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N Z ’ S S C R E E N PR O D U C T I O N I N D U S T R Y M A G A Z I N E
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Sam Hunt
Local bard hits the big screen in Sam Hunt: Purple Balloons and other stories Rob Tapert Simone Horrocks Casting feature Industry news
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contents april 2011
Views 4 A private view 25 years is “a long time between thinks” for Onfilm columnist Doug Coutts and cartoonist Barry Linton. 5
Editorial
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Industry news
10 COVER: Sam Hunt at Mana boatshed in 2009 during filming of Sam Hunt – Purple Balloons and other stories. Photo: Tim Rose.
Steven Shaw on celebrating our indie heroes; Cartoonist Andy Conlan offers tips on the business of acting.
Philip Wakefield rounds up box office and production news from the NZ screen industry.
9 Roxy Cinema reopens Wellington film insiders relaunch Mirimar’s Roxy Cinema as an art deco, state of the art theatre complex. 10 Cover story: Hunting the bard Documentary Sam Hunt: Purple balloons and other stories will soon roll out to cinemas nationwide. Onfilm talks to Sam Hunt and director Tim Rose.
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12 WIFT views: Chasing Waterfalls Ruth Dunphy from Women in Film and Television interviews Simone Horrocks, director of After the Waterfall. 14
Profile – Rob Tapert
Philip Wakefield interviews Rob Tapert, the American producer who has helped to build the local screen industry through shows Hercules, Xena and Spartacus.
Casting feature Immigration rules liberalised
18-19 Casting and Actors agents
T he Casting Company’s Tina Cleary and Miranda Rivers talk about their careers; local actors agents reveal the issues facing their sector.
24 Hook, Line & Sinker Casting was a different kettle of fish for the makers of new improvisational drama Hook, Line & Sinker 26-27 Wranglers and Stunts
Wranglers Wayne McCormack and Anna Low talk about their passion for horses and screen production, and we profile Paul Shapcott, president of the NZ Stunt Guild.
28 Production listings
Volume 28, Number 3
Est 1983
Editor: Steven Shaw (editor@onfilm.co.nz), 021-905-804 Contributors: Doug Coutts, Peter Parnham, Philip Wakefield Ad Manager: Kelly Lucas (admanager@onfilm.co.nz) 0-9-366 0443 Production Manager: Fran Marshall Designer: Cherie Tagaloa New Subscriptions: www.onfilm.co.nz/subscribe Subscriptions Enquiries: subs@mediaweb.co.nz, 0-9-845 5114 Pre-press and Printers: Benefitz Onfilm is published 11 times a year by Mediaweb Limited, which also publishes The Data Book. Mediaweb Limited, PO Box 5544, Wellesley Street, Auckland 1141 Phone 09-845 5114, Fax 09-845 5116 Website: www.onfilm.co.nz
The contents of Onfilm are copyright and may not be reproduced without written permission. © 2011: Mediaweb Limited While 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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Peter Parnham spells out the changes to NZ immigration policy affecting actors and crew.
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w e i v e t a A priv A long time between thinks I may be a trifle out, but I’m pretty sure this column marks my 25 th anniversary by doug coutts as an Onfilm columnist. I think it was the April 1986 issue that carried my first 500 words but to be certain I’d have to dig deep into the pile containing every single issue of this august journal, and frankly that’s risking terminal hay fever from decades of collected dust and cat hair. (Two maybe three different cats as well…) So let’s just take it as read that this is indeed an auspicious occasion. After all, 25 years on the periphery of the New Zealand Film Industry is a milestone and something likely to be aspired to by the many graduates of the many film and television schools in the country. But, speaking personally, I have never sought fame or fortune (in the latter case, just as well), preferring to stand in the shadows and watch as others reach for the glittering prizes and, with a bit of luck, occasionally fall flat on their faces. Otherwise I’d have to make it all up each month. Luckily there’s also the current government. Call me stuck in the mud if you like but I’ve always thought that the role of a government is to govern, with a little bit of emphasis on running the country. These days, especially under the current regime known as the Gummint (as the head honcho pronounces it) the role has changed slightly – it’s all about running the
country in much the same way that you’d run a business. Which is hardly surprising, since running business is what the head honcho, along with several of his wee acolytes, does best. There’s a slight problem. In business they place huge importance on the bottom line, and we’re not talking obesity in South Auckland. In business, non-performers get fired and become someone else’s problem, likewise the sick and doddery. Out they go, to be replaced by the young and enthusiastic (not to mention cheap). You can’t really run a country like that, not unless you want to face international opprobrium and a war crimes tribunal later on. In business you don’t really have to worry much about what your staff does after work either. Sure, you can donate a few dollars to the social committee for t-shirts for the dragon boat team, but that’s because teambuilding is good for productivity. Everything else falls into the “nice to have” category. A decent public broadcasting service? That’d be nice to have but in the current economic climate, sorry. A well-supported film industry? That would be nice to have as well but in the current economic climate… Of course, you say, the Gummint did act fast to ensure the hobbits didn’t get wedged in their burrow. True, although cynics might suggest Brownlee the Hutt et al merely saved an ailing business, which is almost diametrically opposed to stimulating a creative endeavour. That being said, the Gummint is not against creativity. It loves creativ-
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ity, especially amongst accountants, merchant bankers and property developers. But when artists, writers or quilters want to have a go, it’s the sort of thing that’d be nice to have when the economy’s back on its feet again. So we all have to make sacrifices. No more visiting masseurs to television centres, the Ministry of Ag and Fish (1975) becomes Ag and Fish (and Food Poisoning) once more – let’s hope they kept the letterhead – and many of those shiny-arsed penpushing public servants will have their trough-sloughing days curtailed, but only in non-essential areas of course. That’s non-essential to core-business I mean core-country-running. In business it’s essential to create
the perception, in your clients’ minds, that you’re good at what you do. That explains why the Prime Minister does all he can to shake hands, appear in cheesy promotional videos and trade insults with ageing cricket stars, leaving the boring stuff to the boys, and the odd girl, in the backroom. It also explains why the country is on the verge of a cultural devolution, the likes of which haven’t been seen for over, say, 25 years. It’s perfectly fine to have a business run by a bloke who’s never read a book or seen a play for pleasure, but to have a whole room of them supposedly making this country a better place… it’s a little bit depressing.
e t o n s ’ Ed I
Celebrating our heroes
Andy Conlan’s view
t’s always great to hear good news from overseas about local productions. Leanne Pooley’s documentary The Topp Twins: Untouchable Girls has been getting great reviews during its short run in Toronto. And the little indie feature that could, Mike and Rosemary Riddell’s The Insatiable Moon, recently opened in London at the Empire in Leicester Square. Empire magazine awarded it four stars and described it as “a moving original film that deserves to be seen”. In NZ, The Insatiable Moon grossed $183,800, outpacing other local feature releases including Matariki and Predicament. The NZ release of The Topp Twins: Untouchable Girls was also something of a celebration – Kiwis went en masse to the cinema to watch a locally made documentary about two of our cultural icons. Which leads me to another Kiwi cultural icon – in this issue we talk to poet Sam Hunt, whose life and poetry is celebrated in director Tim Rose’s feature length documentary Sam Hunt – Purple Balloons and other stories. Hunt has been called a lot of things over the years, including a “drunk hippy”, but you can’t take away the fact that this absolute character, who has earned a Queen’s Service Medal and a NZ Order of Merit along the way, has stayed true to himself and his craft. Here’s hoping the public turns out to see this fascinating documentary. Another independently made local drama hits the screens on May 5 – the improvisational Hook, Line & Sinker, co-directed by Shane Loader and Andrea Bosshard (Taking the Waewae Express) and starring Rangimoana Taylor, Carmel McGlone and Geraldine Brophy. Check out more about their process on page 24. Elsewhere, Ruth Dunphy talks with After the Waterfall’s Simone Horrocks, Philip Wakefield interviews the Onfilm/SPADA industry Champion Rob Tapert, and we hear from with casting directors, actors agents, horse wranglers and more. Until next time then, and don’t forget to check out more local industry news at www.onfilm.co.nz. – Steven Shaw
Will The Hobbit hobble crewing? N
ZFC chief executive Graeme Mason doesn’t believe having a $500 million production shooting in NZ will cause crewing problems for every other shoot. “There are facilities around at the moment, there are crew,” he says. “A lot of the people working on The Hobbit have already been on other similar projects – maybe they were working on Avatar or Tintin. When those other films – Avatar, Tintin, District 9, Lovely Bones, Rob Tapert’s stuff – were all happening, there was still Boy, and Home By Christmas, and Hopes and Dreams … they were all crewed. So I think there’s room for us all.” But producer Rob Tapert says he has brought in crew from other countries for Spartacus: Blood and Sand because of The Hobbit’s demands on locals. “We’re going through growing pains in terms of The Hobbit,” Tapert told Onfilm on the eve of shooting the second season. “We’re having to import crew from other places in
the world because The Hobbit sucked up all the A-listers. Our big thing was make-up department, stunts was huge … so we’re bringing in people from Australia, Canada, Eastern Europe. It adds to the cost of production. We’re paying the same but the extra costs are in travelling and living.” Tapert says crewing while a production of The Hobbit’s scale is under way is challenging but inevitable. “I’ve gone through this a couple of times now – I saw the handwriting but there’s very little you can do to stop it. They have more money and a longer commitment.” The Hobbit has crew numbers around 500, according to the production company 3Foot7, which adds that it’s “roughly half the size of LOTR which had several units working for a lot of the time”. – Philip Wakefield
