may 2011 NZ’S SCREEN PRODUCTION INDUSTRy maGaZINE
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Scouting for GloryNZ feature films Tracker and The Devil’s Rock
Stephen Kang’s digital feature DesertLuigi Cutore’s I Am the River
NZFC’s Graeme MasonIndustry news
3www.onfilm.co.nz may 2011
may 2011contents
The contents of Onfilm are copyright and may not be reproduced without written permission. © 2011: mediaweb LimitedWhile Onfilm welcomes unsolicited contributions addressed to the editor, no responsibility can be accepted for their return unless accompanied by a stamped, addressed envelope. all letters addressed to Onfilm will be assumed to be intended for publication unless clearly marked “not for publication”.
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Volume 28, Number 4 Est 1983
Editor: Steven Shaw ([email protected]), 021-905-804Contributors: Doug Coutts, Peter Parnham, Philip WakefieldAd Manager: Kelly Lucas ([email protected]) 0-9-366 0443Production Manager: Fran marshall Designer: Cherie TagaloaNew Subscriptions: www.onfilm.co.nz/subscribeSubscriptions Enquiries: [email protected], 0-9-845 5114Pre-press and Printers: PmP Print
Onfilm is published 11 times a year by mediaweb Limited, which also publishes The Data Book. mediaweb Limited, PO Box 5544, Wellesley Street, auckland 1141Phone 09-845 5114, Fax 09-845 5116Website: www.onfilm.co.nz
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COVER: Ray Winstone and Temuera Morrison star in NZ-UK co-production Tracker. Image © Paramount Pictures.
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4 A private view Onfilm columnist Doug Coutts and cartoonist Barry Linton
contemplate three and a half decades of battling to stay relevant at the Avalon television centre.
5 Editorial Steven Shaw gives props to Cannes and 48 Hours film
making; Cartoonist Andy Conlan reveals where the biggest audience is hiding.
6 Industry news Philip Wakefield rounds up NZ box office and television news
from the NZ screen industry.
8 Cover story: Scouting for glory Contributor Peter Parnham talks to the location scouts behind
NZ-UK production Tracker and Paul Campion’s World War II horror The Devil’s Rock.
14 Interview: Hail to the chief Philip Wakefield interviews NZ Film Commission chief
executive Graeme Mason, who discusses the main issues facing the NZ film industry.
18 Deserter’s songs Korean-born Kiwi film maker Stephen Kang discusses his
latest digital feature film Desert, which deals with the darker side of cross-cultural relationships, abandonment and disownment.
20 I Am the River and the River is Me Writer Emma Kelly digs into the background behind Luigi
Cutore’s award-winning NZ documentary I Am The River.
23 New screenwriting course A new series of lectures on screenwriting is about to start on
Auckland’s waterfront. Screenwriter and tutor Alan Brash explains why this course is a cut above the rest.
25 Across the ditch James Bondi, our ex-pat spy based in Australia, rounds up
industry news from the Lucky Country.
26 A legal view Anti-file sharing legislation has now been passed into law.
Legal expert David McLaughlin explains what the changes will mean for copyright holders in the NZ screen industry.
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Title: Dancing out of nowhereI was going to start today by lik-ening the three and a half dec-ades of the Avalon Television Centre
to a roller coaster ride. But it hasn’t been. It’s more like one of those old-fashioned slides that were once in every council playground – a very steep set of stairs, a fast take off that brings a huge smile to the face and then you hit the rough patch where you slow right down and have to slowly shuffle along on your bum till you get to the end. And you check where you’ve been sitting and it’s all sand, sandwich remains and spilled fizzy drink.
But enough of the metaphor, or more correctly simile, and on with the nostalgia. It’s poignant to note that the day after ceo Ellis declared that Avalon’s days were numbered (and he wasn’t talking double figures) a pipe burst in the crawl space above the makeup room and 35 years’ worth of hairpieces were drenched. They were spread over the many empty makeup stations to dry, and at last the place looked full again, in a tribbly sort of way.
The first sod was turned at the Avalon site in 1969, and by all ac-counts he wasn’t the last. Work continued apace and only five and a bit years later, the place opened for business in Goldilocks fashion – one big studio, one middle sized studio and a small one, all going seven days a week with the little one doing two shifts a day. There were also two continuity studios
and a few other rooms that were very busy as well.
Elsewhere in the country, television staff working out of broom cupboards with equipment stamped “J. L. Baird” were green with envy. And so, for Avalon, the writing was on the wall.
The first sign was when the centre of operations for the network news was shifted from a purpose-built stu-dio 15 minutes from Parliament to a collection of shoe boxes scattered throughout Auckland, and later Wellington. Then came a series of restructurings that keep logo design-ers and office removal firms busy and culminated in the decision around 1986-ish to shift everything to Auck-land because it was closer to restau-rants, clothing stores and luxury yacht parking. As work began on another purpose-built television facility, this time without decent studio space, Avalon was effectively dead, only 11 years after opening.
Not that it wanted to lie down. Towards the end of the 1980s, there was a renaissance (with a very small R) that saw a bold new look with five separate business units and five separate front doors. This innova-tive approach (all five) resulted in a lot of business for security swipe card makers but saw little improve-ment in Avalon’s fortunes, especially given its parent company’s continued see-sawing between, being a public service broadcaster that made pro-grammes, and a real estate company selling DVDs on the side.
The change of government in 1999 at last gave direction to TVNZ,
in the shape of the Charter. A long time in the drafting, the Charter was a single-sided double-spaced document that would clearly set out the future of public broadcasting in language a three year old could un-derstand. While the search continued for three year olds who wanted a job programming television, Avalon re-grouped, first by bricking up four of the five doors and then by bringing in an entrepreneurial Australian or two. The latter would have the back lots, studios and café busy well into the new millennium, or at least for another few years.
Much like the contents of the age-ing plumbing, work has trickled into Avalon over the past decade, but never in the type of deluge that’d satisfy the bean counters up north. There have
been plenty of programmes making use of the space but the prevailing wisdom in TVNZ (Auckland) Inc has been not to use a properly fitted out studio when you could make the same show in a warehouse just up the motorway. The inconvenience of hav-ing to do a full lighting and staging rig each time clearly outweighs the irksomeness of spending any time in Wellington.
Bitterness aside, it’s obvious that the nature of broadcasting has changed markedly and we all have to adapt or perish – although retraining might also be an option. For those who were at Avalon at the beginning and are still there at the end, there’s always the memories, and a hefty redundancy package.
by doug coutts
PO Box 78-131, Grey Lynn, Auckland, New Zealand.Ph: +64 9 378 9016.Fax: +64 9 378 9018.Web: www.kractors.co.nzEmail: [email protected]
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Ed’s note
Bounty hunters, Nazis, deserters and good guys too
The month of May has arrived, and with it the unbridled
joy of New Zealand-based pro-ductions being screened at Cannes.
This month the UK-NZ co-production Tracker, starring British legend of the screen Ray Winstone and NZ’s Temuera Morrison, will play at the festival, as will Paul Campion’s World War II horror feature The Devil’s Rock. With a combination of Nazis and witchcraft, that one’s sure to raise a few goose bumps for the festival audience.
In this issue regular contributor Peter Parnham writes about the locations used for both those features – Tracker was filmed using Auckland and Central Otago locations while beaches near Miramar, Wellington stood in for The Devil’s Rock setting of Guernsey Island.
We also hear from director Stephen Kang, whose Creative NZ-funded digital feature Desert opens this month – Kang’s short film Blue has been selected for screening In Competition at Cannes Semaine de Critique (Critics Week).
Elsewhere, Philip Wakefield talks with the NZ Film Commission’s Graeme Mason, who openly discusses the challenges facing the industry, stressing that the only way forward is for the industry to pull together as a whole. Mason has been in the hot seat long enough to know what the issues are; he discusses the new Escalator and Fresh Shorts schemes, explaining how they are key to development of our new film making talent.
Emma Kelly gives us the lowdown on how Luigi Cutore’s outstanding documentary I Am the River came to be made; screenwriter Alan Brash talks about The Creative Hub’s new 10-week screenwriting course; legal expert David McLaughlin unravels the recently passed copyright infringement amendments; and we have our monthly roundup of box office and TV viewing news.
Before I go, one last note – the V48Hours “furious film making” competition is on again the weekend of 20-22 May. While it’s open to all and inclusive of amateur film makers, it’s also a hot item on the social calendar for many professionals within the NZ screen industry. Onfilm wishes the best of luck for all those involved in this fantastic annual event.
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Can Fast 5 reverse box office fall?Fast & Furious 5 roared into first place at the box office last month to earn the highest opening weekend gross of the year.
Distributors and exhibitors hope the latest in the franchise will refuel a lagging box office that for the week ending April 20, was 27.54% down on the same period last year: $45,724,799 compared to $63,102,196.
Fast 5 was the first of the US sum-mer blockbusters to open here and is tipped to gross nearly $5.4 million after clocking up $1.13 million in its first four days.
It spearheads a slate sizzling with sequels and superheroes: Thor, Pirates of the Caribbean 4, The Hangover 2, X-Men: First Class, Cars 2, Transformers: Dark of the Moon, Kung Fu Panda 2 and Harry Potter & The Deathly Hallows Part 2.
Previews of these coming attractions last month at the NZ Motion Picture Industry Convention heartened exhibi-tors who were perplexed about the box office downturn, especially as they will
precede a second wave of anticipated hits including The Help, Alvin & The Chipmunks: Chipwrecked, The Adventures of TinTin: The Secret of the Unicorn, Puss in Boots, Happy Feet 2, Cowboys & Aliens, Mission Impossible: Ghost Protocol and Billy T – Te Movie.
However, 2011 is not expected to match 2010 because of the impact of Avatar and Boy. “Their combined box office of $26.5 million is almost impossible to replicate,” Motion Pic-ture Distributors Association president Robert Crockett says. “Secondly, we must acknowledge the fallout that has occurred as a result of the tragic Christchurch earthquake in February, which has seen significant loss of jobs, screen closures due to damage, and, I believe, pressure on discretionary in-come in this important movie-going city that normally accounts for up to 20% of the national box office annually. We are not tracking too far behind Australia when you take into account the events of February 2011.
“The trend worldwide for the first
quarter of this year has been down from last year – so we’re not that much different to other markets,” says Joe Moodabe, of Event Cinemas. “And of course, we had an incredible summer weather-wise which didn’t help at all. But basically, as always, its product that just didn’t deliver.
“The cooler winter months are upon us, and some phenomenal US blockbusters are about to hit, so things are going to be much better,” concurs distributor/exhibitor Kelly Rogers, of Rialto Entertainment/Cinemas.
Such is Rialto’s confidence that it will open a five-screen, East Auckland complex, The Howick Monterey, in Sep-tember. “It will be plush, upmarket and catering for 50-plus audiences, which is a real growth area,” Rogers says – while Hoyts’ six-screen, fully-digital The Base will open in Te Rapa, North Hamilton the month prior.
“A number of existing complexes are undergoing conversion to digital facili-ties and receiving makeovers,” Crockett says. “New Zealand is very much a
fully mature market place in terms of screens and complexes servicing the moviegoers nationwide. There really is no major city or provincial populations that are not well serviced with good art-house or mainstream complexes.”
Billy T – the next Boy?Among the movies to generate the big-gest buzz last month at the NZ Motion Picture Industry convention was Billy T – Te Movie. Exhibitor Joe Moodabe of Event Cinemas reckons it could be the NZ industry’s next Boy.
While there wasn’t any footage to see at the convention, he says the publicity material “looked terrific”.
“This will be big,” he predicts of the Ian Mune-directed feature chronicling the iconic entertainer’s rise and demise, complete with digitally remastered footage, never-seen archive material, and interviews with family and con-temporaries.
Sony Pictures will open the Tom Parkinson-Robert Boyd-Bell produc-tion nationally on August 18, three days
Industry newsBy Philip Wakefield.
This Way of Life, screening on Maori
Television this month.
Prime goes uptown with Downton AbbeyPrime is taking its biggest counterpro-
gramming gamble yet with the launch of period costume sensation Downton Abbey.
The minnow network paid dearly to secure the flagship British drama that drew 12.9 million Britons –a four-year high for a TV series in the UK.
Prime is using the seven-part Edward-ian drama to anchor primetime Tuesdays, even though Sunday is traditionally the night of premium drama in this market.
But from May 11, Abbey squares off against TV One’s popular Undercover Boss USA and TV2’s juggernaut, Grey’s Anatomy.
However, Sunday night, with TV One’s MasterChef NZ and TV2’s movies, would have even more competitive and Tuesday is still early enough in the week to capture a significant audience and make it appointment viewing.
Moreover, Prime’s built its profile on counterprogramming, with strategies like its Weekend Murders strand and blue-
chip Sunday night docos.And already Tuesday has become a
point-of-difference drama night, with the likes of Boardwalk Empire and Killing Time finding dedicated viewerships (the latter opened abysmally but has since bounced back; expect another period drawcard, a re-make of Upstairs, Down-stairs, to screen after Abbey’s run).
Having committed time slots has become crucial in a cluttered, free-to-air landscape. Nonetheless, Prime is launch-ing Downton Abbey earlier than it would have liked. With short-run British drama, it prefers to screen series back-to-back to help build an audience, as it did last year with Being Human.
But given the buzz about Abbey and the rising incidence of peer-to-peer shar-ing, it would have risked its investment by leaving the series on the shelf for any longer. It’s for these reasons that on May 19 Prime will begin the latest Doctor Who series less than a month after it started in the UK.
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after its premiere at Hoyts’ new digital cinema at “The Base” in Te Rapa.
Distributors say it will give the market a “local product impetus” and Moodabe believes it could be the movie that helps the NZ box office to charge ahead of the rest of the world.
“When you track box office around the world and see one market has a blip and goes ahead, you always find it’s a local movie that’s performing. We saw that here with Boy.”
Moodabe points out that while Boy ranks among the top 10 grossing movies released in NZ, it’s not in the top 50 best opening weekends or weeks. “It shows when you get a word-of-mouth movie, it can build into a phenomenon.”
Lights! Cameras! Action!Filming was to start this month on Mister Pip, with Andrew Adamson directing his own adaptation of Lloyd Jones’ prize-winning novel. It stars Hugh Laurie as the last white man on the war-torn Papua New Guinea island of Bougainville, whose reading of Great Expectations inspires the imagination of a gifted 14-year-old girl who befriends him and brings Charles Dickens’ char-acters to life. Half of the production will be shot in Bougainville and half here. Adamson’s first indie feature has been co-financed by Olympus Pictures’ Leslie Urdang and Dean Vanech (Rabbit Hole, Beginners), Robin Scholes’ Eyeworks New Zealand and Agio Capital; the NZFC, NZ On Air and TV3 are also investors. Adamson, Scholes, Urdang and Vanech are pro-ducing; executive producers are James Dean, of Agio Capital, Daniel Revers, of Deer Path Productions, Julie Christie, Tim White and Tim Coddington … Filming is under way in Wellington of Existence, a “salvage punk Western” set in a dystopian future. It is the sec-ond low-budget feature to be funded through the NZFC’s Escalator scheme and stars Loren Taylor (Eagle vs Shark), Peter McCauley (After the Waterfall), Gareth Reeves (Tracker) and Matthew Sunderland (Out of the Blue) under the direction of Juliet Bergh, who co-wrote it with DOP Jessica Charlton; Mhairead
Connor and Melissa Dodds are execu-tive producing.
Channels’ chief post up in airTVNZ is still to decide if it will appoint another general manager program-ming following last month’s sudden resignation of Jane Wilson after nearly five years in the top post.
