and usability
26 27Strong Foundations 28 29
Increased Investment Partnerships for
— Screen Production
—
The IFB will engage with government and Key Actions The success of Irish film is built on —— Partnering with Enterprise Ireland to
other partners and stakeholders to seek partnerships with a wide range of develop Irish companies working in
increased investment in Irish film over the —— Continuing to highlight the contribution stakeholders, public and private. Without screen content production, increasing
lifetime of this strategy. Irish films have made by Irish film and the screen these partnerships, the capacity to provide employment and promoting services
achieved great success in recent times, yet, industry to our economy – in 2015, the number of films that are delivered and facilities including animation, post-
since 2008, the IFB’s funding has been cut IFB-funded films brought in over $140 annually would be reduced even further. Even production, visual effects, and all forms of
from €20 million to €11.2 million. million at the box office worldwide; and with existing partnerships, there is an urgent screen content production
the wider audiovisual sector employs need to break new ground in developing
Ireland’s current success is due to over 6,000 people at present in Ireland, and increasing the level of engagement with —— Developing international partnerships
investment in Irish film and creative content generating over €0.5 billion to the these partners. through international co-production
production over the past decade or more, economy treaties and other government-to-
and to maintain such reduced funding levels Key Actions government relationships to promote
for the IFB threatens the future success of —— Engaging with government, political international co-production partners for
Irish film and filmmakers. leaders, and senior executives in a wide —— Partnering with government in bringing Irish originated films and creative
range of state agencies to present the case to the fore a cultural and industrial co-productions
We strongly believe there will be significant for increased investment in Irish film and vision for growth and development to
advantages for Ireland if our funding were screen content production the sector through working with the —— Partnering with other public film
to be increased, particularly for the cultural Department of Regional Development, funding agencies to promote co-
value of the films produced and the creation —— Undertaking an audit of comparative Rural Affairs, Arts and the Gaeltacht and funding arrangements and the pooling
and maintenance of thousands of jobs film agency and content funding the Interdepartmental Group established of creative skills, so that the knowledge
within a growing industry achieving huge arrangements in the EU and elsewhere by the Department of the Taoiseach so and experience of international
international critical acclaim. We to support the case for increased that there is an integrated governmental production strengthens and develops
also strongly believe that all options in investment in indigenous content policy and ongoing initiatives across all Irish film and screen content
relation to sources for increased funding parts of government
should be explored. This could include —— Independently measuring the value of Irish —— Engaging with private sector funding
the deployment / re-deployment of film through an ongoing data collection —— Partnering with public service broadcasters opportunities including film distributors,
existing resources such as public service process, and the annual presentation to secure increased funding for feature broadcasters, and film financing funds
broadcaster funding and new sources of results film and screen storytelling content as
of funding through contributions from well as access to audiences. A full and Intended Outcomes
online channel delivery services. Intended outcomes: intensive engagement with RTÉ and TG4
across feature films, television drama, and —— Enhancing the quality and range of films
—— Restoration of IFB funding to €20 animation is essential to the future success and screen storytelling content written,
million, including annual increases on an of Irish originated screen content produced and directed by Irish talent
incremental basis
—— Partnering with associations such as —— Strengthening the industrial base of the
—— Increased contributions from public the Writers Guild of Ireland, the Screen screen content production sector
service broadcasters and content Directors Guild, Screen Producers
distributors to Irish film and screen Ireland, Animation Ireland, Visual Effects —— Increased public service broadcaster
storytelling content Association of Ireland, Women in Film and funding for feature film as well as TV
Television, Games Ireland, and Imirt (Irish drama and TV animation
game makers’ association) and others to
strengthen and develop the creative skill —— Greater audiences for Irish content
base for Irish screen content production
—— Increased foreign direct investment
—— Partnering with IDA Ireland to encourage
foreign direct investment in film, TV —— The growth and focus of Irish production
production, animation, and computer companies, particularly with a focus on the
game production located in Ireland export markets
30 31Organisational Effectiveness
—
In 2016, Two out of
The IFB will ensure the organisation is —— Reviewing the organisational and
appropriately resourced, structured, governance structures relating to
governed, and managed so as to most Screen Training Ireland and its role
effectively support our mission and to within the IFB
the Eight Best Picture
achieve our strategic aims.
—— Ensuring we have appropriate
Key Actions policies, procedures, and systems
in place to support efficient and
Academy Award
—— Reviewing the size, configuration, effective working practices
and appointment process of the
IFB Board with the Department of —— Ensuring we have communications
Regional Development, Rural Affairs, plans in order to effectively
Nominations were Irish
Arts and the Gaeltacht, to ensure it communicate with our stakeholders
can continue to effectively lead and
govern the organisation —— Ensuring that the IFB and Screen Training
Ireland are learning organisations. We
—— Reviewing our Creative Team value our staff and their development
structure to deliver a dynamic and
artistic leadership and a concerted Intended Outcomes
development of and support for
creative talent —— An IFB Board with the appropriate mix of
skills and experience to continue to lead
—— Reviewing our funding systems and govern the IFB and Screen Training
to achieve the maximum level of Ireland in the most effective way
transparency and accountability
which meets the flexibility and —— An increased level of creative and
adaptability necessary for us to administrative staffing with an
deliver on our role as a development appropriate range of skills to maximise
agency the impact of the work of the IFB
—— Reviewing our internal structures to —— A well-managed organisation operating
identify the most appropriate level and transparently, efficiently and effectively
configuration of resources to support
the work of the IFB
32 33Measuring Our Success Making it Happen
— —
Measuring success across the economic and
industrial agenda is quite straightforward
great intangible, which is the ‘soft power’
aspect of millions of people all around
Implementing To implement our new strategic plan, the IFB will
commence a series of activities over the next 12 months:
– physical production can be seen and
its impacts and economic multipliers can
the world seeing films made by Irish
directors and producers, written by Irish
the Strategy –
be measured. Measuring cultural and
artistic achievements is more complex.
scriptwriters taken from Irish novels and
played by Irish actors”. In a small economy
Next Steps
As David McWilliams wrote about the
Irish film sector’s success “We have the
such as ours, cultural and economic
achievements are inextricably linked.