May issue Special feature: On set / Locations Distributed at the Locations Expo in LA and Cannes Film Market, Cannes
Booking deadline: 20th April Material deadline: 26th April Contact: Kelly Lucas for more details kelly@onfilm.co.nz or 09 366 0443
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Industry news with Philip Wakefield
Hook Line & Sinker photo Andrea Bosshard © Torchlight Films
Tracking NZ movies Two New Zealand movies will open on May 5: Tracker and Hook, Line & Sinker. The latter, from Paramount Pictures, is a NZ/UK co-production about a Boer War vet on the trail of a Maori wanted for the murder of a British soldier. It has been likened to director John Hillcoat’s Australian ”western”, The Proposition. The $10 million action-thriller was shot in Queenstown and stars Ray Winstone (who also starred in The Proposition), Temuera Morrison and Andy Anderson. It was jointly funded by the UK Film Council, the NZFC and NZ On Air, with financing from Natixis Coficine. Trevor Haysom is the NZ producer, and Richard Fletcher is an executive producer. “Tracker is very much a mainstream release for us,” says Paramount Pictures’ Peter Garner, “and we intend to be playing in all the important metropolitan and provincial complexes. Our media campaign will be robust and maximise the New Zealand made aspects and talents of Tem Morrison.” Opening the same day, on 39 screens, is the improvisational lowbudget family drama, Hook, Line & Sinker, which was written and directed by Taking the Waewae Express’ Andrea Bosshard and Shane Loader. Rangimoana Taylor, Carmel McGlone and Geraldine Brophy star. Both movies
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follow the back-to-back releases of the romantic comedies My Wedding and Other Secrets and Love Birds. My Wedding opened at number one, grossing $183,317 in its first week on 49 screens – which was $55,414 shy of Love Birds’ first week (although this included unreported Valentine’s Day previews). At press time, Love Birds had grossed $542,857 after its fifth weekend, and was averaging $594 on 31 screens (the previous weekend it was on 54 screens). After its second weekend, My Wedding was in fifth place on $318,536, having slipped only 13.3% from the previous weekend and showing on two more screens. “It is ticking over nicely and at this stage I would estimate a final total around $550,000,” says distributor Andrew Cornwell of Sony Pictures. “If it continues to hold well, which it did over the second weekend, it may well exceed that. Many successful New Zealand films – The Topp Twins, Second-Hand Wedding – have started relatively modestly but just ticked over to a nice total.” Devil to rock Cannes on Friday the 13th The Devil’s Rock will have its Cannes Film Festival market premiere on a date that couldn’t be more apt: Friday, the 13th of May. About two Kiwi commandos who unearth a devilish
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Nazi plot on the Channel Islands just before D-Day, it was shot in Wellington and marks the directorial debut of Weta vfx artist and short film maker Paul Campion (Eel Girl, Night of the Hell Hamsters). It will be distributed in NZ by Vendetta and has a six-figure UK deal with Metrodome. The Devil’s Rock is one of five features the sales agency arm of the NZFC, NZ Film, will be representing at Cannes. The others are: The Orator (which Transmission will distribute locally), Two Little Boys, The Most Fun You Can Have Dying (Rialto Distribution) and The Last Dogs of Winter. Also at Cannes will be NZ movies with NZFC investment that international sales agents are handling, such as Love Birds, My Wedding and Other Secrets, and Sione 2. Sione’s 2 due to shoot South Pacific Pictures isn’t revealing the plot or the title of Sione’s 2, the sequel to Sione’s Wedding that starts shooting in Auckland on April 17. The five-week shoot reunites the original’s key cast under the direction of Outrageous Fortune’s Simon Bennett (Chris Graham helmed the original); John Barnett and Paul Davis are producing. Details of the screenplay, by the original’s James Griffin and star Oscar Kightley, aren’t being divulged, except that it’s set five years on
from the 2006 release that grossed more than $4 million at the NZ box office. The Film Commission approved conditional funding at last month’s board meeting; the production also is being financed by TV3 and South Pacific Pictures, with the latter and Sony Pictures handling the January 19, 2012 release. Already filming is the first of the Escalator features, I Survived a Zombie Holocaust, from writer/director Guy Pidgen and producer Zoe Hobson. Kiwi Underbelly under way TV3 is banking on the Kiwi Underbelly spin-off that started shooting in Auckland on April 10 to help stop its ratings from going belly-up. The sixpart series Underbelly NZ dramatises the rise of Mr Asia, Marty Johnstone, whose murder was pivotal to the second series of Underbelly, The Mr Asia Story. Screentime has received $3.9 million in NZOA Platinum funding to make the NZ-based series, which Ric Pellezzeri is producing. At press time, casting and crewing details had still to be confirmed. Production precedes the airing of three Underbelly telemovies on TV3, with series four to follow later in the year. The Underbelly franchise is one TV3 is pinning its hopes on for a
Tracker, starring Ray Winstone and Temuera Morrison. Image © Paramount Pictures
ratings resurgence after starting the new season well behind both of its TVNZ rivals. New series like Hawaii Five-O and Bigger Better Faster Stronger haven’t fired as hoped. Viewers have taken longer than anticipated to find old favourites, like Bones, in new slots (or not at all: The Good Wife and Grand Designs); and the relaunch of Four, coupled with a new-look TV3 targeting 25-54 year-olds, hasn’t been backed up by aggressive spending because of owner Ironbridge’s financial woes. It’s understood TV3’s commissioning budget is lower than in previous years, leading to new series like Bigger Better Faster Stronger underperforming partly because it has re-runs as a lead-in. TV3 also is hurting with The Simpsons becoming a Four property to help bolster its prospects among 18-49 year-olds. But given The Simpsons has been on air for 21 years, its appeal may lie more with TV3’s new, olderskewing demo than Four’s. TV3’s schedule also suffers from a surfeit of US action hours – Five-O, NCIS: Los Angeles, SVU, CSI – when its breakout hits have been more cableTV than network-TV oriented: Sons of Anarchy, Nurse Jackie, Californication. Even The Almighty Johnsons would be more at home on a US cable channel than a US network. Super City hasn’t been a hit but showed enough creativity and promise that TV3 will want to explore its strengths further to help cement its Friday Kiwi comedy line-up. TV3 will exploit its 7 Days success with Kiwi Comedy Gala programming and will screen the new season of The Jono
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Show, which previously aired on C4. Also up its scheduling sleeve are NZ’s Next Top Model, which has just started auditions, its own version of the UK panel hit Would I Lie to You, and both the Australian and US versions of The X-Factor (the latter with ex-American Idol judge Simon Cowell). Golden weather continues for South Pacific Pictures There’s nothing trivial about South Pacific Pictures’ production slate. Production of its latest drama series for TV One, Nothing Trivial, has started on the eve of it shooting Sione’s 2. TVNZ already has renewed and NZ On Air approved, for $6.8 million, Go Girls for a fourth season and TV3 is preparing an NZOA application for a second season of The Almighty Johnsons. Shortland Street will screen in HD from April 18 and two more series are in production: High Country Rescue (for TVNZ) and Wild Coasts With Craig Potton (for Prime). TVNZ raised eyebrows among NZOA board members when it announced Nothing Trivial as part of its 2011 new-season highlights before the board had considered the application for the 13-part comedy/drama from Rachel Lang and Gavin Strawhan. About five friends with two things in common – a pub quiz and the fact
that each of them is unlucky or unhappy in love – it stars Shane Cortese, Tandi Wright, Nicole Whippy, Blair Strang and Debbie Newby-Ward, and includes Mark Beesley and Murray Keane among its directors. The 17-week shoot ends in late June, so the $6.9 million commission can be delivered for transmission later this year. Milestones and miscellany What Now is officially NZ’s longestrunning children’s programme, having entered its 30th year … Country Calendar celebrated 45 years on air last month with the debut of its first season in HD and a new commercial sponsor, Hyundai … At last NZ On Air and the NZFC have their own in-house communications czar, albeit on a shared basis. Radio NZ’s deputy editor of Checkpoint, Gina Rogers, will take up the challenge of looking after the funding agencies’ media and industry relations later this month … NZFC development head Marilyn Milgrom and sales and marketing executive Daniel Story have moved on (she to London, he to make a feature film in Auckland), Kath Akuhata-Brown has temporarily joined NZFC Development as script executive, Lisa Chatfield is filling in as short film manager while Juliette Weber is in the US for a year, and
Rachael Mansfield is back to work part-time on Escalator and professional development … The NZFC board has created discretionary annual awards to recognise filmmakers’ critical and commercial success, starting with: Taika Waititi for Boy, Gaylene Preston for Home By Christmas, and Mark Albiston and Louis Sutherland for The Six Dollar Fifty Man … The latest industry groups to receive NZFC board funding are: 48HOURS, $35,000; NZ Federation of Film Societies, $10,000; NZ Film Festival, $85,000; Pikihuia Awards for Maori Writers, $10,000; Qantas Film and Television Awards, $50,000; Show Me Shorts Film Festival, $10,000; Wairoa Maori Film Festival, $20,000 … The NZFC’s six Premiere Short films have been announced by their executive producer groups: Tom Thumb Shorts’ Bee (writer/director Loren Taylor, producer Ainsley Gardiner) and Sonny, My Older Brother (w/d. Tammy Davis, p. Chelsea Winstanley); Tauihu Shorts’ Inorganic (d. Maria Elena Doyle, w. Nick Ward, p. Donna Pearman, Angela da Silva) and Jubjub Bird (d. Dylan Pharazyn, w. Paul Stanley Ward, p. Claire Kelly); A Collective Intake of Breath’s Night Shift (w/d. Zia Mandviwalla, p. Chelsea Winstanley, Matt Noonan) and Tiger Country (d. Pietra Brettkelly, w. Sarah Boddy, p. Jeremy Macey).