While the succession option was being favoured at presstime, the broadcaster may wait and see how the channels shape up in her absence, with Wilson’s lieutenants, TV One’s John Wright and TV2’s John Kelly, continu-ing to run them under head of televi-sion Jeff Latch.
TVNZ has rejected speculation that commissioning and acquisitions chief Andrew Shaw would take on more responsibility while advertising and industry sources argue it would be sen-sible for the broadcaster to use Wilson’s exit to streamline its management and strategically reposition the channels when chief free-to-air rival TV3 is so vulnerable.
Many believe TVNZ HQ suffers from a boys’-club culture and key executives who have personal relationships that stifle initiative when enterprise is critical for competing in a fragmenting media market.
“TVNZ’s core fundamental prob-lem is it needs new blood,” one ad agency vet says. “It keeps recycling the same personalities. It’s all become too matey.”
But production sources are relieved Wilson’s beef with TVNZ has been set-tled. “It’s been an horrific five months,” one says of the disruptive employment row. “Decision-making has been made difficult because of what’s been going on internally.”
Opinion is split over Wilson’s achievements. TVNZ’s deals with powerhouse distributors Warner Bros and Disney-ABC have generated an unprecedented supply of top-rating product for TV2 while TV One’s turna-round, largely with wall-to-wall factual entertainment, has been at the expense of the network’s reputation for quality drama and documentaries.
“If you take the long view, it’s dumb-ing down TV,” one media buyer says. “But the rest of the population has em-braced it. The ratings system is stacked in favour of heavy TV viewers.”
And with TVNZ no longer con-strained by a Claytons charter, expect it to go further down this road – witness Prime outbidding it for Downton Abbey, a series that should have been snapped up for TV One.
But Wilson’s critics say she never understood how British programming could work in this market, which all but sealed TV One’s fate after predeces-sor Anne Marie Duff opened up the network to female-skewing American shows.
Viewing notesThe disappointing ratings for TV One’s Family Feuds highlights the risk broad-casters take when they let content sit on the bottom shelf for too long. The Top Shelf production was commissioned in 2006, reformatted as it switched from
TV One to TV2 and back again (the eight half-hours were greenlit as four one-hour docos), and delivered for broadcast a couple of years ago – and now look dated in the fast-changing, faddish world of factual TV, where the politically incorrect likes of Nigel Latta have become stars … The Qantas-win-ning documentary, This Way of Life, will have its world TV premiere this month – Maori TV will screen it at 9pm on May 22, following the channel’s 12-hour fundraising telethon for Christchurch, Rise Up – Te Kotahitanga (the global telecast coincides with MTS offering CTV its frequency to broadcast during the day until July 31) … ESPN is the latest Sky channel to go HD, due not to popular demand but to complaints about its shabby standard definition image; however, Sky promises two more HD channels before year’s end, includ-ing one it will programme in-house, and the bonus of key Rugby World Cup matches in 3D thanks to consumer electronics sponsorship.
8 MAY 2011 www.onfilm.co.nz
Ray Winstone and Temuera Morrison star in Tracker
- – images copyright Paramount Pictures.
9www.onfilm.co.nz MAY 2011
If it were easy, anybody with a camera would do it, but location
scouting is a skill that requires much more than an eye for a pretty place.
According to Jacob McIntyre, loca-tion scout and manager for the North Island leg of New Zealand feature Tracker, understanding the logistics of how a production will shoot at a location is critical for a successful location scout.
“What makes a good location scout is knowledge of how a film set works, and scouting places that suit that particular shoot,” says McIntyre.
“Every production has a different style to it and you scout different locations if you have two vans as op-posed to a lot of trucks. Tracker was a big Western feel and one of the challenges that set it apart was trying to find big locations – big wide vistas – around Auckland.”
Set in 1903, Tracker depicts a cat and mouse game played out across New Zealand back country. Ray Win-stone plays Arjan, a guerrilla survivor of the South African Boer War who is promised a huge bounty to capture Kereama (Temuera Morrison), a Maori seafarer accused of killing a
British soldier. The UK/New Zealand co-production, directed by Ian Sharp, is on release here this month.
McIntyre says that shooting close to Auckland was driven by a need to keep costs down by staying close to feature film infrastructure. In some scenes this meant using South Island vistas as establishing shots for action sequences shot in the North Island.
“We looked at as much as possible in Auckland for the big landscapes that the director was looking for. Then, through a process of elimina-tion we put the rest of those scenes down for the South Island. Once that was established, we divided up the schedule for the South Island and scouted that area as well,” says McIntyre.
He says this is the way it usually works. “You get a director out for an initial recce – an overview – then start getting into specifics, then get into the scheduling and work it out from there.”
McIntyre says even near Auck-land it was possible to find vistas that didn’t have tell-tale power lines. Still, there are no snow covered alps near Auckland and Phil Turner, a
Scouting for glory
Locations
The right location has to be convincing and it has to be practical. Peter Parnham talks to the locations experts behind NZ-based productions Tracker and The Devil’s Rock.
10 MAY 2011 www.onfilm.co.nz
Locations
Queenstown-based location scout and manager, handled the South Island leg of the shoot.
“It was very much a raw New Zealand turn of the century look,” says Turner. “The great thing about Queenstown is that it is a good South Island film base that has grown out of the television commercials and big feature films that have come over the years.
“An hour up the road we utilised Glenorchy’s big epic mountains, rivers and forest – things that really haven’t changed going back to that period of the film. Every way we pointed the camera we always had valleys to ourselves.”
Matching natural early 20th cen-tury landscapes from the North and South Islands into a seamless visual narrative may be all in a day’s work for McIntyre and Turner, but match-ing Wellington’s coastline with the English Channel Islands under Ger-man occupation during the Second World War presented a different kind of challenge for film maker Paul Campion.
The Devil’s Rock is Campion’s debut as a feature film director. One of the ways to keep costs down on the low budget production was to do the loca-tion scouting himself.
The genre movie is set in the Channel Islands on the eve of D-Day, when two Kiwi commandos are sent to destroy German gun emplace-ments only to discover a Nazi occult plot to unleash demonic forces to win the war.
It might be only a tiny percent-age of the prospective audience that would be familiar with the movie’s supposed settings, perhaps from visit-ing or looking at coffee table books of Guernsey’s coastline. Nevertheless Campion was determined to get an authentic look.
Campion is British – he moved to Wellington in 2000 to work in the VFX post production for Lord of the Rings. “I’ve been to the Channel
Islands quite a lot, and when the film all happened I did a recce back in Guernsey. I went around the whole coastline looking at where all the real fortifications are, and realised that it was quite a good match, so I knew we could get away with shooting in Wellington,” he says.
“The only problem was the colour of the sand – on the Channel Islands it is nice golden sand, whereas in Wel-lington it is all a bit grey. We didn’t
really have the facility to change the colour of the sand unfortunately, but we were shooting day for night as the opening act takes place at night time.”
Campion says they used matte paintings to extend the coastline. “It gave us some wider shots. We wanted cliffs and beaches covered in tank traps so we built a couple of tank traps, but populating the rest of the beach was a matte painting job.
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The Devil’s Rock images courtesy NZ Film Commission.
An hour up the road we utilised
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“We also had a German concrete fortification sitting on the cliff top, which is based on a real fortification in Guernsey. So every shot of that was a matte painting too.”
He says matte painting in comput-ers is akin to the type of painting that used to be done on glass and placed in the matte box on the camera.
“We weren’t really creating a digital environment. I guess most films on a bigger budget would create more of a 3D environment so you can actu-ally move the virtual camera around. We didn’t have the budget for that, so what we did was more traditional matte paintings where it would be a 2D matte painting then we would animate the clouds or the sea mov-ing in it.”
He says they were based on photo-graphs and painted in Photoshop.
“It’s all very low tech, a lot of the matte paintings in the film were shot on my little pocket camera – that’s all I used for the reference. I’ve had it since 2003 and it’s quite outdated and only shoots about 2.5 mega pixels [a full HDTV frame is 2.2 mp]. I used that on Lord of the Rings and it does the job, although the VFX supervi-sor would have liked slightly better photos.
“It’s really a question of going out and shooting lots and lots of refer-ence photos of cliffs and beaches and seas, and I shot lots of reference
photos in the Channel Islands. We’ve got the actual cliffs underneath the real German fortress in one of the shots.
“I think we got fantastic results especially considering the low budget and time constraints. I know I did more matte painting on this film
than I think I’ve done in my whole career, even though it was myself and two others.”
He says there is an advantage to location scouting when you are the director and the VFX artist. “I guess I can look at any location and work out what I can do without matte paintings
and if I need to do any matte paint-ings, I know what is practical.
“It’s one thing to say ‘I want this big wide shot’ and ‘I want this camera movement’ but if you don’t know the reality of pulling off that shot then it can get very, very expensive in post production.”
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Shooting in the right direction
In New Zealand we Google from our iPhones pretty much at the same rate as every other country that
has Starbucks and McDonald’s Golden Arches in their shopping malls.
But for all the familiar icons, if you are going to shoot in New Zealand it still pays to know some of the local terminology.
Flat whites and frock tarts you can Google from your own iPhone, but here’s a time-saving tip: in New Zealand a Film Commission has nothing to do with helping you find locations; it’s a funding outfit that doubles as an administrator of incentive schemes.
Sure enough, the outfits that will point you in the right direction of the right locations are generally members of the Association of Film Commissioners International (AFCI), because well, in the rest of the world they would be called film commissions. Here in New Zealand they have names like Film Auckland, Film Wellington and Film Otago Southland.
The national film marketing and locations office is Film New Zealand. It is the place to start when you want
an overview or an introduction to filming – simply go to filmnz.com. On the other hand, type nzfilm.co.nz into your browser and you will go to the funding body, the New Zealand Film Commission.
When you do get to the right place you will find we work hard to be a film friendly bunch, none more so than in the three regions that see the majority of production.
Film Wellington covers an area that includes nine local councils, and manager Delia Shanly says they are all film friendly and consistent in approach. She says the public knows the benefit filming brings to the region, thanks to the high profile of Wellington as Sir Peter Jackson’s home base. “People in Wellington are very tolerant of film crews on the streets,” she says.
Down South, Film Otago Southland is centred in Queenstown and covers a good chunk of the South Island. It’s an area in high demand from large budget international commercials.
According to executive manager Kevin Jennings, since the beginning of this year, well over 30 productions have been filmed in the Central Otago and Southern Lakes
region. “We’ve had a lot of luxury car brands, interna-tional beer and soft drink commercials come through,” he says.
But for Michael Brook, Film Auckland’s executive manager, being film friendly is not just about the underly-ing regulations under which permits are issued. The film friendliness of council staff and departments involved in the permitting process is also crucial.
Just last year seven Auckland metropolitan area local councils were amalgamated to form the new Auckland ‘su-per city’. Not long before, the previous Auckland City Council had developed a new film protocol which is now awaiting formal adoption by the new unified Auckland Council.
“The philosophy is simple,” says Brook. “Auckland will say yes to filming in Auckland city, unless there are compelling and unambiguous reasons not to.”
Film New Zealand – www.filmnz.com Film Auckland – www.filmauckland.com Film Wellington – www.filmwellington.com Film Otago Southland – www.filmqueenstown.com
If you’re looking to shoot in New Zealand, these film-friendly organisations can help you to find the right location and navigate the red tape.
Delia Shanly, Film Wellington; Michael Brook, Film Auckland, Kevin Jennings, Film Otago Southland.
14 MAY 2011 www.onfilm.co.nz
I n the two years since Graeme Mason succeeded Ruth Harley as
the NZ Film Commission chief execu-tive, he’s had to weather a stinging review of the NZFC co-authored by the country’s most powerful film-maker amid a global financial crisis that has trashed traditional funding avenues for indie cinema.
Mason makes it clear that the in-dustry faces daunting challenges that must be tackled collectively. “I get accused of making it all sound bleak and depressing, and I don’t mean to do that at all, but I do think people have to be realistic,” he says. “I can’t magic up the money.
“Internationally, budgets continue to be pushed down,” he says, “but there seems to be some signs of life in the independent international mar-ket, of interest and money coming back into the sector generally.
“There are still issues, because obviously there are still real pressures on the TV market, and that drives income back up the chain – though there was a lot of success for indie films at the Oscars. Although each one had stars in them, at least it
focused attention back on to indie-driven creative fare.”
He expects filming of Peter Jackson’s The Hobbit will also help to renew interest in this part of the world. “It is an enormous profile for New Zealand. The last time we and Film New Zealand have been anywhere we’ve had a lot of inquiries and attention.
“We’re working with Film New Zealand, Tourism New Zealand, and the Ministries of Economic Develop-ment and Trade and Enterprise to see how we can all use this very, very high profile film of Sir Peter’s to leverage other opportunities, which I really do think we can.
“While the Film Commission’s focus is on the local industry, we’re the local industry right across the board, which includes techos, pro-duction houses, locations … We’re very mindful of foreign productions being of real benefit to those sectors of the industry.”
Last month NZFC chair Patsy Reddy told a Parliamentary select committee the NZFC review Jackson undertook with Australian academic
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Hail to the chiefOn the eve of a smaller presence than usual at
the Cannes Film Festival, the NZ Film Commission is signalling a new five-year-plan with more
emphasis on box office accountability. Philip Wakefield talks to NZ Film Commission
chief executive Graeme Mason.
Interview
16 MAY 2011 www.onfilm.co.nz
Interview
David Court was no longer apropos of the commission’s operations or relationship with the industry.
“I hope we are continuing to try to work better with the industry as a partnership,” Mason concurs. “I would hope that many of the com-ments that made unpleasant reading in the review have dissipated and I would hope the commission would continue to work collaboratively with the industry.
“In hindsight, I do realise as a funding agency it’s very hard to win. We’re always seen as standing in the way. It took me a while to realise I couldn’t change that. But we all need to work together as much as we can and we’ll need to take a lead on that – to help us all collectively work and take responsibility.”
He says many of the changes urged in the review already were on track within the NZFC. “For example, the board is running a more governance approach, which means staff have to be more responsible. I think staff have been working very hard to be more open to the industry.
“A lot of the review was about tal-ent and independently in the period we introduced Escalator and Fresh Shorts schemes … and more clearly aligned shorts to the development process so it’s part of that talent pathway. We made a lot of changes in development as well … allowing docs to come in, bringing in greater levels of complexity … big changes to date and big changes looking forward.
“Things we’re still aiming to do, in-spired by the industry, the review and our own thinking, would be continue to work on means to foster talent but recognise what that probably means is more attention on development of people and projects but fewer of them.
“The review suggests we have no more than 50 scripts in development; we had over 300 applications last year. So we haven’t settled on a number as to what is logical or practical. But we all acknowledge we need to keep the base of the pyramid, whether that’s people or projects, very wide to en-
able us to see as many people and projects as possible, so we don’t miss things. But then the sides have to come up very dramatically.
“The ultimate thing is the size of the industry and the level of the fund-ing. Even if you tripled our budget, should we make three times the number of films? That would only be if you thought there were great films to be made and there were audiences for them.”
Mason says there will be “signifi-cant changes in development” in the 2011/12 financial year. “One of them would be that fewer films will make it to the very introductory level of the pyramid. We will not review them in the same way we’ve had, where all the scripts get read and all of them get notes and comments back. That will be the first change. We’re trying to be more open and encourage people to come to us, so we have to allow for a greater number of applications coming in for a period of time, until it settles, but what we’re really being tougher on is what gets funding.
“Obviously we’re very encouraging of the Writers Guild, who are doing their peer to peer service, and other people stepping up and looking at way to assess and give feedback to the industry other than just us.”