— Activity Timeframe
This Five-Year Strategic Plan has been Stakeholder Engagement Q4, 2016 to Q1 2017
Cultural and Artistic Industrial and Economic prepared in order to ensure that the IFB We will hold a series of meetings with
maximises its capacity to support the film, key stakeholders (industry, government,
—— Cultural benefit of Irish film —— Economic value of local screen TV and animation industry and to assist state agencies, broadcasters, etc) to
and screen content – telling production and inward investment as in its development. It is not, however, a present our new strategy and to discuss
stories of Ireland and Irish talent stimulated by Section 481 tax incentive strategy for the industry per se, and whilst how best we can work together to
telling international stories the IFB is keen to play a full part, we also deliver on our strategic objectives
—— Growth of filmmaking in the regions believe that the time is right for government
—— Audience engagement in Ireland to consider the development of a new Organisational Strengthening Q4, 2016 to Q1 2017
and internationally – across —— Growth in employment strategic plan for the audiovisual industry as We will review our executive and Board
all viewing platforms a whole, covering all aspects – indigenous structures, including Screen Training Ireland,
—— Growth in physical infrastructure production, foreign direct investment, job to maximise our effectiveness – this will
—— Selection at Irish and creation, financial supports, infrastructure, include creation of a new role Head of
international A-list festivals —— Scaling of the sector people development, and many more. Creative Production and Development
—— International awards for Irish —— Tourism benefits from screen Annual Business Planning and Reporting Q3-Q4, 2016
film and Irish film talent production using Ireland as a location We will develop an annual business plan to set
out the year-on-year operational objectives
—— Sales and exports of Irish film —— More stable and sustainable of the IFB, linked in with our budgeting
production environment and resource planning cycle and with the
—— Improved gender balance and production of an annual report
diversity in the work we support —— Technology and innovation developments
Measuring our Success Q4 2016 to Q1 2017
—— Career progression of Irish talent – —— Partnerships to achieve economic We will report on an annual basis how
writers, producers, directors, and industrial impacts we perform benchmarked against our
animators, actors and technicians performance indicators
—— Partnerships in order to achieve Strategy Review Q4 2017
cultural and artistic benefits As the industry changes the IFB must be
responsive to change and be adaptable –
as part of our strategy we will review our
In order to advance greater transparency the IFB will use these performance
strategic priorities and examine how
indicators and will report on them on an annual basis.
we are progressing and the changes we
should make
34 35Appendix 1 Appendix 4
— —
IFB Exchequer Funding 2006 – 2016
Year Capital Admin Total
Funding (€) Funding (€) Funding (€)
2006 €17,300,000 €2,126,000 €19,426,000 1. Average Allocation of IFB
2007 €19,500,000 €2,659,000 €22,159,000 Capital Funding 2013 – 2015
2008 €20,000,000 €3,189,000 €23,189,000 —
2009 €18,817,000 €3,023,000 €21,480,000 Total 2013 – 15
2010 €16,500,000 €2,772,000 €19,272,000
2011 €16,000,000 €2,431,000 €18,431,000 Irish Production 39%
2012 €13,150,000 €2,540,000 €15,690,000
Creative Co-Pro 11%
2013 €11,898,000 €2,960,000 €14,858,000
2014 €11,202,000 €2,760,000 €13,962,000 Documentary Production 7%
2015 €11,702,000 €2,760,000 €14,192,000
TV Animation Production 6%
2016 €11,202,000 €3,269,000 €14,471,000
Shorts 4%
Distribution 4%
International Production 2%
Appendix 2
Development 14%
Training 5%
— Industry Support 8%
Annual expenditure in the Irish economy from independent film,
TV drama and animation production activity 2006 – 2015
2006 €91,659,750 2011 €118,248,839
2007 €100,425,445 2012 €142,968,378
2008 €108,441,729 2013 €183,142,646
2009 €105,477,863 2014 €237,387,613
2010 €164,581,541 2015* €118,618,238
2. Average Allocation of IFB Funding for
*New Section 481 regime introduced February 2015 Production / Development / Distribution
2013 – 2015 (excluding Training and Industry
Support)
—
Total 2013 – 15
Appendix 3 Irish Production 44.85%
— Creative Co-Pro 12.73%
TV Animation Production 7.04%
Number of Projects Supported by IFB 2011 – 2015
Documentary Production 8.29%
Year Irish Creative Co- Animation Feature TV Drama Shorts Features
International Production 2.16%
Production Production Documentaries Cinema Release
Distribution 4.14%
2011 21 6 2 18 2 28 17
Shorts 4.91%
2012 16 7 6 18 3 19 20
2013 11 4 7 18 1 12 23 Development 15.88%
2014 14 11 4 9 1 9 22
2015 12 7 2 13 0 17 25
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