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w e i v l a g e Al Reversion of rights In situations where a production doesn’t move forward, David McLaughlin discusses what conditions must exist for the owner of the original property to reacquire or reuse the property.
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lthough all projects in the film and television industry are entered into with absolute optimism, the reality is that a large number of these projects will not proceed to production or sometimes even to the later stages of development. In these situations the question often arises as to what happens to the underlying ideas or material on which the production is based. If the concept of the production has been wholly created by the production company itself, then chances are that, subject to any obligations to third parties that the production company may owe in respect of the production – for example development loans, co-production or financing agreements – the production company is of course free to deal as it chooses with the underlying property. However, even in situations where the production company has purchased the rights in the underlying concept or property from its original creator or owner, there can be instances where the original owner can reacquire the rights in the property. The way this generally happens is by virtue of what is commonly called a “Reversion of Rights� clause. Unless a separate agreement has been entered into to deal with the reversion of rights to the original owner (which would be unusual), any ability for the original owner to reacquire the rights would normally be included in the Option and Purchase Agreement for the property. Although not unusual,
reversion of rights clauses are not necessarily standard either. Therefore, whether you are the production company or the original owner of the property, if the reversion of rights is likely to be a significant issue for you, you need to check carefully to see what has or hasn’t been included in the applicable contract. Like any provision, reversion of rights clauses can vary in exactly what they provide for from contract to contract. The key aspect to them is of course that there is a right for the property or rights in question to be reassigned to the original owner. Having said that, another key aspect to reversion of rights clauses is clarifying the conditions under which right of reversion can actually occur. Generally speaking, reversion of rights will only ever occur when after reasonable time the production company has failed to significantly move the production forward. For example, a reversion of rights clause may provide that a reversion will only occur if “principal photography� has not commenced within say seven years of the date of acquisition of the rights. The time period before which reversion can occur will also vary from contract to contract but it is generally going to be many years as opposed to just a couple. In the film and television industry reversion of rights clauses are very much something that will only come into play once all reasonable hope of the production progressing appears to have faded, as opposed
to something which is intended to put undue pressure on a production company to progress a project within a short period of time. Although reversion of rights clauses may provide a right for the original owner to reacquire the property or rights in question, this does not necessarily come for free. Here is where reversion of rights clauses differ from the expiration of an option period under an option and purchase agreement. In the case of an expired option all the production company ever had was an exclusive right to develop the production using the original rights or property for a limited period of time. The ownership of the rights always remained with the original owner. However, in the case of a reversion of rights clause, we are talking about a situation where the production company will have already purchased outright from the original owner the rights in the property in question. Therefore in many cases the production company will require payment of certain amounts before the rights will revert. These amounts could range from just repayment of the original purchase price to as much as repayment of the original purchase price, development costs and associated financing costs. In such cases, exactly when this amount is payable becomes key for the original owner. For example, given the potential extent of such costs, the owner may be able to negotiate payment only being due when a subsequent
production, using the original rights or property, actually goes into production. The theory here is that any new production company that picks up the rights from the owner for their own production would effectively pay this cost on the owner’s behalf at such point. One of the final but very important aspects to reversion of rights clauses is to be clear on what rights are reverting. For example, are these just the original rights or property that the owner assigned to the production company, or is it to include the original owner also effectively acquiring all the subsequent development work that the production company has done in respect of the property for the production? The difference is quite significant and can in turn have a big impact on any price that the original owner should reasonably be expected to pay on reversion. • David McLaughlin (david@mclaughlinlaw. co.nz) 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 (david@mclaughlinlaw.co.nz).
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Photo: Steve Unwin, Weta Workshop.
Roxy investors Richard Taylor, Tania Rodger, Ann and Jamie Selkirk.
Roxy Cinema open for business The glitz and glamour of Hollywood comes to Miramar.
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ellington’s Roxy Cinema is back in action after an extensive rebuild and decades as a shopping mall. The theatre complex in Park Road, Mirimar, started public screenings in early April. Roxy Cinema and Coco bar and restaurant are the creation of a group of film and hospitality experts who want customers to experience the glamour and excitement of going to the movies. Investors include editor and film producer Jamie Selkirk (Lord of the Rings) and his partner Ann, and Weta Workshop co-founders Tania Rodger and Richard Taylor.
The building was originally constructed in 1928 as the Capitol Theatre, screening silent movies until it was updated in 1932 to show “talkies”. The last screening was in 1964, and soon after the building was converted into Capitol Court shopping mall, which operated for three decades. The building was purchased in 2003 and is now owned by the Selkirk and Taylor/Rodger Family Trusts. Over the last year a $7 million ground up rebuild has turned the Roxy dream into reality. The building’s original art deco style has been revived, with interior features
designed and built by the team at Weta Workshop. State of the art audio and visual technology has been installed into two cinemas. Both have been kitted out with identical digital equipment. Cinema One features a 35mm Kiniton film projector and is the first purpose-built 3D cinema in the country. Surround loudspeakers are tuned to create the clarity an audience expects from professional quality cinema. “Having set up Weta Workshop almost 18 years ago,” says Tania Rodger, “it seemed only logical to take on the challenge of breathing life back into one of Wellington’s original suburban
cinemas. This was an abandoned building that deserved a second chance and I now see the Roxy as a unique gallery, a place to showcase the creative art of film making with our creative team from Weta Workshop. We’re so pleased to be able to share the magic of movies with people from far and wide.” “We are in the heart of New Zealand’s movie industry so we must have the best,” says Jamie Selkirk. “It’s an opportunity to give something back to Miramar and Wellington.” • For more on Roxy Cinema, go to www. roxycinema.co.nz
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Hunting the bard
Sam Hunt, performance poet and NZ cultural icon, is used to the rigours of touring. He’s about to tour in a whole different way when the documentary Sam Hunt – Purple Balloons and other stories opens nationwide at cinemas in May.
Early days of filming, Kaipara, 2006. Left to right: Tim Rose (director/producer), Jim Scott (editor/ producer) and Sam Hunt. Photo Jim Scott.
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Sam Hunt helping to carry camera gear, Mana boatsheds, 2008. Photo Jim Best.
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am Hunt CNZM, QSM, is something of an enigma in New Zealand. Revered by many and reviled by some, the performance poet has stuck to his ideology through his entire adult life, eschewing materialism and celebrating life through his craft. He’s been filmed before, by both TVNZ and the National Film Unit. But up until now, no-one has properly documented his life and work in one film. Sam Hunt – Purple Balloons and other stories premiered last year at the New Zealand International Film Festival. In May it will be distributed nationwide to around 40 cinemas,
a move that both celebrates his life and mirrors his touring philosophy of reaching out to perform to communities in every corner of the country. The project started out around six years ago, with the simple idea of filming Hunt as he performed his poems to camera. It’s been a labour of love for Wellington businessman and film maker Tim Rose, who directed and shot the footage himself. Sound was recorded by Jim Scott, who co-edited with Rose. “Sam’s big thing, he’s never been convinced of the printed word,” says Rose. “He doesn’t write his poems to be printed on a page. They’re a
Sam Hunt reading poems to camera at his house, Kaipara, 2010.
Photo: Jim Scott.
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nline archive NZ On Screen has a good selection of clips featuring Sam Hunt, including the National Film Unit’s 1980 story The Artists Prepare – Sam Hunt and Gary McCormick, which follows the pair on tour as they give poetry readings, talk to high school girls, drink whiskey, and discuss poetry and life. Go to NZonscreen.com and search under Sam Hunt.