Mason says collaboration between the NZFC and the industry, and also within the industry, is crucial given the financial outlook. “We’re assum-ing flat revenue for 2011 – we’re not assuming any increase from government, or lotteries or our own. We’re continuing to put pressure on everything outside of production funding. Production funding is the most important, and secondly we’re trying to ensure that development function retains enough money to keep going.
“The real core goal for us in ’11/’12 and beyond is to work with the industry, to make sure everyone realises to keep the volume going we will have to keep the levels of our investment, either in percentage or dollar terms or both. We’re working to find additional funding sources, so looking internationally. International funding sources exist in pools and pockets and I think the issue is we need to find them. We, collectively, the industry, have to find them.”
Mason is confident production funding can be kept at the same level but tempers this with the “real-ity check” the NZFC gave industry in December. “The Film Fund is ex-pended, the reserves are pretty much gone – we have a year or two left to
pace those out – and the bulk of the SPIF (Screen Production Incentive Fund) money is not new money to the industry, it came from the Film Commission.
“People have to remember we lost, in effect, the ability to fund two films a year to put it back into SPIF. And I think it’s great the industry has SPIF – it’s fantastic – but the call on our money is intense. And if we do not collectively come up with a new approach, by the time reserves are gone in two years, we’ll have some real issues.”
Mason says the smaller NZ pres-ence at Cannes ’11 reflects tougher times and changes to how movies are being funded. “One of the reasons why we continue to work very hard at places like Cannes is to see what other similar bodies are doing. What are the Canadians doing? The Irish? The Australians? The Scandinavians? And not just in terms of their local films, audiences and budgets, which are all key, but how are they funding them.
“Obviously we need to continue to look at co-productions but even outside of co-pros, what are the Irish doing to get their films funded? Is it a bank? Is it a distributor? Is it a sales company? That’s my focus for the year ahead but it can’t just be me. NZ Film’s doing that on behalf of the industry as whole, too. But what I want is the industry as a whole to be on the lookout for these oppor-tunities. Obviously a producer has responsibility to their own projects first but where they can, to share that information. They can do it via us, and we’ll transmit it out.
“Absolutely I recognise if you can find someone to fund your own film, then run with that first. But we are so small, we are so far away, we need to all band together and ensure we maintain the very high profile we’ve got.”
In the meantime, the NZFC is preparing a Statement of Intent that will strive for more admissions over the next three to five years while al-lowing room for specialised releases.
If you were looking to redo Boy
today, knowing it would play incredibly well in festivals overseas but not sell, everybody in New Zealand would agree you would make it again in a heartbeat because New Zealanders own that movie.
17www.onfilm.co.nz MAY 2011
Interview
“In 2010 we almost got to a million admissions,” Mason points out. “It was skewed unbelievably by Boy but also I would like to credit Home by Christmas.
“On a different level, we had many films play and get great reviews around the world. Six Dollar Fifty Man, which we invested in, and This Way of Life, which we did not, were huge hits in the shorts and documentary fields. New Zealand was still doing incred-ibly well with festivals and agents, so people were still aware of us interna-tionally, even if not driving so much money back.”
While some NZ movies “have failed to find their audience” in the last 12 months, he argues this is the fate of most films globally but in NZ it’s magnified because there’s such a small slate of movies produced.
Under the new SOI, the NZFC’s hit rate will be examined over three to five years. “We are going to set goals we would aim for greater level of admissions over that period but allowing for some to not find an audi-
ence – you’ve got to be logical – but also recognising we will make films sometimes for smaller segments of the New Zealand audience,” Mason says.
“We would aim to make films that would connect broadly but also want to make some films for targeted de-mographics. But we’ll be much more accountable, or standing up about,
films generally reaching broader admissions.
“If one is to make a film for a very specialised audience, we would probably have to be spending a lot less money on it. And clearly showing what the additional benefits are. One example could be Boy. If you were looking to redo Boy today, knowing it would play incredibly well in festivals
overseas but not sell, everybody in New Zealand would agree you would make it again in a heartbeat because New Zealanders own that movie.
“So it’s one of the things we have to walk a careful line on. We are a cultural institution but we’re spend-ing a lot of money in a commercial industry. So we need to allow for the Boys, the Home by Christmases, the Rain of the Childrens, the Topp Twins … films that speak of New Zealand to New Zealanders.
“One of the great strengths we’ve got at the moment is we’ve pretty much got a film coming out every month. While not all have hit their audience, the public is aware there is a local industry beyond Sir Peter, and Andrew Adamson, and the great work Rob Tapert and those people do here. They’re recognising there are the smaller local films getting made. On top of that, they’re also conscious of the great work TVNZ and TV3 are doing with dramas, so people are aware there is quite a bit going on.”
18 MAY 2011 www.onfilm.co.nz
What inspired you to write Desert?The starting point was a couple of random images I saw – a young Asian woman was walking through the near empty city on a Sunday morning. She was dragging a large suitcase with one hand and holding the tiny hand of a child with the other. That triggered a lot of questions about her, and the combination of a few real life stories was the birth of Desert.
How did the Desert project come about?I heard about Creative New Zealand’s Independent Filmmakers Fund and even though it was almost impossible money the criteria says it supports feature length, so I thought why not. I
approached producer Leanne Saun-ders with a short treatment. I guess it was bit of a crazy proposal, saying that I didn’t want to write a formal script, and with untrained actors, a tiny crew and little money. Luckily she said yes and then happily, we got the money. Then Leanne and Matt Noonan got together and worked out a way to make the money go further by co-producing.
Can you tell us a bit about your creative influences?It comes from everything, especially people and the space they are living/working in. In terms of approach to shooting Desert, I was very influenced by the Chinese Sixth Generation directors. They push the limits of using natural
light as much as possible, using a mix-ture of actor and non-actors, and tell the story using all of these limitations.
What was the casting process?Taika Waititi took a long time to cast his main actors for Boy. To cast Korean non-actors out of Auckland was near impossible. When you have a limited pool of people, don’t try to cast some-one to fit into your character. We were lucky to eventually find Jane Kim for Jenny’s character. It was much harder to find the main guy character, Joon. We ended up casting right before our first shoot day. I called Andrew Han, who acted in my first digital feature Dream Preserved and decided he would work for the role. I didn’t do script readings
through the audition process as there is no script. The cast are either my friends or someone we know through someone. The other male lead was Marek Sumich, whom I knew from watching his previ-ous work. My process was to talk about the story and discuss how the character would feel in certain situations. We did a one-day workshop with Stu Turner at Catch Casting and Sima Urale the week before the shoot, it was useful in prepar-ing the actors to express more than they normally would do.
Was it hard to film it in terms of loca-tions?We shot entirely on location which is not unusual for a low budget shoot, but the difference was the businesses
Deserter’s songsSeoul born film maker Stephen Kang has lived in New Zealand since 1993. Onfilm asked Kang about the making of Desert,
his Creative New Zealand funded digital feature about cross-cultural relationships, abandonment and disownment.
19www.onfilm.co.nz MAY 2011
we filmed in were operational as we shot. I didn’t want to close their busi-ness for our shoot and even if I did we didn’t have the budget to do it. In fact we had to stop the shooting whenever a real customer was paying. All this adds moment of reality and was easier for the non-actors. They just needed to pretend they were real workers in those locations. The only problem (and the big one) was that we can’t control the sound.
Any interesting technical decisions that came along?Even though we didn’t have a shoot-ing script I thought it was important to stick to my initial treatment. I had a breakdown of all the locations and what needed to happen and that was our bible. We had only 17 days and there wasn’t room to change that. Of course there should be some room to move and to try other things. However, never ever change the story that you want to tell.
Is it still the film you wanted it to be?Depends. Of course I couldn’t achieve certain shots the way I wanted because of the time constraint or the technical issues or some other reason, but the mood, feel and the story is the film that I wanted to tell. And I can’t thank enough my DOP, Marc Swadel and editor, Simon Price. Because it was just bare bones when we started, they’ve added their vision and magic to finish this project. Especially the main cast, Jane and Andrew.
What is the thing that most excites you about filmmaking?The first time I see actors, the camera, lighting, editing and sound making my image real, when it’s previously been just a daydream image in my head. Even better, all these collaborations add some-thing more than what I’ve imagined.
• Desert premieres in NZ May 5 at Rialto Cin-emas, Auckland. Kang’s short film Blue has been invited to screen In Competition at Cannes Semaine de Critique (Critics Week) 2011.
Way back when I was saving up to study film in New York, Park Road hosted a fundraiser to help. They backed me with a job and gave me an office to work in on my return. Since then, they’ve helped me bring two DIY short films to fruition. I still wonder how I got so lucky. One of the best things about being an ardent filmmaker is working alongside other equally devoted artists whose love of the craft is as quintessential and as obsessive as your own. Park Road is full of individuals like this. They’re people with integrity, a respect for the bigger picture, and an understanding of the circuitry that connects artistic endeavour with commerce.
Jamie Lawrence
“SOMEONE ONCE TOLD ME A TRUE FILMMAKER DOESN’T WAIT FOR FUNDING OR PERMISSIONTO MAKE FILMS.”
Park Road Post Production Ltd, 141 Park Road, Miramar, W
Contact Vicki Jackways on +64 4 909 7800 or email vjackwas@parkr
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M: 0272 8196 650 E: [email protected]
‘Two Little Boys’. ‘Bliss’. ‘Life’s a Riot’. ‘Outrageous Fortune’. ‘In My Father’s Den’.
‘Murder in Greenwich’. ‘Hercules & Xena’. ‘Piano’. ‘Crush’. ‘End of the Golden Weather’.
‘Never Say Die’…
20 MAY 2011 www.onfilm.co.nz
I Am The River and The River Is Me
Luigi Cutore’s documentary I Am the River won a bundle of awards in this year’s New Zealand Documentary Edge Festival. Emma Kelly asks how an
Italian director got involved with cultural clash in Aotearoa.
In reviewing I Am The River prior to its release, Onfilm’s Helen Martin
said I Am The River is “an engrossing thriller, a poetic visual essay and an important social document”. It went on to win Best New Zealand Feature, Best Cinematography and Best Editing in the New Zealand competition of the New Zealand Documentary Edge Festival 2011.
The documentary portrays from many points of view the concerns re-garding a collection of photographs of Whanganui River iwi taken at the turn of the 20th century by European
photographer William HT Partington and the differing value placed upon that collection by his descendants and the descendants of those whose images he took. The trouble begins when Webb’s auction house agrees to sell the collection on behalf of Partington’s great granddaughter Edith Bell.
So how did Sicilian born director Luigi Cutore come to tell this tale of culture clash in early 21st cen-tury Aotearoa so effectively that the Whanganui River iwi elders endorsed the film on its first screening last year at
the Whanganui Regional Museum?Although based in Rome, Cutore
spends a reasonable amount of time in Aotearoa as his son lives here. He also based his Masters thesis in architecture on an Australian topic: Aboriginal perception and representation of architectural systems. So although an Italian, he had some prior knowledge of indigenous rights and issues in the Pacific region before he began this documentary.
It all started, he says, with a visit to Parson’s bookshop in Auckland. He found a little book entitled Te Awa:
E rere kau mai te awa nui neiMai i te kāhui maunga ki TangaroaKo au te awaKo te awa ko au. The river flows From the mountains to the seaI am the riverThe river is me (Traditional saying of the Whanganui River iwi)
21www.onfilm.co.nz MAY 2011
I Am The River and The River Is Me
Partington’s Collection of Whanganui Maori (Godwit Random House 2003). Cutore quickly realised there was a back story to be told and began exploring the possibilities of making a docu-mentary. At that time the exhibition of Partington photographs, later to be curated by Che Wilson and entitled Te Pihi Mata – The Sacred Eye (2007 at Whanganui Regional Museum), had not yet occurred and there were many reasons why the documentary did not yet seem like a feasible project.
In 2007 Luigi returned to Aotearoa, and after consultation felt it was now appropriate to start the documentary. He contacted the Screen Directors Guild and Anna Cahill gave him a list of possible producers, including Mark McNeill from Razor Films. In August 2008 Mark secured funding through a NZ On Air and Maori TV funding agreement.
I asked Luigi how the 54-minute format supported or constrained the sto-rytelling process. He replied, “With this same footage 1000 documentaries could have been made by 1000 directors.”
Luigi described how many hours of interviews were recorded that are not seen in the documentary. Some peo-
ple are not included because of time restrictions and the difficult process of telling such a complicated story. There is a longer cut that could be made if funding and time allow. There was also a cut of the film which he feels was bet-ter, but for various reasons two minutes was cut from the released version.
He says there are many ways to tell a story. In this case the editing of the interviews is used to subtly dem-onstrate different points of view and interviewees’ positions. For example, when we first meet Peter Webb, head of the auction house, he’s unsure of
the name of Partington’s descendants who initially approached the auction house – as if it is so unimportant that the name has gone and even though he knew he was being interviewed for a film on the subject.
This sequence is an effective short-hand to demonstrate Webb’s general demeanour regarding the Partington collection and the cultural difficulties surrounding it. Descendant Edith Bell herself says at one point in the film that she will not discuss what happened in the auction. She is visibly distressed when she makes what is really quite a
simple statement. In both these cases, including these portions of the inter-views are editorial decisions that reflect a great deal in a short sequence about the underlying tensions and anxieties of the interviewee.
An interviewee who was more re-laxed about the subject of the auction is Te Urumanao (Uru) Gardiner. She tells Luigi her story of having breakfast at home in Whanganui and nearly choking when she sees her kuia being used to advertise the auction in the newspaper. Uru called her daughter (and namesake of that kuia) Rihipeti
www.aucklandactors.co.nz
Rihi Karena and kuia, photo supplied.
22 MAY 2011 www.onfilm.co.nz
Ngapera Karena and began to organise to get the photos back. The Gardiners/Karenas are of the hapu Nga Wairiki. They called around the tribes of the Whanganui River region, including Ken Mair (known in Aotearoa as a leader in the Pakaitore or Moutoa Gardens and ‘the returning the H in Whanganui’ protests), Piripi Haami and Hape Lomax who agreed to sup-port their cause.
These people and many others are interviewed for the film, discussing their stories, holding images of their ancestors, and describing their reasons for protesting by making the journey to Auckland to be in the auction house at sale time. The viewer is drawn to these intimate stories of families and their connections with each other, the river and their ancestors.
Luigi conducted all interviews him-self, sitting close to the camera to en-courage an intimate feeling to the film. He said that the interview process is like being a “tightrope walker”. First, one must find the interview subjects and see what they know without drawing so much information that they run out of things to say when they’re on camera. Keiran McGee very effectively helped with this process by calling some of the potential interview subjects and having a preliminary conversation. Luigi also did some of this preliminary calling himself, and then met and interviewed everyone.
In the Whanganui River region he and Eugene Carnachan visited people from Taumaranui to Whanganui. By meeting people personally Luigi was able to describe the intentions of the project and build relationships. This was a slow process. Initially Rihi Karena was untrusting of his intentions until Luigi met her and her brother Ngahina face to face (kanohi ki te kanohi). Rihi was very pleased with the resulting film and Nga Wairiki even allowed Luigi to film a powhiri on their marae Kauanga-roa. Luigi marvels at the people’s abil-ity to endure multiple takes while still showing an absolute integrity about the powhiri process, and a genuine delivery
every time. “Because it wasn’t acting,” he says. “It was a real process.”
A roughly equal time is given to both “sides” – The Bells/Webbs and the Whanganui River Iwi. Luigi says this too was very deliberate. “It would have been easy just to show the Maori side and we could have all hated the Pakeha.” However, although it is clear there is a conflict in the film, he chooses to tell the story by allowing the layers to build and the audience to draw their own conclusions. What the film so effectively does is demonstrate the contemporary debates of Aotearoa in regards to biculturalism, and what it means in practice.