Tim Rose filming in the Hokianga, 2007.
living thing, a performance thing. But rather than filming something where he’s performing to someone else, performing for the camera and the viewer is quite nice.” Sam Hunt says the way poetry is taught in schools means that people think poems are “as they are” on the page. “But that’s just the score, like a musical score,” he says. “I’ve always felt, from a very early age, that you have to hear them. Why did God give me ears? So I could hear poems, I think.” “When you make up poems,” he says, “you look at the ways of getting them across. The most obvious way is to get on the stage and tell them. Or find someone who’ll listen. But another obvious way is video, to get the physical feeling of the performer, rather than just the work. There are certain poets I never got near until I heard them read.” He loved working with Tim Rose, who is an old friend. “I’ve known Tim for many many years. In fact I wrote a story, which was in a school journal back in 1971. Robin White, the painter, she was a neighbour of mine at Bottle Creek, and she did the illustrations for a story called ‘May Holidays in Bottle Creek’. That was a young kid telling stories about staying at Bottle Creek and the kid was Tim. His parents were old friends of mine. It made sense after many years of good friendship, to make this film. From a personal point of view it’s a celebration of a friendship as well. It’s a natural thing to do.” Through his contacts, Rose was lucky enough to lay his hands on some 35mm short ends – leftovers from a
Photo: Jim Scott.
large production on which he shot a good portion of the film. Securing the use of a 35mm camera for free, Rose decided it would future proof the footage “no matter what medium it would go into or end up on”. “I always vaguely knew he was turning up, but I’d forget,” says Hunt. “I’d be in Westport or Carterton or somewhere and suddenly Tim would turn up with his camera and do a couple of days filming. They got really good at setting up and getting ready to film. It’s been really good, I enjoyed it.” “I’d shot 40 poems at this point,” says Rose, “and decided it’s all very well having a DVD of Sam reading poetry, people also need to know who Sam Hunt is. Or was. The documentary kind of grew out of that initial concept really. So we said we really needed a documentary to go with it and he was pretty keen really.” Rose used other formats to film Hunt at home and to record interviews with some of Hunt’s long-time friends and family. “We did interviews with Sam at home, shot on super 16. Because he’s such a romantic kind of fellow, it seemed to be what he deserved. Key interviews were also shot on film. Other interviews, it was just easier to take in a digital camera.” The film contains interviews with Gary McCormick, Karyn Hay, Colin Hogg, CK Stead and others. Footage of Hunt performing poems live to an audience backed by David Kilgour and the Heavy Eights is also included. “Everybody over 30 seems to have had some sort of contact with him during their lives,” says Rose. “He did a lot of touring around schools, it’s amazing
the number of people he knows.” The archival footage, including some scenes from a 1980 National Film Unit story on Hunt and McCormick, was all on different formats too. “With all those mediums it was always a job that needed to be finished at Park Road Post,” says Rose. “It’s all in 16:9 so there is a seamlessness to it, especially when we cut from Sam saying something 30 years ago and see that today he’s still saying the same thing, he still has the same point of view about the world.”
“Poems change in the telling,” says Hunt. “Some people perform almost identically every time. I know I’ve changed a lot. If I see or hear old stuff, the timbre of my voice has completely changed. “But as good as you can get, if you’re going to make a document. You can only hope to do as good a job to the poem as you’re able. I’m happy with that. ” • Sam Hunt: Purple Balloons and other stories opens May 26.
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april 2011
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s w e i v T F WI
Chasing Waterfalls WIFT intern Ruth Dunphy interviews Simone Horrocks, director of After the Waterfall.
Simone Horrocks and Antony Starr on the set of After the Waterfall.
2010 was a great year for women involved in the film and television industry. However, many believe the ‘celluloid ceiling’ still exists. What are your thoughts? What we do is so hard, it’s important to celebrate every success. There are fewer women working in certain sectors of our industry than men, and women are still earning less dollar for dollar than men for doing the same job. Remember this is still frontline stuff. Film makers like Ida Lupino, Merata Mita, Jane Campion, Gurinder Chadha, Lynne Ramsay and Kathryn Bigelow are all pioneers. By doing what they do, they make it easier for the next generation. You wrote and directed several awardwinning short films before your debut feature After the Waterfall. How did you find the transition from short to feature? The short film is a great way to train, meet crew and actors, and most importantly, to take risks. They make
great calling cards. My first short film Spindrift (1996) won a prize at the Berlin Film Festival and that opened a lot of doors for me. But to really tell a story and go deeper into the world of the characters, you need 90 minutes. The real challenge when moving from shorts to a feature is surviving the process of developing your script and securing finance. Although many talented women are becoming directors it remains a predominantly male profession. How was your experience in forging your name along this career path? On paper I am a first time director, but really it’s my whole life that got me to this point. I didn’t grow up wanting to be a director, I found my way into film quite late in life, and then into directing by default. I started my career in film working in the camera department and my desire was to become a cinematographer. Only two women worked as directors of photography in England
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at the time (the early 1990s) and as a regular assistant to one of them I could see how hard that ladder was to climb. It was quite a protected male world and it was hard to break into. Eventually I started saying no to camera assisting work. No matter what your gender or background is, becoming a director means making a commitment to the long haul. You have to love the journey. You have to celebrate every scrap of success. You have to get up and keep working even when you feel like giving up. You have to accept the possibility that no matter how hard you work and love what you do, your films might not get made. Can you talk a little bit about the process of making After the Waterfall, from initial vision and idea through to its conception and reality? It’s 12 years of my life we are talking about. I was told by Jenny Borgars, development executive at British Screen who funded the first draft of the project (After the Waterfall was based on the novel, The Paraffin Child) that the average length of time from initial idea to the big screen was six years. I couldn’t believe it could take that long, but when it comes to film we are talking about a lot of money. It requires trust and investment, not just financial investment, but also in terms of relationships. Once other people come on board, they also need time to make it their own. And of course you don’t just write one film. I would say over that time I probably wrote five different films, all based on the same book. There is a huge culture around development through labs and workshops,
opportunities to work with more experienced practitioners and hothouse your work. I will never forget the day we finally got the green light. Some projects are blessed, and some are star crossed. I’ve experienced both, but when the chemistry is good, it is the best thing ever. After the Waterfall was one of those experiences for me. Do you have any advice for all the struggling, aspiring female writers and directors out there? I don’t know about advice, what you really need once you embark on that journey is encouragement. The job is not just what you do on set, or when you are sitting at the desk – a writer or a director is always working. I think it was Godard who said that even when a director is just sitting in a cafe, he is still directing. If you could have a few words with the 19-year-old Simone Horrocks about to leave New Zealand to study film in England what would they be? Well when I was 19 and I ran off to England, I really didn’t know I would end up studying film. I was just looking for adventure. You have to follow your heart. The things you like doing might end up being the way you make money, or they might not, but these are the things that define you, so make as much space for them in your life as you can. On second thoughts, I say get a trade, consider being a plumber, and save some of what you earn. • To read the full transcript of Ruth Dunphy’s interview with Simone Horrocks visit the Women in Film and Television website at www.wiftnz.org.nz.
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Profile
Rob Tapert Through TV shows including Hercules: The Legendary Journeys, Xena: Warrior Princess and Spartacus, American producer Rob Tapert has played a monumental role in developing the NZ screen production industry. Philip Wakefield talks to the Onfilm/SPADA Champion of 2010.
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he American producer who’s made more than 375 hours of television in New Zealand, delivered $475 million of offshore funding, and married a local girl, at last has gone from honorary Kiwi to honoured. Rob Tapert, of Hercules, Xena and Spartacus fame, likens winning the Onfilm/SPADA Industry Champion of 2010 Award to coming in “out of the cold”. “It’s one of those awards in life you think would never have any meaning. But it carried a great deal of meaning because I suddenly
felt I was accepted into the fold with my Kiwi peers. To spend an evening with Dave Gibson and John Barnett and those guys was really wonderful. I’ve known John on and off over a number of years and it was really a kind gesture of him to put me forward for this special moment. “It was a great honour, finally, after 17 years, to be brought in out of the cold and made part of the tribe. These are more my peers than people I work with. You would never meet these gentlemen unless you called and said, ‘Let’s go out to lunch’ or at industry events. Only at industry events do you get to meet and socialise with these people you hear discussed every week.” Since 1993, Tapert has produced nine TV series here – Hercules: The Legendary Journeys, Young Hercules, Xena: Warrior Princess (whose star, Lucy Lawless, he married), Jack of All Trades, Cleopatra 2525, Amazon High, Legend of the Seeker, Spartacus: Blood and Sand – plus numerous telefeatures and two movies (30 Days of Night, Boogeyman). “It wasn’t a hit and run tactic – it was an ongoing commitment and building of a production base,” he says. “I think people saw that.” But he believes it was the brouhaha over The Hobbit that cemented his relationship with Kiwi producers. “That brought us closer. I think that