In addition to the political and cultural sensitivities of this documentary there were various tensions and difficulties during filming as animosities between various people involved arose. These had to be handled very carefully, but Luigi seems to have accepted these tensions as an inherent part of the process rather than an unusual or unique situation in Aotearoa. His sound technician John McNicholas remarked that working on this film with Luigi was a pleasure and a “once in a hundred years” experience.
Others who worked on the film included Bea Madach, who as a volun-teer intern had many jobs including
the gruelling task of backing up the dailies onto two separate systems each night after filming and checking each backup meticulously.
For many people in I Am The River, just like the saying which opens this article, the river is not just a river, and the photographs are not just photos or representations of tupuna; they are ancestors, they carry their mana, they have spiritual value. For a Pakeha like me, this is a difficult concept to understand. Like many non-indig-enous film makers, photographers, archivists and museum workers in Aotearoa today, accepting someone else’s viewpoint on the images we handle can take a little effort.
Perhaps what I Am The River tells us most emphatically is that many in Aotearoa still need to address their own cultural misunderstandings and that the best a Pakeha like me can do is admit my own ignorance and seek knowledge from those who have
understanding about these taonga (treasures). These debates are par-ticularly relevant to the film making community who grapple with issues of cultural sensitivity frequently and have a responsibility to present more than one side of any cultural debate.
I Am The River is a lyrical and enjoy-able depiction of a difficult situation, a film worth seeing to spark a debate worth having about Aotearoa’s cul-tural attitudes both past and present. Perhaps it says a lot about the current state of biculturalism in Aotearoa, that it is an Italian who has revealed some hard truths about us.
• Ko Ingarihi, Ko Airihi, Ko Kotimana ōku iwi. Ko Emma taku ingoa. Emma Kelly was born in Aotearoa of English, Irish and Scottish descent. She is a PhD student in the School of Communication Studies at AUT writing a thesis entitled ‘The Adventures of Jonathan Dennis; a critical biography of the founding director of the New Zealand Film Archive Ngā Kaitiaki O Nga Taonga Whitiāhua’.
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With this same footage 1000 documentaries could have been made by 1000
directors.
Rihi Karena and whanau, photo supplied.
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Experts in Film Traffic Managment in NZFor a free quote and/or advice: 0800 630 7200/+64 9 630 7200 [email protected] www.actiontraffic.co.nz
TRAFFIC CONTROL LTD
23www.onfilm.co.nz MAY 2011
As someone who has taught screenwriting at various institu-
tions over the years, I was excited about the opportunity of teaching at The Creative Hub, the brainchild of John Cranna, a respected writer who until recently ran the AUT Master in Creative Writing programme. The Creative Hub teaches various forms of writing (including prose, writing for children, and travel writing) and has recently added screenwriting to its list of courses on offer.
There were a number of things that appealed to me about how the course was being run. For starters, it’s an introductory course that runs in the evenings, so people who work (or study elsewhere) can fit it around their nine to five commitments. It also has the advantage of being spread over 10 weeks. This means people can absorb the material, go away and think about it, and then continue learning – without having it all crammed into a couple of days. While I very much enjoy the intensity of short workshops, I can also under-stand why people might prefer a less frenetic approach to learning.
However, I believe this course will offer much more than convenience. John’s aim is to run courses that are long on practical, useable knowledge, and short on top-heavy bureaucracy.
The roster of tutors and mentors at The Creative Hub is impressive and includes such luminaries as Roger Hall, Tessa Duder and Graham Reid – to name but a few. John’s a firm believer in having people teach writ-ing who are also writers in their own right.
Another aspect of the course which I believe will work well is the idea of using the members of the class for peer review of written material. Writ-ing can be a solitary undertaking, and I’ve seen this approach work well on various courses I’ve been involved with as it combines the energy of a writers’ group with the learning possibilities of a seminar or work-shop. Again, the fact that the classes are spread out over two and a half months means that students have an opportunity to actually write and then get feedback on the material they’ve written – something generally not possible on short courses.
When John mentioned he’d been talking to Christina Milligan about teaching a portion of the course I immediately agreed it’d be a great fit. Christina was my boss on my second job in the industry when she was one of the producers on an SPP drama se-ries, Deepwater Haven. Since then, our paths have crossed when she taught me script editing, and when she was
attached as a producer to a treat-ment I wrote for a one-off TV drama. However, these activities (at least, the latter two!) would be a very long way down her impressive CV, which includes writing, script editing and producing for shorts, feature films, and numerous TV movies and series on both sides of the Ditch, including producing the 2011 adaptation of Witi Ihimaera’s Nights in the Garden of Spain.
The classes I’ll take will cover: what makes a screen story, the fundamen-tals of screenplay structure, beyond three act structure, writing authentic characters, the film & TV landscape, and the “nuts and bolts” of writing scenes. John will come in for two guest lectures where he’ll explore adaptation, discussing his experiences adapting his short story Accidents to film. And finally, Christina will round
off the course by giving an insight into script editing, and finishing up with a session on working in the industry.
Not only will students get a wealth of material from three writers (and script editors/producers) who are active in the film & TV industry, but John plans to use this introductory course as a launch pad for interme-diate and advanced screenwriting courses – such as has already hap-pened with The Creative Hub’s crea-tive writing programme. This means there’s an opportunity to staircase the learning over time – advancing from introductory to advanced level courses without the need for a full-time study commitment.
• For more on The Creative Hub screen-writing workshops, email [email protected] or check out www.thecreativehub.net.nz
For 10 weeks starting at the end of May, a room by the Auckland Maritime Museum will be the venue for a series of workshops on screenwriting. Screenwriter and co-tutor
Alan Brash (pictured right) explains what the course will offer.
New screenwriting course takes
shape on Auckland waterfront
For enquiries please call +64 3 450 1514 or email [email protected]
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theatre, a purpose built stereoscopic suite and
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Park Road has an established “full service” pipe-
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from SGO and continues to work closely with
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Finally Park Road’s on set digital wrangling
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For al l further enquiries please contact: Vicki Jackways, Head of Marketing, Park Road Post [email protected] • NZ +6427 597 4533 • USA +310 526 7806 • Visit our website: www.parkroad.co.nz
25www.onfilm.co.nz MAY 2011
Our expat spy provides his idiosyncratic take on the Aussie
film and television industry.
AcrosstheDitch
Our publ ic broadcast -
ers the ABC and SBS are both back on form. SBS has been kicking goals
for a long time now but it was fair to worry whether the ABC would ever show any decent Australian drama again, or just dwindle into a weak antipodean version of the BBC with a proliferation of Pommy drama. All is forgiven, as we’ve just seen some great new Aussie stories, with not a bonnet in sight!
East West 101 started its third season on SBS last month. The cop drama centres on a fictional police unit in Sydney’s west, with strong stories involving various ethnic groups. It’s one of the very few Aussie productions to accurately reflect the multicul-tural mix of Australian society. The only problem is that no one watches SBS, so its ratings are abys-mal compared to the commercial networks. Still, East West 101 and its actors and directors have won a swag of awards, making it one of the more prestigious (though lower paid) gigs in town.
The ABC’s success with Rake, the series starring Richard Roxburgh as
dissolute lawyer Cleaver Greene, was a lone light on a dull sea of worthy and instructive local programmes until Paper Giants: The Birth of Cleo. ABC screened this two-part mini-series in April with episode one on a Sunday night and episode two a day later, on Monday night. It’s a tried and true formula from years ago, but has been ignored recently in favour of weekly eps.
It paid off. Paper Giants’ fascinat-ing portrayal of the 1970s’ birth of women’s magazine Cleo pulled city metro ratings of 1.2 million the first night and 1.3 million the second night.
The show featured outstanding performances from Asher Keddie as editor Ita Buttrose and Rob Carlton as media mogul Kerry Packer, with the stars perfecting Ita’s trademark lisp and Kerry’s notorious temper. The alleged relationship between Packer and Buttrose was delicately skirted around. Big Kezza may be dead and gone, but certain sensi-tivities still prevail and no one likes to upset the still powerful Packer family. Besides, without Ita’s help there would have been no show – and she’s not spilling any secrets!
Southern Star/John Edwards has two sequels on the way,
following Packer as he creates World Series Cricket while Ita takes over as editor of another of his mags, Australian Women’s Weekly. Unfortunately for the ABC, which would only commit to one series in advance, Packer’s old network, Channel Nine, has swooped on the rest. David Gyngell, Nine supremo and Packer mate, is rumoured to have offered Southern Star A$2.5 million for the rights. Certain ABC execs must have very sore legs from kicking themselves.
* * *
Screentime’s Underbelly phenom-enon continues. While the Kiwi ver-sion is being filmed in and around Auckland, the Australian cast and crew has taken to the streets of Syd-ney again shooting Underbelly Razor, about the razor gangs that ran the Cross in the 1920s. Australian vice queens Tilly Devine and Kate Leigh are played by two Kiwis, Chelsea Preston Crayford and Danielle Cormack, and both were spotted in the Emirates marquee on Don-caster Day at Randwick Racecourse. Other thespians from the show were also in attendance, sporting the hairstyles of the 1920s. The
short back and sides is not such a good look for young blokes with big ears, but who am I to say? After the series screens, it will probably be fashionable again.
* * *
In mid-April the International Federation of Actors (FIA) held a four-day conference in Sydney, hosted by Australia’s Media Enter-tainment and Arts Alliance. FIA is made up of all the international ac-tors’ unions including the US, the UK, Canada, Chile, Japan, France, Denmark, Switzerland, with NZ Equity exec Frances Walsh and president Jennifer Ward-Lealand representing NZ. Enough unionists to make a Kiwi producer reach for the smelling salts!
Here, this rabble of conference delegates was given a reception at NSW Government House hosted by Her Excellency Governor Marie Ba-shir and her husband, ex-Wallaby captain and formerly chairman of SBS, Sir Nicholas Shehadie.
While the conference’s business was behind firmly closed doors, it’s a safe bet to assume that the Hobbit shenanigans in Middle Earth were a hot topic of discussion.
by JAMEs boNdI
26 MAY 2011 www.onfilm.co.nz
A legalview
Anti file sharing legislation finally passed
Given the significant controversy surrounding internet copyright infringement legislation, will the recently passed Copyright (Infringing File Sharing) Amendment Bill
live up to the claims of its critics? What will it really mean for the film and television industry in New Zealand? David McLaughlin explains.
As if to add a final spark of controversy, the Copyright
( I n f r i n g i n g F i l e S h a r i n g ) Amendment Bill – also known as the “three strikes” legislation – was passed under urgency on 14 April in a parliamentary session originally scheduled to deal with legislative requirements relating to the Christchurch earthquake. Although the new legislation is without a doubt a more well thought out piece of law than the original proposal, it is by no means perfect.
The new legislation essentially provides for copyright holders to be able to issue up to three warning notices through internet service providers (eg, Xtra, TelstraClear etc.) if they believe a customer of an ISP is infringing copyright through online file sharing. Following the issue of the third notice, the copy-right holder has the ability to take the alleged copyright infringer to a body called the Copyright Tribunal, which can impose a fine of up to $15,000 on the alleged infringer. The new provisions will come into force in September this year.
It’s important to note there is no longer an automatic right to have a copyright infringer’s internet serv-ice terminated following the issuing of the third notice. Suspension of an internet user’s ISP account will
now have to be specifically applied for through the District Court. But this part of the legislation will never come into force unless the Govern-ment specifically decides to activate such provisions into law in the future. This is perhaps the greatest victory for the original critics of the copyright legislation.
So in practice what does the new law mean for the film and television industry in New Zealand? Perhaps the most significant development to come out of the new legislation
is not the new process it establishes for tackling online copyright in-fringement, but rather the message it sends regarding online copyright infringement in New Zealand.
For the first time we have a piece of legislation clarifying that posting, sharing and trading someone else’s copyrighted works online is illegal. This has of course always been the case but the new legislation now clarifies beyond doubt how these rights can practically be exercised specifically in respect of online in-fringement. There can no longer be any doubt that just because illegal trading of movies, documentaries or television programmes takes place over the internet that the law views such actions any less seriously than it does piracy in the physical world.
However at the same time, given the controversy and misunderstand-ing that has followed the new leg-islation over its long and difficult development, for the full potential of this aspect of the new legislation to be realised there needs to an ef-fective public education campaign to let people know what the new law actually provides for and protects.
For owners of copyright works the new legislation takes a lot of the guess work out of how they can en-force their rights against infringers
without having to resort to expen-sive and case-specific legal advice. This not only serves to benefit New Zealand film and television produc-ers and rights holders directly but also shows international businesses or individuals looking to invest in our film and television industry that online copyright infringement is be-ing addressed in New Zealand.
Despite the potential benefits of the new legislation there is no de-nying that serious doubt still hangs over the long-term effectiveness of the legislation in its current form. The three step notice process fol-lowed by recourse to the Copyright Tribunal is not the most fast moving or fearsome remedy, particularly when contrasted with the tradi-tional criminal and civil remedies still available under the Copyright
Act 1994 for copyright infringe-ment. The new processes will also mean copyright holders initially have to directly acquire evidence of infringement themselves, which is problematic given the technologi-cal and legal difficulties in reliably tracking illegal file sharing over the internet.
Mobile networks are also exclud-ed from the scope of the new legis-lation for another two years. This is not necessarily a big issue at present but it does once again show that in terms of “day one” effectiveness the new laws are not as far reaching as many would have liked.
And finally, the legislation itself is to be reviewed in two years, mean-ing there is no certainty as to what will happen to the legislation and the processes and procedures it pro-vides for following that review.
For an industry such as the film and television industry, which is founded on the exploitation and protection of copyright and is being ever more affected by the illegal on-line sharing of film and TV produc-tions, the new copyright legislation is definitely an important piece of legislation. However the true effec-tiveness of the legislation in terms of dealing with illegal file sharing and educating the public about the harm these activities have on our industry remains to be seen.
• David McLaughlin ([email protected]) is the principal of McLaughlin Law (www.mclaughlinlaw.co.nz).
• Disclaimer: This article is intended to provide a general outline of the law on the subject matter. Further professional advice should be sought before any action is taken in relation to the matters described in the article.
Got a legal issue you’d like examined in an upcoming column? Then email David McLaughlin ([email protected]).
Perhaps the most significant development to come out of the new legislation is not the new process it establishes for tackling online copyright infringement, but rather the message it sends regarding online copyright infringement in New Zealand.
27www.onfilm.co.nz MAY 2011
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Kiwi HD Hits Not Blu-ray Bound
A raft of top-rating local shows are out on DVD this month but
despite airing in high definition, none can be bought on Blu-ray. The latest, South Pacific Pictures’ The Almighty Johnsons, releases on May 18, a week after the production house’s even more popular, Go Girls: Season 3, went on sale.
Two other HD hits, The Politically Incorrect Guide to Teenagers and North, came out on May 4 and April 27 re-spectively while seasons one and two of The Jaquie Brown Diaries were released earlier this year.
All of these se-ries were produced and broadcast in HD but are being marketed only on standard definition DVD, even though so many other shows are now bow-ing on Blu-ray. This month’s Blu-ray re-leases range from
seasons three of True Blood and four of Mad Men to season one of Treme, the latest sensation from The Wire’s David Simon that hasn’t yet been picked up for broadcast here.
But don’t look for NZ shows to follow suit in the short term. This ter-ritory continues to lag behind others in Blu-ray sales, largely due to the discre-tionary dollar being squeezed by the recession, inflation and Christchurch’s earthquakes. While the past year has seen growth of 62%, the HD format still accounts for only 6.5% of the market – and most of that’s driven by
male-skewed fare that’s action, fantasy or tech-oriented.
For NZ producers and distributors, the market for Blu-ray sales is not only tiny – Blu-ray player penetration is only nudging 10% whereas across the Tas-man it’s 22% – but also costly.
“The cost to market for Blu-ray is coming down but is still about 30% higher than SD and is still only less than 10% of the total DVD market,” TVNZ Licensing’s Leigh Wilson says. “The limited size of the New Zealand market limits the viability of us releas-ing content on Blu-ray. However, we will continue to monitor this and if costs come down and the market war-rants it, we will pursue.”
It’s also an issue for movies. While the likes of The Piano, Once Were War-riors, Black Sheep and The World’s Fastest Indian are out on Blu-ray, courtesy of having been first released internation-ally on the format, there’s still no sign of the country’s biggest grossing hit, Boy, going HD.
Paramount Pictures signalled six months ago it hoped to release the spe-cial edition of Boy on Blu-ray early this year but has yet to confirm a date.
Avatar remains the biggest-selling Blu-ray in NZ, with The Dark Knight next; about 20% of Avatar’s sales were on Blu-ray.
Meanwhile, among the latest NZ se-ries being repackaged as compilation DVDs this month are The Zoo, Intrepid Journeys and Wild South while the latest NZ movie to bow on DVD is The Hopes and Dreams of Gazza Snell, on May 11.
– Philip Wakefield
NZ film artists in brief – a series
Dan Inglis
Hamilton-based film artist Dan Inglis combines elements of digital
video, still photography, animation and manipulated audio in his work, while exploring themes of perception and re-lationships between humans, technology and reality.
Since graduating from the Screen and Media programme at the University of Waikato in 2000 Inglis has been in-volved in a variety of filmmaking projects. In the last few years he has been creat-ing digital short films.
Inglis’ titles include Yellow Moon (2010), Facsimile (2009), Mind Your Eyes: Observations From a Flatbed Scan-ner (2007), Shall I Be Mother? (2006), Keep Hands and Feet Clear (2006) and Always Temporary: An Ode To Boredom (2005). He has also worked on several independent productions shot in the
Waikato and British Columbia, Canada.“I’m currently working on a new ex-
perimental short,” says Inglis, “building on themes explored in my previous few films – perception, worldview and the na-ture of reality. Again, I’m trying to utilise familiar domestic objects and images in unfamiliar, maybe slightly unsettling ways. I’m playing with frames within the screen; I guess drawing attention to the confines of the screen. But perhaps this film alludes to a somewhat more in-tuitive worldview rather than perception through technology.”
His work, which has screened at festivals in Australia, New Zealand and the USA is also included on the compilation DVD NZX2K10 and can be viewed at: www.youtube.com/user/Tinpotindustries.
– Martin Rumsby
28 may 2011 www.onfilm.co.nz
ley f/pullers Garth Merrylees, David Steel, Meg Perrott, Ayrton Winitana key grip Heath King 2nd asst cam Fiona Janet Young lx assts John Young, Ewan Hall snd rec Alex Bird art dir Jasmine Rogers-Scott cost Jasmin Gibson, Barbara Pinn m/up art Anna Hewlett stby w/robe Shannon Winn conty Oliver Rose catering Concierge NZ stills Adam Baines ed Peter Evans 1st asst ed Katie Ross 2nd asst ed Gideon Smit colourist Alana Cot-ton snd des Jason Fox music Paul Velat cast Jason Fitch, Leighton Cardno, Greg Johnson, Martyn Wood, Tainui Tukiwaho, Campbell Cooley, Anoushka Klaus, Narelle Ahrens, Toby Sharpe, Deborah Rea, Julie Collis, Mick Innes, Jodie Hillock, Renee Lyons, Sam Berkley, Julian Wilson, Anna Davies
OLD SALT10min Short (RED) prod co Korshis Possum Films dir Matt Johnston writers Tom Furniss, Matt Johnston prods Katie Gray, Matt Johnston DP Ross Turley 1ADs Andrew Burfield, David Boden art dir Julianne Mueller gaffer Mathew Harte f/pullers Dominic Fryer, Ayrton Winitana cam/lx assist Rachel Choy, Jeremy Garland, Puneet Bakshi snd Jude Hassett, Jack Graves m/up Emily Holland, Sharnelle Eden vfx Jill Round art assists Hana Spierer, Justine Keating cost des Katie Gray cast Pete Coates, Stephanie Liebert, Sean O’Connor
REST FOR THE WICKEDFeature NZFC 16mm prod co RFTW, Antipodean Film dist Metropolis Film prod Maile Daugherty dir Simon Pattison writer Bob Moore script con Nick Ward line prod Judith Trye prod acct Naomi Bowden ed Paul Maxwell asst ed Kerri Roggio vfx post sup Zane Holmes vfx Eklektik post prod Images & Sound snd des Ray Beentjes snd mix Park Road Post film out Weta Digital pub Sue May epk Alistor Crombie cast Tony Barry, John Bach, Teresa Woodham, Irene Wood, Ilona Rodgers, Elizabeth McRae, Ken Blackburn, Bruce Allpress, Elisabeth Easther, Stephanie Tauevihi, Ian Mune, Helen Moulder, Sara Wiseman
SHANTYTOWN HOLOGRAM12min prod co 3DLive prod Ronel Schodt post dir Alun Bollinger holographic DP Karl Schodt ed/compositor Wayne Johnstone scrpt/post sup Bridget Ellis Pegler m/up Danielle Orme gaffer Matt Johns
THE DEVIL’S ROCKFeature WWII Horror prod co The Devil’s Rock Ltd dir Paul Campion prod Leanne Saunders writer Paul Finch, Paul Campion, Brett Ihaka asso prod Richard Matthews script consult Kathryn Burnett Mäori consult Tainui Stephens kaumatua Rangimoana Taylor line prod Melissa Dodds prod coord Tom Kelly prod asst Bonny Crayford post-prod asst Teone Taare Te Tuakana prod acct Lyndsay Wilcox legal/bus affairs Matt Emery, Emery Legal casting dir Mike Dwyer, Barefoot Casting DP Rob Marsh cam op Ulric Raymond 1AC camA Phil Smith 2AC camA Joe Michael 1AC camB Angus Ward, Matt Tuffin 2AC camB Martin Lang, Kim Thomas cam trainee Jared O’Neale 1AD sched Dave Norris 1AD Richard Matthews 2AD Kendall Finlayson 3AD Jonny Eagle casual AD Jules Lovelock prod des Mary Pike art dir Zoe Wilson constr mgr Colin Davidson constr Paul McInnes constr assts Adam Crighton, Joseph Auslander, Bruce Campbell stndby prps Richard Thurston ld prps maker Ben Price prps maker Alex Falkner lead set dec Laki Laban set dec Nathan Gray set paintrs Dordi Moen, Shari Finn paint hand Fraser Anderson art dept assts Lindsey Crummett, Taipua Adams gfx des Pete Wellington illustr Les Edwards title/end cred des Krystian Morgan art dept asst Lyndsay Crummet kayak constr Peter Notman arm Hamish Bruce cost sup Tristan McCallum cost stby Paul Hambleton, Coco Miles UK cost consult Josie Thomas m/up des Davina Lamont m/up art Deb Watson Dara Wakely m/up asst Hayley Ness m/up sfx Sean Foot on set prosth techs Dordi Moen, Jade Jollie prosth tech Don Brooker, Brian Stendebach weta wkshp des & fx sup Richard Taylor weta wkshp prosth tech Jason Docherty, Frances Hawker weta wkshp sculpt Sean Foot, Gary Hunt weta wkshp prosth painter Dordi Moen weta wkshp prod coord Danielle Prestidge weta wkshp sup Rob Gillies script sup
How to get yoUr ProDUCtion listeDBecause all listing information is voluntarily supplied by the production companies concerned, these pages are indicative of production activity rather than being an exhaustive record.
BILLY T JAMES: THE MOVIE90min feature prod co BTJ Movie prods Tom Parkinson, Robert Boyd-Bell dir Ian Mune writers Ian Mune, Phil Gifford prod mgr Liz DiFiore prod asst Rachel Choy prod runner Bronwyn Davey 1AD Neil James add AD Leighton Cardno prtcpnt coords Sarah Banasiak, Angela da Silva kaitiaki Tearepa Kahi rsrchr Dianne Lindesay pub Sue May snd rec Dick Reade, Colleen Brennan snd asst Will Reece prod des Rob Gillies props Paul Dulieu DP Waka Attewell 1st AC Mike Knudsen 2nd Ac/vid splt Kim Thomas vid splt/data wrangler Oliver Cross gaffer/grip Mathew Harte lx/grip assts Roko Babich, Jeremy Garland, Christian Dunn, Ewan Hall, Paul Eversden, Sean Loftin lx/grip interns Richard Schofield, Josh Finnigan rigging/dolly grip Jim Rowe dolly grip Kevin Donovan greens Robbie Penny greens asst Josh Penny cost des Gavin McLean casting Christina Asher loc/unit Ronnie Hape, Nicki Tremaine unit asst Rachael Bristow continuity Madeline Cooper key m/up Susie Glass m/u asst Tamara Eyre safety Karl Koller, Jeff Hale, Chris Griggs acct Len Tenorio stills Geoff Short epk cam op/ed Cristobal Araus Lobos cmpsr Bernie Allen post prod Images & Sound ed Margot Francis asst ed Nicki Dryer post prod sups Grant Baker, Toby Parkinson
BLUEShort NZFC & CNZ prod cos AKA Film, Curious Film dir Stephen Kang prod Tara Riddell writer Stephen Kang co prods Matt Noonan, Leanne Saunders prod mgrs Anna Walsh-Wrightson, Brendan Allan prod coord Teone Taare Te Tuakana runners Nichole Thompson, Eileen Gallagher DP Virginia Loane add cin Marc Swadel f/pullers Alex McDonald, John Renata, Julia Green vid assts Nigel Burton, Liam Wilkinson ed Luke Haigh grip Pez Zee gaffers Spencer Locke Bonne, Jerry Mauger lx assts Tom Davis, Henry St John Davis snd recs Ben Vanderpoel, Malcolm Cromie 1ADs Gene Keelan, Rob Grieve art consult Neville Edwards art dir Ross McGarva props stby Rose Worley art asst Lisa Fothergill constr Darren Wilcox w/robe Jasmine Edgar, Hannah Barrett m/up Natalie Perks casual m/up Katie Rogers loc mgr Johnny Edgar p/grphr Eundo Jang ped controls Jackie McGraw, Barbara Rocha safety Curtis Akitt flame art Leon Woods mus Joost Langeveld, Chris Van Der Geer, Mike Newport foley Andy Morton snd mix Chris Burt, Andy Morton film rec fac Weta Digital film rec mgr Pete Williams film rec sup Nick Booth film rec tech Daniel Ashton lab service Park Road fac mgr Nina Kurzmann snd facs Bigpop Music, Inside Track post prod fac Curi-ous Film cam rental sup Metro Film sales NZFilm cast Hanna Lee, Gary Young, Tuyet Nguyen, Yip Yi Hoa, Willie Ying, Niamh Perren, Leo Chalmers, Barry Suffield, Shaun Fullard, Nichole Thompson, Meagan Borcher, Melanie Borcher, James Crow
COMPOUNDFeature prod co D S Productions prod/dir/writer Dale Stewart exec prods Dale Stewart, Graeme Gilby prod Jacqui Gilbert DP Mathew Harte 1st cam asst Roko Babich 2nd cam asst Dale Stewart 1st ad Candice Crow boom op Chanel Simpson prod mgr Jacqui Gilbert prod assts Jono Bevin, John Gilbert, Joseph Gilbert gaffer Mathew Harte gaffer asst Roko Babich adv John Gilbert m/up Sarah Taylor, Zoe Boyle, Anna Brock, Simone Faets ed Dale Stewart ed assts Ben Fowler, Chris Tarpey colourist Allan George cmpsr/mus Gabrielle Gilbert snd/foley/snd post prods Nadav Tabak, Alex Ward loc Spookers cast Te Kaea Beri, Richard Lambeth, Nikki Christensen, Russell Wills, Debbie Foster, Omar Al-Sobky, Tim Hammersley, Tonci Pivac, Campbell Cooley, Mike O’Sullivan, Jacqui Gilbert, Tim Schijf, Jennifer Lopsi, Dale Stewart, Andires Mentz, Chad Mills, Gareth Paget, Andy Sophocleous, Breigh Fouhy, Andrea Bates, Alex Way, David Coggington, Amy Malloy, Eppie Bowler, Mike Tilton, Chantal Renee Samuela, David McCartney, Dan Coddington, David Austin, Jimmy James, Sean O’Connor, Jonathan Gilbert, Rachel King, Gabriel Henry
DEVIL’S DOOR TO HEAVEN16mm short prod co The Film School dir Lillian Beets writer Joseph Ryan prod John Reid exec prod Tommy Honey asso prod Alison Langdon DP Paul Jackson prod
mgr Kathleen Collins prod asst Annalisa Ridley prod runner Nathaniel Hinde loc mgr Mark Jackson cam op Josh O’Brien f/puller Bonnie Low c/loader Pavel Kvatch vid asst Ben White grip Neil Hunter grip asst Gene Warriner gaffer Helmut Marko gaffer asst Joshua Kamau snd rec Dylan Jauslin boom op Sandy Burton-Davis 1AD Steven Charles 2AD Ahmed Osman cont Betty Savage art dir Sinclair Dyer prps/art asst Lisa Fraser-Clark w/robe Tom Frame unit Sagar Janvekar cast Nick Dunbar, Don Langridge, Todd Rippon, Sarah Lineham, Elliot Travers
ETERNITYFeature prod co Eternity Productions prod/dir/writer Alex Galvin exec prod Michael Stephens DP Matthew Sharp prod mgrs Catherine Juniot, Sophie Gregory prod asst Amanda Berryman 1st ADs Kendall Finlayson, Lisa Fraser-Clark 2nd AD Anne Jaeger cont Marian Angeles f/puller Bryson Rooney cam assts Kim Tho-mas, Graham Smout gaffer Lee Scott b/boy Daniela Conforte lx assts Jan Kleinheins, Sally Cunningham, Royce Goddard, Sam Wynn key grip Will Matthews dolly grip Brett Saunders grip asst William Flanagan snd rec Aaron Davis boom Lance O’Riley w/robe Larissa McMillan w/robe asst Daria Malesic art dept Anna Brown art assts Fern Karun, Ryan Roche m/up Julia O’Neil, Lucy Gargiulo sfx Bill Hunt prod des Robert Flynn loc mgr John Patrick data wrangler Symon Choveaux unit Cameron McCulloch stills Robert Johnson runners Mike Potton, Ryall Burden eds Patrick Canam, Danny Mulholland cast Elliot Travers, Dean Knowsley, Alan Brunton, Liz Kirkman, Simon Vincent, Kirsty Peters, Rachel Clentworth, Renee Sheridan, Amy Usherwood, Ralph Johnson, Jessica Manins, April Phillips, Ben Fransham, Nigel Harbrow, Tom Rainbird, Raquel Sims, Lucy Smith, Alana Henderson, Laurence Walls