people realised I was a long-time colleague. It takes that recognition to make you realise, ‘I am part of a group and not just out here battling on my own.’ I think that was the catalyst that made me realise, ‘Hey, we’ve all been here a long time and we have common issues and common ground.’” However, Tapert was less concerned with whether an Australian union was taking over the New Zealand acting pool than NZ Equity “controlling” which foreign actors could work on his productions. “I had such difficulty bringing in people I had worked with for many, many years, and had worked in New Zealand with before. It was truly a threat to friendship and livelihood.” As to Equity wanting standard contracts, Tapert reckons actors are better paid on his productions here than they would be in Hollywood. “We actually did a financial analysis and realised, ‘Oh my god, we’re actually paying people more than they would make with residuals coming out after minimums.’ Because it is a small pool, they can inch up higher. Whereas in Los Angeles there are so many actors and ceilings: ‘This is the type of show – we don’t go above it’ … They don’t change that for anybody. It’s a different system.” Tapert says mid-level office
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personnel also earn more here than in the US. That’s partly why he shot the horror movie, The Dibbuk Box, with Kyra Sedgwick and Grey’s Anatomy’s Jeffrey Dean Morgan, in Vancouver rather than here. “We wanted to shoot The Dibbuk Box here. We ran the numbers with Lionsgate but on paper Vancouver, with all their crazy labour tax things and how it got filmed, proved to be the cheaper place ... Once again, New Zealand’s a small country, there are only so many people, and you’re willing to pay extra to get the better people.” He says exchange rates and tax rebates are crucial to NZ’s future as a filmmaking destination. “They’re probably the two most important economic factors, followed by: Are there enough crew? Is there enough shooting space? But it’s all about being a bottom-line business. In America, states have instituted big rebate programmes. Michigan, where I grew up, put in a 40% rebate, and they got a huge amount of production shooting there – so much so they were bringing in crews from all over the world. But the state is broke and the new governor wants to cancel those, so it will go from Hollywood spending $300-$400 million a year there to spending nothing. They’ve proven those rebate systems work; the question is, can the states afford those
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It wasn’t a hit and run tactic – it was an ongoing commitment and building of a production base. when they are basically facing bankruptcy? And I can’t answer that.” Did he agree with the NZ Government stepping into The Hobbit dispute and ratcheting up the incentives for Warner Bros to shoot it here? “I can’t speak to that. All I can say is I’m glad they did everything to keep the project here.” Tapert’s also delighted to have just started shooting a second season of Spartacus for Starz TV in Auckland, given the series was nearly axed after the original Spartacus, Andy Whitfield, was diagnosed with nonHodgkin lymphoma. “Very few stars of TV dramas have ever been replaced,” he says. “David Caruso left NYPD Blue and it went on and survived, so there were certain things we could point to. There was a whole ‘in-deference- to-Andy-shouldwe-consider-this?’ but he certainly wanted the show to go on and be successful. There were these conversations but thank goodness the bean counters at Starz were our friends in this case.” Tapert says Whitfield’s successor, Liam McIntyre, will be his own version of Spartacus. “We’ve done nothing different in how we write or handle the character but inevitably it will be a somewhat different take on the man who was Spartacus.” Season two also will have a larger cast – episode one, for instance, has up to 30 speaking parts and a core cast of 19 or 20 – and more lavish digital effects. “We’re opening it up and going on the road in a much more graphic environment,” Tapert says. “It will be niche_110406_Onfilm_ad.pdf
much more expensive to make.” But despite this, and the success of season one and the mini-series prequel, Gods of the Arena (which no less than The Guardian hailed for being “intelligent as well as powerful”), Tapert doesn’t have a colossus budget for season two. Indeed, he’s had to prune the season from 12 episodes in the first to 10, to make the same budget go as far. “It’s due to the exchange rate and Andy’s illness … a bunch of costs that we ended up outside the realm of being able to reimburse for insurance on. And [Starz] wanted to make sure it was bigger and grander and all these other things. The way to offset all of this was to use same amount of money on fewer episodes.” Of all the projects Tapert’s made here, Xena stands out the most. “My wife and I met on Xena so that has a special place in my heart. “But Hercules was the foundation on which our production in New Zealand was built,” he says. “That was the foundation that trained up crews who later went off and worked on The Hobbit. Once upon a time Richard Taylor was doing his wonderful make-up effects and appliances for Hercules. For the amount of money we were paying, we got tremendous value from Richard and the Weta team in their early years.” And he thinks the industry is still benefitting from the likes of Taylor and Peter Jackson and their “world class” facilities. “The highest echelon of filmmakers feels comfortable coming because they know everything they need is at their fingertips.” 7/04/2011
Researching the Film Audience By Geoff Lealand
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ne of my research projects for 2011 is to set up a public access website about film-going in New Zealand. I am calling this project ‘Small and Independent Cinema in New Zealand : Mapping the Territory’. There are good examples of individual sites for local cinemas on the web and flicks.co.nz provides links to these, but I want to set up a website which is a little more detailed and personal, providing information on the history and character of each cinema and its role in sustaining film-going in its local community. I am also planning to include all manifestations of film-going in New Zealand, such as private theatrettes (there is great one in Lyall Bay in Wellington), summer outdoor screenings, art gallery screenings, film societies or clubs etc. The content will include my own impressions of the places I visit but I am also relying on cinema managers and owners and film distributors to contribute considerable content. Over the summer, I travelled around the South Island, ostensibly on holiday (which you can read about at www.kiwiboomers.com) but with the real purpose of stopping along the way in every town and city that had an operating cinema of the independent kind (ie, not belonging to the Hoyts, Event Cinemas or Reading chains). I am not so interested in the generic cineplex experience, but focused on the role small cinemas continue to play in communities such as Motueka, Kaikoura and Geraldine. I was greatly heartened by what I
found, often through serendipity rather than forward planning. I visited 21 viable cinemas in the South Island, with real discoveries such as two independent cinemas (The Regent and the Crooked Mile Talking Pictures) serving the small West Coast town of Hokitika. On a stormy night in late December, I got to see The Kids Are All Right, lounging on squishy sofas in the old Masonic Hall which now houses the Crooked Mile. There are some gaps to be filled down south (I didn’t get to Arrowtown) and I will “do” the North Island over the coming months. My university has given me some modest funding to help with my travels and some of the material I gather will go into my chapter on film-going in New Zealand, for an Australian book on film audiences. My first task is to develop an attractive website and that is underway. I hope that this website could be of interest to local film-makers who are seeking to get their films and documentaries around smaller communities in New Zealand. If it helps serve this purpose, that will be a bonus. I welcome any suggestions and ideas. Do feel free to contact me with information about your favourite local cinema, especially those in the North Island. I already have a list of places to visit but my intention is to include everyone and everywhere. • Geoff Lealand, Screen and Media Studies, University of Waikato. lealand@waikato.ac.nz.
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h c t i D e h t Across Our expat spy provides his idiosyncratic take on the Aussie film and television industry.
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n March three Aussie films bombed spectacularly on the same opening weekend. Romantic comby JAMES BONDI edy Griff the Invisible took A$66,344, shark horror flick The Reef took A$58,196 over 36 screens, and a feel good family film featuring a small town brass band, A Heartbeat Away, directed by acclaimed theatre director and Emmy award winner Gale Edwards, managed only $44,204 across 77 screens. They’re not bad movies, and each one had a good team involved. They all had mixed reviews, most not totally scathing, but not ecstatic either. An overseas film opened at the same time, and its Aussie TV ad budget was probably more than the production budget of a small local film. Battle: Los Angeles opened to uniformly lousy reviews and took A$2.571 million. Many in our industry feel our local critics don’t give local works a fair go.
There is a group of film critics who seem to try and outdo each other in bagging Oz film. The wit! The sarcasm! The lack of interest in what the film actually is, against what they wanted it to be! Most infest Melbourne, though I got to observe one of this breed of miserable bottom feeders at a premiere in Perth. At the table at a pre-screening dinner were the producer, the director and some of the cast of the movie we were about to see, some local journos and our critic. He was of the school of critics who are resentful, failed or frustrated artists. Yes, he has written a film script, which he apparently tries to force on unsuspecting producers when he interviews them. Head to pointed toes in the obligatory black, with salt and pepper hair, groovy glasses, you know the look! He completely ignored the strikingly attractive young woman sitting next to him, apparently writing her off as some inconsequential bimbo actress (she was the producer) … and spent a lot of the
dinner loudly impressing us with his vast knowledge of film. Naturally he hated the movie and turned in a scathing review. Never mind that he’d talked through the whole screening until one of its lead actors asked him to shut up! He also has no problem with reviewing films after turning up late, and has proclaimed he doesn’t need to see a film in its entirety to be able to write a critique of it. A fascinating character, in the same way that watching a hyena attack is fascinating. Most Aussie film critics are professional film writers with a good eye and a coherent philosophy. While we don’t always agree with them, we respect their professionalism. It’s those fashion victim hyenas we could do without. The ones who create nothing of their own and pick over the creations of others. *** Local TV is still performing well, however. Channel Seven’s new co-
medic drama Winners and Losers won the ratings on its opening night with a healthy audience of 1.611m. The show is breezy and fun, with good writing and plenty of convincing 20something behaviour like dancing, sex, and excessive drinking to keep it moving along. The opening ep set up the four young women leads at their school reunion. Outsiders at school, they bond again in face of the bitchy attacks from mean girl and self-proclaimed high school heroine, Tiffany Turner, played with relish by Kiwi Michala Banas. It brought back memories of the one and only school reunion I’ve ever attended. I hung around with a fixed smile desperately trying to remember who most of the people were, and realised, from those I did remember, that there was a very good reason I hadn’t kept in touch with any of them over the years. They presumably felt the same about me.