GHOST SHARK 2: URBAN JAWSFeature prod co Mad Fox Films writers/prods/dirs Andrew Todd, Johnny Hall line prod Alastair Tye Samson DP Andrew Todd art dir Jasmine Rogers-Scott m/up Kirsten Taiapa snd recs Alastair Tye Samson, Joh Bloomberg, Kirk Pflaum stills Adam Baines PA Ellie Callahan 2 unit dir Doug Dillaman eds Andrew Todd, Johnny Hall cmpsr Luke Di Somma cast Campbell Cooley, Johnny Hall, Steve Austin, Kathleen Burns, Roberto Nascimento, Isabella Burt, George Hardy, Juliette Danielle, Alan Bagh, David Farrier, Stig Eldred, Timothy Bartlett, Helen Moran, Jeff Clark, Anoushka Klaus, Leighton Cardno
HOLY ROLLERFeature prod co Life Films prods Angus Benfield, Mark Freiburger, Ken Robinson, Patrick Gillies asso prods Anne Williams, Nick Prince line prod Nadia Maxwell writer Angus Benfield dir Patrick Gillies prod mgr Nadia Maxwell 1AD Anna Canton 2AD Josh Bridg-man prod asst Penny Clark-Hall prod runner Callum Butcher cont Nan Sirisamphan, Aria Broughton DP John Christoffels 1st cam asst Kirk Pflaum 2nd cam assts David Jensen, Jeremy Garland c/loaders David Jensen, Jeremy Garland, Makoto Takaoka snd rec Tim Brott, Hadlee Wright boom ops Hadlee Wright, Makoto Takaoka gaffer Andy Rennie b/boy Chris Fawcett key grip James Creevey grip asst Dan Watson loc mgr Ken Robinson unit mgr Callum Butcher prod design/art dir Bryce Holtshousen art asst Don Bate art runner Kate Geary w/robe Kaye McCurdy w/robe asst Eliza Glyn m/up & hair Liz O’Sullivan, Julie Anne Whitson m/up & hair assts Kendra Cox, Becky Smith, Erin Broadfoot extras wranglers Belinda Davie, Brendon Kircher, Aria Broughton eds Patrick Gillies, Raymond Kennard data wrangler Raymond Kennard app Campbell Platt app asst Steve Smith p/grphrs Steve Brodie, Don Bate, Wayne Williams, Andrew Hewson Pr Tactic Commu-nications cast Angus Benfield, Victoria Abbott, Jeremy Brennan, Mike Maxwell, Ron Rodger, Martin Howells, Al Kincaid, Nick White, Patrick Duffy
JAKE Feature (RED) prod co Hybrid Motion Pic-tures prods Alastair Tye Samson, Anoushka Klaus, Doug Dillaman writer/dir Doug Dillaman 1AD Ellie Callahan prod mgr Amanda Cairns-Cowen DP Ross Tur-
FilmIn PRODUCTIOn
SIONE’S 2Feature prod co SPP (09 839 0999) prods John Barnett, Paul Davis dir Simon Bennett writers James Griffin, Oscar Kightley line prod Janet McIver prod co Michelle Leaity cast coord Kate McPhee extras coord Sarah Banasiak prod sec Sarah Jane Hough prod run Jeremy Blackwood acct Susie Butler asst acct Stephanie Dahlberg prod des Tracey Collins art dept coord Janelle Hope art dir Milton Candish on set art dir Matt Cornelius s/by props Olly Southwell props buy Jim Anderson set dec Kiri Rainey set dec asst Aileen Kemp art asst Leah Mizrahi swing set dress Setu Liu construct mgr Nik Novis carps Marc Larsen, Merv Lambarth, Jason Johnson scenic art Paul Ny car wrangler Justin Cardon 1AD Shane Warren 2AD Katrien Lemmens 3ADs Shadon Meredith, Ant Davies DP Marty Smith 1 cam asst Bradley Willemse 2 cam asst Meg Perrott cam trainee/vid split Isaac Collins Dit wrangler Sam Matthews casting dir Christina Asher catering Luscious Catering cmpsr Don McGlashan cost des Kirsty Cameron cost sup Sian Evans cost asst Abigail Greenwood cost s/by Anna Reid cost dress Emma Ransley cost s/by asst Natalie Keane ed Bryan Shaw asst ed Gwen Norcliffe key grip Terry Joosten asst grips Dean Maxted, Tim Watson gaffer Thad Lawrence b/boy Tony Slack gen op Merlin Wilford lx asst Ashley Bartlett lx trainee Paul Abbott loc mgr Harry Harrison loc asst Damion Nathan loc PA Christaan Head m/up sup Kevin Dufty key m/up/hair Linda Hal Couper m/up/hair Michelle Barber safety Will Heatley, Danny Tenheuvel script sup Melissa Lawrence snd rec Myk Farmer boom swing Nikora Edwards stunt coord Mark Harris stunt play/precision driver Gareth Courtney stunt play Patrick Morrison unit mgr Pete Morenhout unit asst Al Dunn pub Tamar Munch stills Jae Frew cast Robbie Magasiva, Oscar Kightley, Shimpal Lelisi, Iaheto Ah Hi, Dave Fane, Pua Magasiva, Teuila Blakely, Madeleine Sami, Cilla Brown, Mario Gaoa
POST PRODUCTIOn
50% OFF MAIL ORDER BRIDE13min short (RED) prod co idiotvision writer/dir/prod Alan D. Parr DP Daniel Wagner art dept hd Brent Hargreaves 1AD Gabrielle Luxton prod mgr Jesse Hilford scrnply ed Alan Brash m/up/hair Celeste Strewe cam op Ben Montgomery f/puller John Whiteside Leyland 3AD Rosemary Abel 2nd asst cam Tegan Good snd recs Nikora Edwards, Brendan Zwaan, Josiah Toclo boom op Arthur Gay gaffer James Dudley b/boy Matt Wilshere lx assts Leigh Elford, Tom Neunzerling, Kelly Chen, Britta Lauritzen, Cody Armstrong-Paul, Debbie Du Preez, Maria Pogodina art dept assts Chris Stratton, Ruby Reihana-Wilson, Ryan Mansfield assts Watson, Maiken Bryant, Lucy Campagnolo, Jonathan Paul, Alex Cairns snd post eng Jason Fox snd post prod Samantha Jukes asst ed Carsten Kudra art Andrew Long prps/mkr Big Al Parr pre vfx Jared Baigent sfx prps/byr Jacqui Baigent p/grphr Kelly Newland Photography dir asst Francesca Dodd-Parr ed Yaser Naser cast Simon Ward, Mia Pistorius, Katie Scott, Toby Sharpe
A BEND IN THE ROADNZFC funded short prod co Alpha Bristol Films prod Gemma Freeman dir/writer Rollo Wenlock DP Simon Baumfield hd art Kasia Pol ed Charlie Bleakley cast dir Tina Cleary asso prod mgr Georgiana Taylor 1AD Del Chatterton stunts Rodney Cook cam asst Graham Smout lx Byron Sparrow grip Wayne Subritsky lx/grip asst Simon Oliver snd rec Aaron Davis, Kevin Hill w/robe Caroline Stephen m/up Lucy Gargiulo m/up asst Tiffany Te Moananui continuity Marian Angeles, Nina Katungi ed asst Greg Jennings loc res Lily Hacking prod assts Rach-ael Glassman, Robert Ormsby p/grphr Michael Hobbs catering Peartree Lane Catering cast Aaron McGregor, Tom Hern, Leon Wadham, Cohen Holloway
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Pete Wellington snd rec Nic McGowan boom op Joel Anscombe Smith snd trainee Nick Tapp gaffer Adrian ‘Wookie’ Hebron key grip Byron Sparrow lx asst Chris Murphy casual lx asst Andy Ayrton, Simon Oliver, Mark Newnham, Ben Thurston, Hayden Rowe gripB Maurice “Moose” Kapua add grip Graeme Tuckett gene op Hansel Verkerk stunt coord Augie Davis safety coord Andy Buckley safety off Richard Thurston add safety Conrad Hawkins vfx Ohu FX lead comp Frank Reuter, Jake Lee comp Scott Chambers Storm Gezentsvey, Melissa Goddard, Juan Pablo Lampe matte paint Felic-ity Moore, Yvonne Muinde matte paint Mattepainting UK matte paint sup Max Dennison 3d model/text paint Richard Chasemore add 3d models Malcolm Tween, Rob Farnworth loc mgr Peter Tonks unit mgr Gabe Page unit asst Hamish McDonald-Bates AD/unit assts Kura Scott, Claire Watson, Brendan Schenk catering Billionaires Catering security sup Kevin Magill add security Recon Security, Mark Matchett, Kevin Armstrong, Avele “Val” Moreli stills Gareth Moon add stills Matt Mueller, Roger Wong add stills “demon” Steve Unwin ed Jeff Hurrell ed asst Wes Thorpe, Hunter Abbey digital intermediate Park Road Post Production hd digital intermediate David Hollingsworth post-prod Tracey Brown online ed Rob Gordon colourist Mat-thew Wear red extraction Anthony Pratt mastering deliverables Nina Kurzmann taperoom sup Victoria Chu projectionist Paul Harris epk Mike Roseingrave epk add Jed Soane, Mark Tantrum epk ed Hunter Ab-bey snd des James West, Lloyd Young post-prod snd trainee Jordan Muzio comp Andrea Posse ed facility Martin Square lab facility Park Road Post cam Rubber Monkey Rocket Rentals lx Gunmetal insurnc Crombie Lockwood int sales NZFilm NZ distrib Vendetta cast Craig Hall, Matt Sunderland, Gina Varela, Karlos Drink-water, Luke Hawker, Jess Smith, Nick Dunbar, Hayden Green, Geraldine Brophy, Jonathan King
THE FALL GUYSFeature prod co Certain Scenes Productions writer/dir Scott Boswell prod Rhys Cain co prod Derryn Beath 1AD Daniel Beeching 3AD Jae Walford art dir Domini Calder DP Phillip Jackson snd David Byrne cost Caroline Mitchell prod mgr Caroline Mitchell cont Glenn Horan prod assts Anita James, Jayson Simpson, Rhonda Cor-bett, Susanne Kemp, Jo Crowle stills Derryn Beath, Gina Jessop m/up Idette Braan, Glenys John, Kate Caughlin cam asst Jacob Slovak lx assts Nic Candy, Phil Hines key grip Daniel Camp casting Tim Schijf, Fraser Ross unit Louise Boswell stunts Ike Hamon digital fx Marko Los score Alon Alof cast Ryan O’Kane, Dane Dawson, Kyle Pryor, Paul Glover, Zoe Cramond, Amy Louise Waller, Snowy Housley, David Viskovich, Crystal Vickers, Anna Smith, Mike Lowe, Geoff Ong, Anson Yang, Richard Lambeth, Darryl Archer, Matt MacDougall
THE RIVER CASTLEShort drama prod co SilverGate Pictures dir Pavel Kvatch writer Joseph Ryan prods Helmut Marko, Pavel Kvatch DP Waka Attewell prod mgr Steven Charles prod coord Louise Charles art dir Kathleen Collins cast dir Katie Frost 1AD Del Chatterton 2AD Charlotte Hayes 3AD Elliot Travers loc mgr Lila Reibel loc Sarah West loc asst Jacob Cordtz f/puller Michael Knudsen 1st cam asst Kim Thomas 2nd cam asst Josh O’Brien gaffer Adrian Hebron lx asst Lee Scott grip Jan Kleinheins grip asst Neil Hunter snd rec Benoit Hardonniere boom op Dylan Jauslin cont Lillian Beets set dec Tom Frame art assts Alia Miller, Olga Durban w/robe Roc Travers m/up Natalie Morgan stills Gina Donaldson making of Symon Choveaux unit Rachael Glassman unit assts Gabriel Abreu, Kane Walker cast Te Aho Eketone-Whitu, Annemieke Van Gent, Tearuru Patia, Nathaniel Lees, Richard Whiteside, Holly Hornell, Andrew Bennett, Challot Elliot, Noosan Paku
In RELEASE
DESERTfeature CNZ prod cos Severe Features, Curious Film dir Stephen Kang prods Leanne Saunders, Matt Noonan writer Stephen Kang DP Marc Swadel ed Simon Price snd des Dick Reade snd rec Romina Vateri prod asst Jeong Seol asst cam Ciaran Riddell stills Eundo Jang add stills Greta Anderson digi assets mgr Alec Steel gfx des Richard Shaw CFo Sarah Noonan prod acc Vivienne Earnshaw w/robe consults Kirsty Cameron performance consults Stuart Turner, Sima Urale unit mgr Russell Mace prod sec Chelsea Francis prod asst Hannah Jones, Isobel Dryburgh safety Scene Safe co-ord Robert Gibson diver Mitchell Johnson stunt coord
Ike Hamon translator Genna Nam legal Dominion Law insurance Crombie Lockwood post prod fac mgr Luke Haigh flame arts Melissa Goddard, Nigel Mortimer, Ian Quigley flame asst Nick Mulder tracklay/snd mix Dick Reade post snd fac Outback Studios pic post fac Curious Film cam rental supps Swad Aiga, Seed Cine Hire mus Timmy Schumacher, Jae Kim sales NZFilm cast Jane Kim, Andrew Han, Marek Sumich
HOOK, LINE AND SINKERFeature prod cos Torchlight Films, Community Media Trust dirs/writers Andrea Bosshard, Shane Loader prods Andrea Bosshard, Shane Loader, Jeremy Macey asso prod Rangimoana Taylor DP Deane Cronin prod mgr Rebecca (Bex) Moore prod/cost des Trixie Woodill s/prps Bex Moore 1AD Jeremy Macey 3ADs Rosalind Croad, Erin Woolhouse cam assts Rachel Manley, Isaac Heron, Michael Johns lx asst Kyo Won (Alex) Lee snd Nic McGowan, Joel Anscombe-Smith boom ops Joel Anscombe-Smith, Bernard Blackburn w/robe asst Roch Travers cont Mark Dunick caterer Steph Prowse ed Annie Collins asst ed Leonardo Guer-chmann prod assts Mary Hebberd, Jack Nicol, Keryn Johns, Kerem Blumberg, Nicole Case gfx Geoff Aickin, Sebastian Sloan snd post prods Nic McGowan, Joel Anscombe-Smith, Laurie Wright pic post prod Allan Honey cmpsrs David Donaldson, Steve Roche, Janet Roddick (Plan 9), Mark Austin cast Carmel McGlone, Rangimoana Taylor, Geraldine Brophy, KC Kelly, Matthew Chamberlain, Elizabeth McMenamin, Alan Palmer, Eli Kent, Kate Harcourt
TelevisionPRE PRODUCTIOn
BOIL UP30x26mins studio panel sports prod co Mäori TV exec prod Carol Hirschfeld prod Te Arahi Maipi dir Mahanga Pihama prod mgr Kym Morgan prod asst Kahukore Bell snr prod mgr Sandra Richmond
JUST ADD CASH6x30min reality prod co TVNZ prod unit TVNZ n/work exec Tony Manson exec prod Tina McLaren prod Gavin Wood prod mgr Terri MacFarlane prod coord Nicola Smith
RUGBY WORLD CUP 2011 IN 3Dprod co 3DLive prod Ronel Schodt tech dir Karl Schodt 3D partners Inition UK & Australia outside b/cast Cutting Edge Australia dir Rhys Edwards ad partner Revolution Advertising
SPARTACUS 10x60min graphic action-drama Us prod co Starz Media nZ prod co Pacific Renaissance exec prods Rob Tapert, Sam Raimi, Josh Donen, Steven S. De-Knight prod Chloe Smith line prod Keith Mackenzie prod dir Michael Hurst asso prods Paul Grinder, Moira Grant prod mgr Mel Turner prod coords Helen Urban, Tim Judson asst prod coord Amber Lynch prod sec Meredith Black prod asst Alan Drum-Garcia prod asst Tom Furniss prod runner Chris Drake prod acct Sherie Wikaira estimator Ruben Ferguson asst accts Lissa-Mia Smith, Bren Mackenzie p/roll acct Alicia Lee acct asst Annie Baines cast coord Honor Byrne asst cast coord Amber McAllister cast dirs Annabel Lomas, Faith Martin cast drivers Andrew Burfield, Julie Gunson extras cast Anita Corcoran extras cast coord Danielle White extras cast asst Desiree Rose-Cheer dir ep1 Michael Hurst dir ep2 Jesse Warn DPs Aaron Morton, John Cavill, Dave Garbett cam ops Peter McCaffrey, Ulric Raymond, Todd Bilton 1ACs Roger Feenstra, Henry West, Blair Ihaka 2ACs Alex Glucina, Dave Hammond digi ops Chris Lucas, Ashley Thomas 1ADs Axel Paton, Hamish Gough, Luke Robinson 2ADs Rachael Boggs, Katie Tate, Patrick O’Connor 2nd 2AD Aimee Robertson 3ADs Ngaire Woods, Stuart Morrice, Lynn Hargreaves, Tref Turner, Elaine Te prod des Iain Aitken sup art dir Nick Bas-sett art dirs Mark Grenfell, George Hamilton, Mike Becroft set des Helen Strevens, Neil Kirkland constr mgr Murray Sweetman lead hnd Graham Harris hd scnic art Paul Radford scnic painter Laurie Meleisea hd plasterer Zane Grey art dept coord Anna Graves prps master Rob Bavin set dec Jill Cormack, Hamish
Wain set drssrs Daniel Birt, Eliza Meldrum, Sarah Bailey Harper prps/byr Tasha Lang prps finisher Neil Laffoley art runner Phil Moore horse master Wayne McCormack prps/pros des Roger Murray cost des Barbara Darragh cost sup Alice Baker asst cost des Olivia Dobson key stbys Barbara Pinn, Joan Wilson stby Naomi Campbell, Aleisha Hall backgrnd stby Amethyst Parker cost byr Sara Beale wkrm sup Marion Olsen cost runner Crystel Tottenham mkup/hair des Jane O’Kane mkup/hair sup Vinnie Smith onset mkup/hair sup Susie Glass, Claire Wolburg, Lauren Steward, Natasha Lees mkup/hair art Kath Rayner, Hayley Atherton, Aly Williams, Rachel Beedell, Natalie Vincetich, Pilar Alegre mkup pros art Shay Lawrence mkup /hair dept coord Jasmine Papprill mkup /hair asst Tamara Eyre bkgrnd mkup /hair Felicity Wright, Carmen Te Moananui mkup /hair asst Vee Guliver, Kendall Ferguson strybd Ed Butler script sups Di Moffatt, Monique Knight, Guy Strachan gaffers Tony Blackwood, John Enright b/boys lx Tane Kingan, Luke Macready gene ops Kimberly Porter, Aidan Sanders lx assts Vanessa Cotterill, Marcus Upton, John Paul McDonnell key grip Gareth Robinson dolly grip Kayne Asher rigging grip Carl Venimore b/boy grip Peter Cleveland crane op Daimon Wright grip assts Te Ra Tehei, Aaron Lewis snd mix Dave Madigan, Fred Enholmer boom op Chris O’Shea snd utility Sandy Wakefield key stunt coord Allan Poppleton stunt co-ords Clint Elvy, Shane Dawson asst stunt coord Ryan Carey stunt dept coord Erika Takacs sfx sup Brendon Durey sfx snr techs Sven Harens, Steve Yardley sfx tech Brin Compton sfx asst Rowan Tweed safety Willy Heatley, Nick Fryer, Jeff Hales studio mgr Karl Smith unit mgr Jason Sietu trans cap Aaron Gibson craft svce mgr Abby Jones craft svce b/boy Steve Brown bts arcvst Monique Kelly stills Matt Klitscher co prod Charles Knight post prod sup Kylie Harris post prod coords Margaux Peach, Alex Hammond post runner Toby Hutton eds Gary Hunt, Allanah Milne, Tom Eagles, Eric de Beus vfx sup Charlie McClellan vfx prods Lucy Bowey, Ramola Lang vfx art dir Peter Baustaedter vfx concept art John Walters vfx onset sups Ben Colenso, Tim Capper
TANGAROA WITH PIO SERIES 726x26min fishing/lifestyle b/caster Mäori TV prod co AKA Productions prod/dir Aroha Shelford pres Pio Terei cam op Richard Curtis u/w cam Dean Savage snd Colleen Brennan te reo Mäori Tumamao Harawira ed John Fraser aud post Reade Audio mus Reo Dunn, Woodcut gfx Lettica Shelford prod acct Lee Ann Hasson prod mgr Karen Sidney prod asst Lettica Shelford n/wrk execs Reikura Kahi, Melissa Wikaire
TE MATATINI 20113x3hrs, 1x6hrs, 42x26min NZ Kapa Haka National comp prod co Mäori TV exec prod Carol Hirschfeld prod/event dir Derek Wooster field dir Ngatapa Black highlight dir Brendon Butt prod mgr Pam Cain snr prod mgr Sandra Richmond
TE PAE HIHIRI 30x26min studio panel sports prod co Mäori TV exec prod Eruera Morgan prod Te Arahi Maipi dir Mahanga Pihama prod mgr Kym Morgan prod asst Kahukore Bell snr prod mgr Sandra Richmond
In PRODUCTIOn3D AMERICA’S NATIONAL PARKS5x60min doco prod cos NHNZ & Beach House Pic-tures co pro 3net (Discovery, Sony & IMAX) with MDA exec prod Craig Meade series post prod Ian McGee prod mgr Christine Drew nHnZ DPs Max Quinn, Alex Hubert stgrphr Karl Schodt loc asst Lindsey David-son rsrchr Brant Backlund eds Jason Lindsey, Chris Tegg, Jason Horner snd Alan Gerrie, Errol Samuelson strscpc online & grade Black Magic Singapore mus Audio Network
3D CHINA REVEALED10x60min doco prod co NHNZ co prod 3net (Discovery, Sony & IMAX) with CICC exec prod Craig Meade DP/strgrphr Mike Single series post prod Ian McGee prod mgr Christine Drew rsrchr Jane Adcroft loc fixers Felix Feng, Lauren Wang CCiC fixer Li Pei eds Jason Lindsey, Chris Tegg, Jason Horner snd Alan Gerrie, Errol Samuelson strscpc online & grade Park Post Road mus Audio Network
3D JEWELS OF THE WORLD5x60min doco prod cos NHNZ & Beach House Pictures co pro 3net (Discovery, Sony & IMAX) with MDA exec prod Craig Meade series post prod Ian McGee prod Jocelyn Little post prod BHP Janine Campbell prod mgrs Christine Drew, Sandra Chia, NHNZ DP Max Quinn BHP DP Brad Dillon strgrphr Mike Single dir Kenny Png cam asst Lau Hon Meng eds Jason Lindsey, Joel Tan, Sean Ashley snd Stacey Hertnon, Errol Samuelson strscpc online & grade Black Magic Singapore mus Audio Network
AKOprod co Mäori TV exec prod Carol Hirschfeld prod Pirihira Hollings rsrchr Pania Papa, Puka Maeau pres Pania Papa dirs Te Rangitawaea Reedy, Greg Mayor prod mgr Trudy Steele snr prod mgr Sandra Richmond
ANTARCTIC WHALE EXPEDITIONHD doco prod co NHNZ (www.nhnz.tv) exec prod Judith Curran dir/prod/snd op Max Quinn prod mgr Nikki Stirling
ANZAC 20101x17hrs coverage of Anzac Day prod co Mäori TV exec prod Ross Jennings prods Carmel Jennings, Te Rangi-tawaea Reedy prod mgr Leichelle Tanoa snr prod mgr Sandra Richmond
ASIA DOWN UNDER40x29min prod co Asia Vision prod Chris Wright asso prod Glenna Casalme prod mgr Elaine Parker prod asst Nathalie Chang reporters Bharat Jamnadas, Milda Emza, Kadambari Gladding, Stephen Chu reporter Geraldine Ramirez cam op Dave Flynn ed Jeff Avery audio post Envy Studios
ATTITUDE - 740x29min disability focused docos prod co Attitude Pictures prod Robyn Scott-Vincent exec asst Sean Webster dirs Emma Calveley, Magdalena Laas, Gemma Murcott Ward, Richard Riddiford, Wendy Colville prod mgr Sue Wales-Earl prod acct Jane Cotter rsrch Tanya Black, Dan Buckingham, Ann-Marie Quinn, Gemma Murcott Ward cam Sean Loftin, Daniel Wrinch snd Damon Arts, Eugene Arts gfx Brandspank ed Attitude Pictures offline eds Simon Hyland, Jai Waite, Levi Beamish online ed Simon Hyland snd TVNZ, Simon Weir reporters Tanya Black, Dan Buckingham, Cameron Leslie
BEYOND THE DARKLANDS 46x60mins prod co Screentime exec prod Philly de Lacey dirs Mary Durham, Rita Attwood, Peter Bell, Eugene Car-nachan, Bryn Evans prods Mary Durham, Peter Bell, John Keir prod mgr Kates Moses cam op Chris Matthews, Gavin Stroud, Daniel Apiata, Scott Behrnes eds John Kirk, Alex Behse, Roger Yeaxlee online ed Keith Mclean
THE BOX SEAT 48x60min prod co Trackside exec prod Mandy Toogood prods Matt Smith dirs Jamie Annan, Glen Bourne, Brendan Burns, Marty Henderson host Brendan Popplewell prod asst Nichola Johnson eds Elena Ash, Shane Devitt, Iain Logan, Rhyce Barker
CANINEprod co Greenstone Pictures ho prod Andrea Lamb prod Anna Lynch line prod Kylie Henderson prod coords Catriona Goodey, Chansina Chin fund TV3
CLINICAL YEARS1x60min doco prod co PRN prod/dir Paul Trotman cam Scott Mouat, Stephen Dowwnes, Wayne Vinten snd Brian Shennan
COASTWATCHprod co Greenstone Pictures ho prod Andrea Lamb prod John Bates prod mgr Hebe Van Schagen prod coord Clare Parsons fund TVNZ
COUNTRY CALENDAR 201126x30min rural NZ lifestyles prod co TVNZ exec prod Tina McLaren prods Julian O’Brien, Dan Henry, Frank Torley prod mgr Robyn Best dir/reps Jerome Cvitanovich, Carol Archie, Kerryanne Evans, Katherine Edmond, Dan Henry res Vivienne Jeffs
DOG SQUADprod co Greenstone Pictures ho prod Andrea Lamb prod Kate Peacocke prod mgr Jani Alexander prod asst Siobhan Kelly fund TVNZ
ProductionListings
30 may 2011 www.onfilm.co.nz
Lee Donoghue, Kiel McNaughton, Matt Chamberlain, Sarah Thomson, Beth Allen, Sally Martin, Jacqueline Nairn, Ido Drent, Ari Boyland, Pearl McGlashan, Natalie Medlock, Geordie Holibar, Frankie Adams, Virginie Le Brun, Tyler Read, Amelia Reid
TAMAKI PAENGA HIRA13x26mins Auckland War Memorial Museum tells sto-ries of 13 Taonga prod co Mäori TV exec prod Eruera Morgan prod Mechele Harron dir Tihini Grant prod mgr Trudy Steele snr prod mgr Sandra Richmond
TE KAEA30min wkday, 20min wkend Mäori language news prod co Mäori TV gm Te Anga Nathan hod Wena Harawira exec prod Lynette Amoroa asso prod Kororia Taumaunu assign eds Aroha Treacher, Taiha Molyneaux dir assts Anne Abraham, Pene Bush studio dir Mark Robinson reporters Semi Holland, Rereata Makiha, Dean Nathan, Tamati Tiananga, Rewa Harriman, Mere McLean, Rahia Timutimu, Heeni Brown, Rau Kapa, Numia Ponika-Rangi, Kereama Wright prod mgr Sharmaine Moke dept asst Ripeka Timutimu subtitles Eva Mahara, Tepara Koti, rsrchr/pres Stephanie Martin pres Piripi Taylor, Amomai Pihama
TE TEPU30min wkly Mäori language current affairs prod co Mäori TV exec prod Te Anga Nathan studio dir Mark Robinson prod/pres Waihoroi Shortland prod co Ripeka Timutimu
THE ART OF ARCHITECT 44min prod co TVNZ Production Unit exec prod Tina McLaren prod Dana Youngman prod mgr/prod acct Deb Cope dir Dean Cornish sen rsrchr Sue Donald rschr Sue Killian
THE COURT REPORT15x30min TVNZ7 prod co Gibson Group exec prod Gary Scott prod Sofia Wenborn pres Greg King n/wrk Philippa Mossman
TOI WHAKAARIprod co Mäori TV exec prod Matai Smith prod Jade Robson snr prod mgr Sandra Richmond
UNSUNG HEROESprod co Greenstone Pictures exec prod Cass Avery prod Bridgid Davis prod mgr Jani Alexander rsrchr Kirsten Warner prod asst Siobhan Kelly fund TVNZ/NZOA
VOLUNTEER POWERFamily community prod co TVNZ prod unit TVNZ n/work exec Philippa Mossman exec prod Tina McLaren prod/dir Julia Leonard prod mgr Jan-Marie Nicolai ed Chris Anderton pres Jim Mora, Julia Bloore
WHAT NOW120min weekly live kids show pres Charlie Panapa, Gem Knight, Johnson Raela eds Michelle Bradford, Stuart Waterhouse, Tyler King audio post Whitebait Facilities, Vahid Qualls, Dave Cooper props Warren Best, Scott Chapman w/robe Wilma Van Hellemond stylist Lee Hogsden prod asst Rebecca Myers prod coord Joshua Pollard field dir Sam Gill gfx des Harold Kho, Yosef Selim, Aaron Dekker rsrch Rebecca Brown-ing writers Andrew Gunn, Jeff Clark dirs asst Jenny Murray post prod dir Bronwyn Williams prod mgr Sharyn Mattison studio dir Kerry Du Pont creative prod Jason Gunn asso prod Josh Wolfe prod Reuben Davidson exec prod Janine Morrell-Gunn n/work exec Kathryn Graham
WILD COASTS WITH CRAIG POTTON5x60min doco series co SPP (09 839 0999) exec prods John Barnett, Chris Bailey prods Nicola van der Meijden, Raewyn Mackenzie dirs Dan Salmon, Michelle Bracey, Karen MacKenzie, Chas Toogood line prod Loretta Jacobs pres Craig Potton rsrchrs Rachel Stace, Jane Dowell cams Drew Sturge, Chris Terpstra snd Matt Heine cam/prod assts Arno Gasteiger, Mike Potton
POST PRODUCTIOn
OPERATION HERO10x30min children’s factual entertainment prod co Gib-son Group exec prod Dave Gibson prod Bevin Linkhorn dirs Dan Henry, Michael Huddleston edit Ben Powdrell gfx Tim Gibson online ed/colourist Adam Sondej cmpsr Stephen Gallagher snd post prod Phil Burton n/wrk exec Kathryn Graham n/wrk TVNZ
Richard Borg, Dale Pretorius, Carlos Purcell vfx interns Richard Neal, Brendon Chan, Josh O’Donnell cast Craig Parker, Charles Pierard, Hugh Barnard I SURVIVED 410x60min HD doco prod co NHNZ (03 479 9799) for A&E TV Networks exec ic prod Michael Stedman series prod Alan Hall prod mgr Dayle Spavins rsrch Marina De Lima, Stephanie Antosca, Bridget Baylin, Alissa Collins Latensa, Amy Kagelmacher, Jacqui Morice Crawford, Peter Holmes dir Sally Howell DP Kris Denton prod coord Dwayne Fowler post dirs Jacqui Morice Crawford, Quinn Berentson, Janice Finn offline eds Christopher Tegg, Karen Jackson, Thomas Gleeson