NZ film artists in brief – a series Dick Whyte
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lthough he’s one of the most prolific artists associated with Wellington’s Aro Valley school of filmmakers, Dick Whyte is probably the least known of its members. Also a theorist, poet, writer, musician and digital artist, Whyte has produced an extensive body of work since the late 1990s, addressing themes such as landscape, media, cinema, art and politics. Whyte’s early work consists largely of video feedback abstractions and poetic treatments of Wellington city. Titles include Brooklyn, Night, Lightbulb, Collages (all 2001), and After Many Moons, This is Not a Black Square, Lunar, Storm, Morning, Goodbye (all 2004). Since 2006 Whyte’s work has been focused on remakes, remixes and reconstructions. These include tributes to the American artists George Landow (Owen Land) in Bardo Follies II (2006), John Whitney in Matrix IV (2010), John Cage and Andy Warhol in the Recon series (2010), as well as remixing footage shot by the Lumiere Brothers in The Spectre of Communism (2010). John Key, Alfred Hitchcock and Britney Spears are also “treated” in There Are More Things in Heaven and Earth, Of the Refrain and Death of the Author (all 2010). Whyte has also produced a number of documentaries with Toby Donald and worked on the dramatic feature films of Alexander Greenhough and Elric Kane, collaborating with Greenhough on the script for I Think I’m Going (2003) and acting in Kissy Kissy (2007). Much of Whyte’s work is now distributed on the internet and has screened at the New Zealand Film Archive, the NZ International Film Festival, the Hamilton Underground Film Festival, and at the Physics Room in Christchurch. Whyte is currently preparing work for a show at the Low Road Gallery in Indiana, USA for later in 2011. – by Martin Rumsby 16
april 2011
www.onfilm.co.nz
Casting
Rules for overseas actors and crew liberalised With a few taps on a keyboard in February, the Government has liberalised the rules for overseas actors working on productions in New Zealand. By Peter Parnham.
Casting director Christina Asher.
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t’s not a secret, and the word changes are small and almost unnoticeable unless your attention is drawn to them, but the change is sure to make it easier to bring actors in. Actors may have been in the news, but the changed rules apply across the board to anybody in film production or entertainment, including crews and support personnel. The three key criteria for granting a temporary work visa haven’t individually changed, but the way they are put together has. The first criterion is that the applicant is of international distinction or merit, or particular ethnic significance, or is manifestly essential to the production. The second criterion is that the applicant’s employment does not put at risk the employment of New Zealand entertainers or professionals in equivalent work, unless the wider benefits to be obtained from the applicant’s employment outweigh the loss of job opportunities for New Zealanders. The third criterion is that appropriate consideration has been given to employing available New Zealand entertainers or professionals. Prior to 7 February all criteria one, and two, and three, had to be satisfied before entry was granted. On that date the “ands” became “ors” – now only criteria one or criteria two or criteria three have to be satisfied. Nigel Bickle, agency head of Immigration NZ, says the changes were developed
in consultation with key industry stakeholders who expressed a wide range of views, both for and against. But other changes have also been imposed on the applications process although the wording of the immigration rules hasn’t changed in that area. “Immigration Instructions (previously known as immigration policy) that have been in place since 2002 provide for a silent approval process, where guilds or unions have three days to object to an application for foreign nationals to work as film or TV cast or crew,” says Bickle. “However, an alternative process emerged over the years where guilds and unions charged applicants for providing letters of non-objection. Immigration Instructions never required the letter of non-objection process and some in the industry were concerned that it was acting as a barrier to some foreign productions, thereby costing New Zealanders jobs.” He calls the process changes a clarification.
visa applications a year from crew was handled by the New Zealand Film and Video Technicians Guild. A $45 fee was charged for a letter of non-objection, which effectively saved processing time for Immigration NZ. According to executive officer Fritha Stalker the processing fee was set to cover costs and no more. Even if letters of non-objection are now frowned on by Immigration NZ, producers are required to supply the same information to guilds as they did before. However Stalker notes that since the changes came into effect, the number of applications coming to the guild is lower than expected, given the level of activity in the industry. At the same time, more changes are in the wind, with Immigration NZ saying a wider review is underway, although it has no timetable for completion. Even though the immigration rules have been liberalised, producers still have a strong incentive only to tangle
supplied from each partner country. The agreements generally have clauses that require each country to facilitate temporary work visas. As it happens, all the palaver about getting a work visa doesn’t apply to everyone. Aside from any union restrictions Kiwis can go and work in Australia if they want to, and vice versa, so Australia is the cheapest place to look for alternative actors or crew when the New Zealand talent pool runs out. This can happen, especially if a television series runs over multiple seasons, according to Annabel Lomas, a casting director who faced that problem on the television series Spartacus. “The roles came up again and again. We needed alpha males – big beefy men who can act – and we used up a lot of the local pool in season one, so we had to go to Australia,” she says. “We attempted to find them in New Zealand first and foremost because that’s best for the production and for everybody.”
In Auckland we will always cast locally, and then if we must, we try Wellington, and if we can’t find the ideal person, then the producer may look overseas. “Guilds and unions are still able to object to applications if they think that production companies are not making a genuine attempt to employ suitable New Zealanders.” Letters of non-objection may have been acceptable for some years in the past, but Immigration NZ says it wants to ensure that the (unchanged part of the) wording of the Immigration Instructions is properly adhered to. At the same time it says if a letter of support from the relevant guild is submitted with the application, it will be assumed that there is no objection and that the application can be processed immediately, without a three-day objection period. In the past, the time-consuming task of reviewing a thousand or so temporary
with them when they have to, simply because it is far more expensive to bring actors or crews in from overseas than it is to hire locally. According to highly experienced Auckland-based casting director Christina Asher, it’s not just about the competency of the local acting talent; it’s about how well they fit the role. “In Auckland we will always cast locally, and then if we must, we try Wellington, and if we can’t find the ideal person, then the producer may look overseas. It becomes expensive so producers will usually try to cast locally first.” Official co-productions with other countries also have their own requirements for actors and crew to be allocated according to the co-production deal and the proportion of money
She says with the number of productions shooting at the moment things may get a little stretched again. “We have some fabulous talent, but they are not always here or available in New Zealand, and the pool is small compared to America and Australia. “Even if we’ve got a feeling that we might not be able to fill a role locally, we still search and audition here because you can still be surprised, or there can be new talent coming through.” Lomas says she sees a lot of people who do very, very good auditions and it doesn’t reflect on them if they don’t get the job. “It’s just because there’s been another 10 really good auditions and someone else has got absolutely the right look.”
www.onfilm.co.nz
april 2011
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Casting
Casting Call Onfilm chats with Wellington-based casting outfit The Casting Company.
T
ina Cleary and Miranda Rivers are the directors of Wellington’s The Casting Company. Between them, the pair has worked on an exhaustive list of local productions, including Boy, Love Birds, Second Hand Wedding, Home By Christmas, LOTR, King Kong, Avatar, The Waterhorse, The Lovely Bones and District 9. Cleary is currently working on the Tom Scott TV feature Rage and Rivers is busy co-casting The Hobbit alongside Liz Mullane. The dynamic duo of NZ casting still found time to share their casting stories. How long have you two been The Casting Company? Tina Cleary: I’ve been casting for about 17 years and Miranda 14 years. We used to be Filled Roles Casting which was started by Cushla Roughton and Perry Piercy. At the same time as we joined the casting team on LOTR we bought Filled Roles. We changed the name because unfortunately offshore companies didn’t get the joke and thought we were in catering! Miranda Rivers: We took it over in January 1999. The new name came a few years later and was to celebrate the fact that this was something now that Tina and I were doing together… and it was easy to Google! Do you each have different roles? How does it work? TC: We both operate as independent casting directors and sometimes we co-cast jobs. We are equal in terms of experience and ability but I would say Mir has a great deal of knowledge in casting bigger budget films and I tend to do the low budget indie films so I can get home and cook tea for the kids! MR: I love the fact that Tina and I can completely rely on each other to support each other’s projects. We brainstorm all the time and share any newly found talents… and horror stories of course! We often work independently of each other but it’s such a treat when we can co-cast a job together. Home by Christmas was a wonderful casting experience with Tina. I had been casting the film The Mark of the Lion that fell over (the story of Charles Upham) and had all this work and research done of the era and then Tina and I got a call to help bring Gaylene’s story to life. 18
april 2011
Tina Cleary and Miranda Rivers.
What’s the biggest production you’ve worked on in terms of time or just budget and scale? TC: Boy has been the biggest project for me in terms of investment of time and love, also with the scope of challenge as it had so many unique roles to cast. I’m deeply proud of the work we all did on it and feel that it’s all there in the film, such a beautiful project to work on. But the biggest production in terms of budget and scale was the work we did on Lord of the Rings – it was three years for me and five years on and off for Miranda. I remember often doing over 18-hour days on set and we worked incredibly hard to do the best we could with the job. MR: I have been lucky to work on lots of the big scale films in Wellington – LOTR, King Kong, Avatar… they were all big and demanding in different ways. LOTR was probably the hardest in terms of sheer hours, locations and numbers to coordinate. And the largest number of extras you’ve had to cast or coordinate? TC: Definitely LOTR. I lost track – at one stage we were servicing over three units each with hundreds of extras on each set on for that day. MR: LOTR was huge – Tina and I ran the extras department and we
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had about eight staff working with us along with any doubles or standins who had free time to help out. I think it was up to four units at one point but it usually was two. We had extras in the South Island on one unit, while others were in the North Island on another unit and we had to constantly be thinking ahead to what scenes were coming up next and what casting and fittings needed to be done. Helms Deep was months of night shoots and that was a logistical nightmare. We had one team on at night and then in the morning the day team would tag team and see how many people had agreed to come back that night. We would then have a few hours to try and up the rest of the numbers to start work that afternoon! I think we had around 3000 people involved. Any memories of a good or tough experience you could share? TC: When we were casting Boy I remember Ngapaki Emery and I went scouting on the east coast. In earlier drafts Boy had a working title Volcano and in those drafts the kuia role of “Mum” was much larger, so she was a priority for us with casting. I think we’d met kuia in the hundreds by the time we got around the east coast to Ruatoria. There was a beautiful moment when we were in the corner of
the Kohanga Reo classroom with one of the teachers, Nanny Mavis Paenga. She connected so immediately to the script and to Ngapaki that I had one of those wonderful “it’s her” moments, she was so emotionally open and true with a gentle integrity about her. Sadly she has just recently passed but I’ll never forget the magic of finding her. MR: Casting the tribe on King Kong was a real challenge as it had to feel like they were not from any recognisable country – this was a fictitious island. We ended up casting many Sudanese refugees and had to bus everyone in from Upper Hutt each day and hire a full-time interpreter. We had to convince them that working at night, under rain towers with very little clothing on was a great idea! The final group was a mixture of ethnicities from Sudan, Africa and NZ. It was a truly humbling experience working with these folk as some had come from such incredible hardship. Why do you enjoy casting and working together? TC: There is something magic about being in the studio where an actor transforms the moment, where nothing else exists except the character they are being. They suspend disbelief for that moment and take you to a whole other world. It’s addictive for me and I suspect also there is a match maker lurking deep inside as I love connecting the right people together collaboratively for a project. Mir is a part of that connection for me. In the casting world I see partnerships happening overseas but not many in Australasia. Mir and I really enjoyed co-casting together when we get the chance. MR: Exactly what Tina said – when you see a brilliant audition, the actor is right for the role, the director agrees and suddenly all the pieces of the jigsaw puzzle start to fall into place. On a big project, it’s wonderful to have the luxury of watching the journey of the actor from audition room to set, as on a small film you only ever get to work in pre-production. I still get a kick out of this job. I love it. I am so lucky to share the business with Teens – we call each other our wives as we have the same philosophy in life and work. Anyway, her laugh is addictive!
Casting
Q&A: Actors Agents O
nfilm approached several actors agents and asked them to discuss the issues facing their sector, including recent changes to NZ immigration policy. Below, you’ll hear from Auckland Actors’ Graham Dunster (GD), Gail Cowan Management (GC), Kathryn Rawlings and Associates (KR) and Karen Kay Management (KKM).
How has the last year been in terms of casting opportunities for actors on your books? Is 2011 looking better or worse? Graham Dunster: Last year TVCs stopped dead on 1 April and that hasn’t reversed. Drama continues at roughly the same levels as before. Gail Cowan: It’s been a huge year for us and the opportunities have come in thick and fast. The fly in the ointment for us has been the volume of low paid work such as the NZFC Escalator films which are so under budgeted that we are subsidising those in terms of our time and resources at the expense of the better paid opportunities. Kathryn Rawlings: 2010 was a much slower year than 2009 and reflected the previous year’s recession when budgets were put in place. There was less NZ drama, as so much was shot in 2009 and held over for broadcast the following year, like This is Not My Life and Kaitangata Twitch. We had fewer actors in feature films and the fees were considerably lower. Even though commercials appeared to be down we were slightly up on them and had a huge rush of casting for the end of the financial year. 2011 has started with a hiss and a roar, whether that will be sustained is yet to be seen. Karen Kay: The last two years have been very successful for Karen Kay Management. 2011 is tracking very nicely for KKM in terms of local production, which has increased from last
year. Our agency continues to enjoy success globally and we are looking forward to a very buoyant year. What’s the mix for you between film, TV and TVC work? Is any other sort of work (eg, ADR/voiceover) key to your business? GD: There’s no predictable mix, we’re involved in anything that requires an actor to perform, on or off camera/ microphone. TVC used to be a big part but that has slipped dramatically over the past 12 months. GC: I couldn’t give you an accurate ratio here; it’s hard to remember yesterday due to the speed at which the work has to be turned around. I would hazard a guess that there has been more TVC work in this past year than we would normally see. KR: We have a good mix of film, TV and TVC work. Certainly TVCs make the money to keep the business going so that we can provide the best service we can for the other areas. We also encourage our actors to do theatre and have some good voices for audio work. KKM: Our core business is spread across the mediums. This includes theatre and musical theatre, both locally and internationally. We also have a voiceover agency called Talking Heads – The Voice Professionals and Talking Heads / ICMI Speakers & Entertainers. A writers’ agency (screenplay and television) started last year under the KKM umbrella. KKM has represented writers, including Barry Crump. Will the recent changes to immigration policy around bringing talent in from overseas affect your business? GD: It is impossible to predict what will happen in this industry, but with practically no impediment to import-
ing foreign actors, local actors will inevitably lose opportunities to work. Is the current process for raising objections enough? The revamped system (from 7 February 2011) appears to be toothless with regard to protecting New Zealand actors’ opportunities to work in NZ. GC: The process has been less than useful for many years now and requires a panel of industry professionals to confer with Immigration on a production by production basis. These decisions affect all of us and in a recession any international funding into our industry is welcome but it also needs to be balanced against the number of key jobs it creates locally. We need to put a line in the sand and state that importing three leads would be an acceptable number of actors on any film production and that if circumstances dictated more, a surcharge would be made on any additional actors who are approved for work here. KR: The recent changes to the immigration policy around bringing in talent from overseas will affect our business and it is very short sighted. It will make it far too easy to overlook talented and suitable NZ actors for roles. This will further diminish our ability to foster and develop our own marquee actors. KKM: The changes to immigration policies will affect the overall industry, from crew and production through to actors. Many of the agents, including KKM, have made submissions regarding the changes to the policy. Why would we not give priority to our NZ based actors and crew? Any other big issues facing local actors and their agents? GD: The collapse of the local TVC industry, as far as using professional
actors, is a big issue as that used to help actors survive the drama droughts that inevitably affect them at times during their careers. The continuing lack of interest by many actors and agents in working together to support and improve the business remains a big issue. GC: The daily rate of $500, which we used as a guideline back in 1992, hasn’t really improved and is often eroded. If a budget can’t allow for actors and crew to be paid a fair fee then make fewer films and spend more money on a few quality productions. Stop assuming we can afford to underwrite productions; be realistic about the amount of NZ film that ever returns a profit to participants. Okay, I have one more – the lack of progress on choosing one film contract as a template for our industry. The stalemate we have currently with Equity and SPADA failing to resolve this reminds me of my father’s opinion of committees, but I won’t go there! KR: The ever faster turnaround of production; the lack of improvement in TVC fees – there has been no increase on the basic fee since 1992 when I first started. Diminishing budgets in the feature film area. The new Escalator films are basically being sponsored by the actors, and though there has been improvement in some television fees, some productions are still expecting to pay actors the same as they would have paid them 10 to 20 years ago. Also there has been huge erosion in terms and conditions since the introduction of the Employment Contracts Act. Thank goodness this issue is finally being addressed by Equity and SPADA. I hope to see more equitable and standardised contracts in the future.
One rings collection to rule them all? T
he Lord of the Rings: The Fellowship of the Ring has been remastered for the Blu-ray release of the trilogy’s extended editions. The definitive 15-disc set, which will go on sale here around June 29, will boast 26 hours of content, including Costa Botes’ unusually frank behind-the-scenes documentaries. They and the rest of the extras will be in standard definition on nine DVDs and each of the movies will be spread over two Blu-ray discs to maximise image quality. The new transfer of Fellowship has been remastered from the original 2K digital files. Warner Home Video has been criti-
cised for not remastering at 4K but DVD authority Bill Hunt, of The Digital Bits website (www.thedigitalbits.com), says 2K was the standard when Rings was mastered in 2000-2001. “So unless and until someone goes in and rescans all the film elements at higher resolution, then rebuilds the edit and re-renders all the visual effects at the higher resolution, 2K is the highest resolution element available to master a Blu-ray from … As to why all the SD bonus content wasn’t collected onto BD-25s for this release, we can only assume it was done to save authoring costs.” – Philip Wakefield
Fellowship of the Ring remastered (final artwork may change). www.onfilm.co.nz
april 2011
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Spartacus II the real 300? F
ilming of the second season of Spartacus: Blood and Sand starts this month in Auckland with a new Spartacus and spruced-up special effects. Australian actor Liam McIntyre replaces compatriot Andy Whitfield, who played the gladiator in the first season before being diagnosed with non-Hodgkin lymphoma. But season two also will stand out from the other Spartacus for being more digitally ambitious. “We’re pushing the boundaries,” says producer Rob Tapert. “We’re now out of the ludus and on the road in a different environment. When Spartacus started, the show was often referred to as [another] 300. The truth of the matter is we only had those action moments of 300 in the arena and the rest of it was Prison Break in a ludus. There was a lot of Upstairs Downstairs intrigue, and it wasn’t really our characters in digital environments and wandering around the countryside and battling other military forces. “Now we enter into digital graphic world of 300 and Saving Private Ryan and these sorts of battle pictures while still maintaining the aspects of the show that were in Batiatus’ villa, so we still have women in beautiful gowns and handsome men scantily clad.”