I SURVIVED 9/111x2hr special HD doco prod co NHNZ (03 479 9799) for A&C TV Networks exec i/c of prod Michael Sted-man exec prod Andrew Waterworth series prod Alan Hall prod mgr Dayle Spavins rsrchrs Marina De Lima, Stephanie Antosca, Bridget Baylin asst prod Peter Holmes dir Alan Hall DP Kris Denton 2nd cam Robert Winn, Stephen Downes, Max Quinn VFX Donald Ferns archive rsrchr Lemuel Lyes post dir Bill Morris offline ed Cameron Crawford
I SURVIVED…BEYOND AND BACK10x60min HD doco prod co NHNZ (03 479 9799) for A&C TV Networks exec i/c of prod Andrew Wa-terworth series prod Judith Curran prod mgr Robyn Pearson rsrchrs Nadia Izakson, Becky Beamer, Alizza Collins latensa, Kelly Meade dir Judith Curran, Lauren Thompson DP Alex Hubert, Eric Billman prod coord Supriya Vasanth post dirs Craig Gaudion, Kelly Meade offline eds Cameron Crawford, Marilyn Copland, Karen Jackson
INDIGENOUS INSIGHT30mins indigenous current affairs prod co Mäori TV pres Lynette Amoroa exec prod Te Anga Nathan asso prod Kelvin MacDonald prod Patagaw Talimalaw prod mgr Sharmaine Moke prod coord Ripeka Timutimu
MIKE KING’S COMMERCIAL CHAOSprod co Greenstone Pictures ho prod Andrea Lamb exec prod Sophie Dungate prod Simone Goulding prod mgr Alix Wilson prod coord Linda Loevoll fund TVNZ
MOTORWAY PATROLprod co Greenstone Pictures ho prod Andrea Lamb prod Kate Fraser prod mgr Rebeca Plaistow prod coord Simone Faets fund TVNZ
NATIONAL WAKA AMA SPRINTS 201011hrs Waka Ama racing prod co Mäori TV Wayne Leonard Highlight prod Andy McGarth pres Hoturoa Kerr, David Jones prod mgr Sue Killian snr prod mgr Sandra Richmond
NATIVE AFFAIRS60min weekly current affairs prod co Mäori TV gm Te Anga Nathan exec prod Colin McRae prod Wena Harawira prod mgr Sharmaine Moke dirs asst Pene Bush snr reporters Annabelle Lee-Harris, Makere Edwards, Iulia Leilua, Chas Toogood rsrch Kelvin McDonald pres Julian Wilcox
NEIGHBOURS AT WARprod co Greenstone Pictures ho prod Andrea Lamb exec prod Sophie Dungate asst prod Kathryn McMillan dir Lee Baker rsrchr Katrina Inkster prod mgr Rebecca Plaistow prod asst Rochelle Leef fund TVNZ
NGA IWI WHAKAPONOprod co Mäori TV prod Toi Iti rsrch/pres Ruia Aperahama rsrchr Tipare Toi snr prod mgr Sandra Richmond
NGA TAONGA WHITIAHUIA26x26min NZ Film Archive show prod co Mäori TV exec prod Carol Hirschfeld prod Michele Bristow pres Lawrence Wharerau dirs James Ratahi, Ira Heyder prod mgr Trudy Steele snr prod mgr Sandra Richmond
NOTHING TRIVIAL13x60min drama/comedy prod co SPP (09 839 0999) exec prods John Barnett, Rachel Lang, Gavin Strawhan prods Chris Bailey, Britta Johnstone line prod Tina Archibald writers Gavin Strawhan, Rachel Lang, Kate McDermott, Nick Ward head of devt Tim Balme dirs Mark Beesley, Murray Keane, John Laing prod mgr Jo Tagg prod co Natalia Perese prod sec Laura Thavat script co Rachael McMahon prod run Tim Burnell acct Elisha Calvert asst acct Sheree Silver 1ADs Gene Keelan, Mark Harlen 2ADs Sophie Calver, Kylie McCaw 3AD Kate Hargreaves script sups Gabrielle Lynch, Lisa Cook loc mgr Benny Tatton loc asst Rick Waite unit mgr Amy Russo unit asst Josh Dun DPs Dave Garbett, Rewa Harre, Dave Cameron cam op Oliver Jones 1st cam asst Jymi Best, Nic Harris 2nd cam asst Fiona Young cam trainee Toby Conway gaffer Nare Mato b/boy Trent Rapana gen op Jason Kerekere lx asst Eruera
Sutherland key grip Gary Illingworth asst grip Conrad Hoskins grip trainee Trent Hall snd recs Myk Farmer, Richard Flynn boom op Matt Cuirc snd asst C J Withey cost des Katrina Hodge cost co Rewa Lewis cost buy Sally-Ann Mullin cost dress Petra Verweij cost s/bys Ylona McGinity, Hannah Woods m/up des Jo Fountain m/up arts Jacqui Leung, Shannon Sinton, Tracy Nelson prod des Gary MacKay art dept co Jacinta Gibson set dec Angeline Loo art dirs Emily Harris, Paul Murphy set dec asst Rose Worley s/by assts AJ Thompson, James Rennie s/by props Owen Ashton, Craig Wilson prop buy Jo Larkin construct mgr Chris Halligan catering Rock Salt Catering cast dir Annabel Lomas safety Lifeguard & Safety eds Allanah Milne, Jochen Fitzherbert gx Savannah MacIntosh post prod sup Grant Baker pub Tamar Munch pub asst Lucy Ewen stills Jae Frew, Matt Kltscher cast Blair Strang, Tandi Wright, Debbie Newby-Ward, Shane Cortese, Nicole Whippy
NZ DETECTIVES SERIES 23x45min doco prod co Gibson Group prod Alex Clark exec prod Gary Scott dir Dan Henry prod mgr Inga Boyd rsrch Sarah Boddy DP Jacob Bryant n/wrk exec Jude Callen n/wrk TVNZ
POLICE TEN 736x30min prod co Screentime exec prod/prod Philly de Lacey, Mary Durham dirs Scott Hindman prod Sarah-Luise Hornblow asso prod/rsrch Katherine Birchall prod coord Olivia Lynd gfx Marcus Brill, Kathy Kennedy pres Graham Bell offline ed Emma Copeland online ed Keith Mclean
PRAISE BE 2011prod co TVNZ prod unit TVNZ exec prod Tina McLaren prod/dir Ron Pledger prod mgr Dawn Bowater pres rsrch Chris Nichol mus dir Peter Averi
RAPTORS1x60min HD doco prod co NHNZ co prod National Geographic Channel & Nat Geo Wild exec prod John Hyde host James Currie prod/dir/cam Giles Pike cam Max Quinn prod mgr Christina Gerrie rsrchrs Marcus Turner, Michael Henriquez
RENTERSprod co Greenstone Pictures ho prod Andrea Lamb prod Simone Goulding prod mgr Laura Peters fund TVNZ
RURAL DELIVERY 740x30min wkly prod co Showdown Productions exec prod Kirsty Cooper prod Tracy Mika line prod Emma Slade dirs Jerome Cvitanovich, Kirsty Cooper asso prod Liz Kruse prod mgr Rosie Smith prod coord Barbie Nodwell prod asst Andrea de Klerk DP Richard Williams rsrchrs Richard Bentley, Jerome Cvitanovich, Hugh Stringleman, Marie Taylor ed Christine Jordan pres Roger Bourne
SCU – SERIOUS CRASH UNITprod co Greenstone Pictures ho prod Andrea Lamb prod Kate Fraser line prod Kylie Henderson prod asst Rochelle Leef fund TVNZ
SHORTLAND STREET5x30min weekly prod co SPP exec prods John Barnett, Simon Bennett prod Steven Zanoski line prod Sharron Jackson dirs Geoff Cawthorn, Jonathan Alver, Katherine McRae, Richard Barr, Wayne Tourell, Laurence Wilson script prod Paul Sonne s/liner/story ed Paul Hagan s/liners Kirsty McKenzie, Alistair Boroughs, Caley Martin, Joanna Smith med adv Sally Geary, Sarah Nevitt script eds Lynette Crawford-Williams, Karen Curtis script eds asst Nina Vlahovic prod coord Mariya Nakova prod sec Kylie Newman script typ Casey Whelan prod acct Diane Boddy acct asst Stephanie Dahlberg loc mgr Bryce Wood 1ADs Michele Priest-Edmondson, Moe Hobbs, Flora Woods, Jimmy Scott 2ADs Francis Koon, Katie Dallimore 3AD Cat Henshall prod runner Aaron Levi dir assts Kathe Calis, Sarah Brinsdon, Laurel Urban tech prod George Platt tech mgr Malcolm C Saunders vis mix Fran Hodgson lx assts Nick Hakaraia loc DPs Drew Sturge, Sean Rundle loc gaffer Drew Wright cam ops Sheree Swale, Nigel Roberts, Rayner Cook, Nick Hayward cam asst Daniel Lacy snd rec Greg Moon boom ops Andrew Revell, Andrew Lusk prod des Ana Miskell art dirs Sophie Guthrie, Ross Goffin, Andy Currie art dept mgr Sophie Elworthy stby prps Natalie Tsuchiya, Scott McDowall art dept assts Brooke Darlison, Logan Childs gfx coord Alex Kriechbaum cost des Nicola Newman asst cost des Rebecca Jennings cost stbys Katie Jones, Joss Henry, Genista Jergens cost asst Rowena Smith laundry asst Jan Beacham hair/m/up sup Rebecca Elliott m/up Toni Anne Arbon, Katie Fell, Sophie Beddoes ed Anna Marshall-Inman asst ed/digitiser Matthew Allison online ed Dylan Reeve snd mix Neil Newcombe snd eds Margaret Newcombe, Ora Simpson cast dirs Andrea Kelland post prod sup Sara Knight pub Rachael Keereweer pub asst Chris Henry dialogue coach Shirley Duke, Linda Cartwright asst chaperone Renee Lyons comp Graham Bollard p/grphr Jae Frew caterer Rock Salt cast Michael Galvin, Angela Bloomfield, Amanda Billing, Robbie Magasiva, Benjamin Mitchell, Peter Mochrie,
EVER WONDERED – SERIES 210x28min cutting edge science & technology brdcst TVNZ 7 prod co Buto Productions exec prod Glenn Elliott n/work exec Philipa Mossman asso prod Karen Bunting prod mgr Jenna Steel prod cam ops Richard Harling, Greg Parker dirs Andrew Whiteside, Dave Hay rsrch Rachael Hennessey asst rsrch Simon Zhou gfx Lester Chung prod assts Tim Carr, Nichole Lee Mell snd Cam Lenart eds Niki Hiini, Jack Woon
FIRST CALL52x180min prod co Trackside exec prod Mandy Toogood prod Roger Moore dirs Jamie Annan, Glen Bourne, Brendan Burns host Karyn Fenton-Ellis panel-lists Des Coppins, Stu Laing, Brett Davison prod asst Nichola Johnson eds Shane Devitt, Elena Ash, Rhyce Barker, Iain Logan
GOOD MORNING 2011prod co TVNZ Prod Unit exec prod Tina McLaren prod Sally-Anne Kerr line up prod Melanie Phipps script eds Mary-Lou Harris, Simon Ragoonanan dirs Jim Curry, Alan Henderson, Mark Owers dir asst Christina Dolman prod mgr Dawn Aronie prod asst Samantha Fisher spcl projs Marcus Hamilton rsrchr Andrew Wood, Georgia Stephens, Simon Ragoonanan, Lucy Johnston, Sally Page, Pirimia Burger, Gabrielle Paringatai-Lemisio rsrchr asst Liana McPherson sponsorship mgr Merril Thompson adv prod Amber Smith adv prod mgr Donah Bowers-Fleming adv dir Rachael Hennessey adv prod asst Julia Lynch
HAA30min youth prod co Mäori TV exec prod Carol Hirschfeld prod Wiremu Te Kiri asso prod/prod mgr Teremoana Rapley dir Kataraina White pres Amanda Jay Ashton, Nawaia Watene, Junior Paparoa rsrchr Adam Burrell stylist Rachelle Christian m/u art Kelly Isherwood sen prod mgr Sandra Richmond
HEAD START11x26mins & 2x52mins hairdressing & make up reality competition for a scholarship prod co Mäori TV prod Jeni-Leigh Walker dir Wayne Leonard pres Matai Smith prod mgr Pamela Cain
HINDSIGHT13x30min current affairs prod co TVNZ prod unit TVNZ n/work exec Philippa Mossman exec prod Tina McLaren prod/pres Damian Christie ed Brian Mead prod mgr Stewart Jones
HISTORY UNDER THE HAMMERprod co Greenstone Pictures ho prod Andrea Lamb prod Kate Peacocke line prod Kylie Henderson rsrchr Alex Reed fund PRIME / NZOA
HIGHWAYprod co Greenstone Pictures exec prod Cass Avery prod Sam Blackley prod mgr Laura Peters prod coord Elea Huston fund TVNZ
HOMAI TE PAKIPAKI20x90min Heats, 2x90min Semi-finals, 1x2hr Grand Final. Live, interactive, karaoke prod Erina Tamepo pres Matai Smith asso prods Piripi Menary, Michele Bristow dir Greg Mayor prod mgr Shirley Allan set des Coylehall net exec Carol Hirschfeld snr prod mgr Sandra Richmond ICE CAPTAIN90min feature prod co Making Movies prods James Heyward, Andy Salek line prod Liz DiFiore dir/writer Leanne Pooley dir asst Kelly Krieg prods pa Katie Bolt 1AD Hamish Gough 2AD Katie Tate prod assts Ellie Callahan, Rachel Choy prod intern Lisa Brown prod runners Jasmine Rogers-Scott, Emma Behrns, Nathaniel Sihamu prod des Roger Guise on set art dir Geoff Ellis propmster Paul Dulieu props mker Phil Gregory art assts Clarke Gregory, Jim Anderson constr mgr William Schmidt DP Simon Baumfield 1st cam assts Graham MacFarlane, Roger Feenstra 2nd cam asst Kim Thomas vid splt/data intern Leigh Elford 2nd unit DP John Cavill 2nd unit ac George Hennah 2nd unit 2nd ac Meg Perrot cont Rachel Choy gaffer Thad Lawrence b/boy Tony Slack lx assts Merlin Wilford, Gilly Lawrence, Steven Renwick, Ben Corlette, Sam Jellie key grip Kevin Donovan b/boy grip Chris Rawiri grip assts Winnie Harris, Chris Tait grip trainee Sam Donovan spfx Film Effects Company Ltd spfx sup Jason Durey spfx office co-ord Tanya Bidois spfx snr tech Mike Cahill spfx techs Graham Nixon, Rowan Tweed, John McLaren, Eliot Naime, Michael Lawton spfx runner Gavin Ravlich cost des Suzanne Sturrock w/robe stdby Cathy Pope w/robe asst Charlotte Turner m/up des Davina Lamont m/up arts Michele Barber, Tash Lees, Hayley Oliver safety coords Scene Safe Chris Griggs, Sam Armitage nautical adv Kevin Donovan unit mgr Sam Shelton unit asst David Shope caterers Bonifant & Saxby epk/stills Cristobal Araus Lobos, Andy Salek cams Panavision prod acc Kylie Strain ed Tim Woodhouse cmpsr John Gibson post prod sup Grant Baker vfx prod Cris Casares vfx sup Brenton Cumberpatch vfx arts Brenton Cumberpatch,
Production
Listings
Because of space constraints in this month’s maga-zine, some listings that have previously run in the same category have been cut. The comprehensive Production Listings pdf can be downloaded from www.onfilm.co.nz/production-listings.
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110331_onfilm_monitors2.pdf 4/04/2011 3:09:31 p.m.