More emphasis on vfx puts more pressure on a budget that’s largely the same as season one’s – hence the episode count being cut from 12 to 10. “So we’re having to condense storytelling to fit into that number of episodes,” Tapert laments. While that’s frustrating, fewer episodes will help to ease a punishing shoot that will run from April to probably late October, with each episode taking at least 12 days to shoot, and some 13-14. But the digital upgrade won’t change where Spartacus is shot. “I’m still in crappy old warehouses,” Tapert says. “They’re doing the job. Because we need big spaces, the little places out in Henderson Valley weren’t large enough.” Meanwhile, the Spartacus prequel, Gods of the Arena (pictured), which was shot to bridge seasons one and two while Whitfield’s fitness to return to work was determined, will debut May 1 on Sky’s The Box. “The prequel we just did was incredibly well received in America,” Tapert says. “Critics and fans thought on every single level, from the writing to the production values, it was a solid notch higher than season one.” – Philip Wakefied
Casting a different kettle of fish for Hook, Line & Sinker N
ew feature length NZ drama Hook, Line & Sinker was co-directed by Andrea Bosshard and Shane Loader, the partnership behind Taking the Waewae Express. The story was developed by allowing the actors to flesh out their characters through a series of improvisations, a method the pair has used before. Instead of starting with a script, they began with casting. It’s crucial to get this right, they say, because the actors who work through the improvisational process are the ones who appear in the actual film, and it’s not a process where the role can be handed over to another actor. Made on a modest budget and aided by a post production grant from the NZ Film Commission, the film stars Rangimoana Taylor (Taking the Waewae Express), Geraldine Brophy and Carmel McGlone (Second Hand Wedding). “All of the actors have done forms of improvisation in theatre work,” says Loader, “most of them were experienced at improvisation but hadn’t brought all the forms together.” “A lot of the actors had seen what I’d been doing with students at the Wellington Performing Arts Centre for the last five or six years,” says Bosshard. “They had seen Taking the Waewae Express, our first dramatic feature, and were eager to use that process. So a lot of these actors approached us.” “They just get to play,” says Loader. “All the improvisation takes place before even writing the script so there’s not really that pressure for them to come up with anything, what happens is what happens.” “Generally when an actor is given a script they know exactly where their character is heading,” says Bosshard. “They can often end up playing towards that end. And yet in real life, we don’t actually know – we might know a general direction but we don’t know specifically where we’re going. Really, the improvisation was for them to gain the confidence to just play the character. That’s what their business is. It’s our role as directors
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Hook, Line & Sinker photos © Torchlight Films. to deal with the drama and the conflict.” Loader says the shoot, which took place over several weeks last year, was made easier and faster due to this process. “They clicked into character really fast. I’d say 80% to 90% of the dialogue they invented themselves in improvisation. We had no problems with actors struggling with lines or having to change lines they couldn’t get right; they were their lines to start with. They all felt very comfortable with their characters and it showed on the day.” Bosshard says one of the challenges for film makers is that “we’ve got our own little film in our head” and this process really forces directors and writers to listen to what’s going on and observe. “It’s very loose, what we start with, because we don’t specifically know where it will take us and we want to be open to the possibilities that are presented to us. We don’t want to be locked down with a specific direction before we start the improvisations.” During improvisation the leads started referring to their mother, a character that wasn’t originally planned. “This mother was becoming very important to the narrative,” says Bosshard. “So yes, we did have to find a mother for them. We invited Kate Harcourt along and she was delighted to have a play with Geraldine Brophy and Carmel McGlone.” • Hook, Line & Sinker opens May 5.
s r e l g n a Wr
Horse stories Training their charges to perform on cue while keeping animal welfare in mind is just part of a dayâ&#x20AC;&#x2122;s work for on set horse wranglers.
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ecoming a horse wrangler requires a multi-disciplined approach and a life-long commitment to animals â&#x20AC;&#x201C; to train, ride or undertake stunt work for screen production is demanding for both the wrangler and the horses. Wayne McCormack of Equine Films has competed internationally in rodeo and been involved with horse education since his teens. Anna Low of Anna Low Horse Productions is involved in dressage and show jumping. Onfilm asked them to share their stories. Above: Wayne McCormack in costume on his Friesian stallion Trienko. Below: Equine Filmsâ&#x20AC;&#x2122; horses and stunt riders on a television feature shot last year.
How long have you been involved with animals and film production? Wayne McCormack: I have been around horses since before I could remember, and they have played a large part of my life. The first production I worked on was Lord of the Rings where I worked as a wrangler. Soon after filming completed I left for Australia and Canada to work on other productions where I caught the â&#x20AC;&#x153;bugâ&#x20AC;? and experience to get me started. Anna Low: I have been involved with animals my entire life. My family relocated from the UK specifically to breed dogs, and to give us kids the chance to have animals, and me in particular horses. I have been involved with film production for over 11 years now fulltime. Is there a stunt component to your work? WMcC: There is a huge stunt component to our work every time we put a foot in the stirrup. It takes extensive training and knowledge to train horses to do stunts and work at liberty (working without any constraints) and the horse must be trained with adequate time. The elements of danger can be huge but choosing
Anna Low Horse Productions r 4VQQMZ BOE DP PSEJOBUJPO PG POTFU EJTQMBZ BOE TUVOU IPSTFT BOE SJEFST r &YQFSJFODFE BOE QSPGFTTJPOBM BOJNBM USBJOFST BOE FRVJOF USBOTQPSUBUJPO TQFDJBMJTUT r *OUFSOBUJPOBMMZ SFDPHOJTFE XBSIPSTF BOE FRVJOF DPTUVNF TQFDJBMJTUT
www.annalowhorseproductions.com anna@annalowhorseproductions.com 021 345-645 26
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the right horses for the job and having professional riders to assist me in their training at home as well as on-set makes horse stunts very rewarding. Riding alone requires natural feel and timing, which is something that cannot really be taught. AL: Sometimes our horses are asked to rear or perform other stunts as required. Our horses are trained to trust, so have a good grounding to begin training for stunts. We have a safety supervisor with us at all times, we also do assessments, and teach models and actors to ride and perform stunts. How many animals do you have for the purpose of screen work? WMcC: We have a selection of 22, covering a range of abilities from harness, stunt, cast and liberty horses. We also have a donkey and a couple of mammoth mules, which are not very common in NZ. For each horse we try and have a matching double to help share the workload which means we not only need to select the horse with the right trainability and mind, it also has to be similar in height, build and colour. To get the specific look we are after we often purchase horses internationally. AL: We have 18 horses and seven dogs on hand for immediate work and many others to call on for larger productions. We have all types, colours, sizes and ages of horses available. Do any of them have â&#x20AC;&#x2DC;starâ&#x20AC;&#x2122; roles in big budget productions? WMcC: Arnie, one of my quarter horse stallions, was Rona Mitraâ&#x20AC;&#x2122;s horse in Underworld 3: The Rise of the Lycans and my quarter horse gelding Zeke shared the role as Ben Barnesâ&#x20AC;&#x2122; horse on The Chronicles of Narnia:
Equine Films Ltd Bringing to NZ a standard which is world class
Wayne McCormack Ph: 0275 689 857 email: equinefilms@xtra.co.nz web: www.equinefilms.com
Anna Low Horse Productions provided the chariot for My Big Fat Indian Wedding.
Prince Caspian. I also owned the Andalusian gelding Blanco known as Shadowfax and ridden by Sir Ian McKellan in Lord of the Rings. In my eyes each horse shone at some stage of their working career and all they ask for in return is to be comfortable, fed and watered. AL: We provided 14 horses in a production called My Big Fat Indian Wedding, which is currently being shown to 80 million people in India. This included us building and providing a chariot pulled by four white horses. We also provided horses for Shortland Street. We have also provided a black rearing horse for commercials which were shown in the UK and USA. What projects have you worked on recently? Are you active on a project at the moment? WMcC: Last year we finished working two full-time seasons on Legend of the Seeker as well as a per-episode basis for Spartacus: Blood and Sand and Gods of the Arena. Last winter we worked on a TV feature called Avalon High before leaving for Canada to work as the horse trainer for the pilot of Hell On Wheels and working as a wrangler on Heartland: Season Four. We are currently prepping horses for Spartacus: Season 2. AL: My Big Fat Indian Wedding took four months full time and involved the entire team of over 40 people and 14 horses. The horses were requested to perform alongside nine helicopters and amongst 700 people
Rigging a career in stunts and very loud music. We have worked on several productions including Power Rangers, Tracker, Bliss, and Skyrunners. Have you ever been pressed to work animals too hard? WMcC: The odd production or performer needs reminding that horses are not machinery and need to be treated accordingly. In the horse industry some tend to think film horses have a hard life working long hours and often being ridden by a variety of people at different levels. If not managed properly this could well be the case but if they are treated like athletes and kept happy and sound you can get many happy miles out of them. We work closely with the Animal Welfare in NZ and they are there for the best of the horses, me and the production. AL: Most people are very considerate. Our wranglers are trained to stand up for the horses because they are unable to speak for themselves. We are the experts, not the production company, so it is up to us to explain the limitations of working with animals. We also have an animal welfare expert on set at all times. Most of the international production companies supply a welfare person, but the NZ companies don’t always do this. We don’t believe in making the horses work in the spotlight if their temperament is unsuitable for it. Those that thrive in the spotlight are encouraged and the enjoyment of it shows in their performances.
ANIMALS ON Q nimals on Q is a premiere New Zealand animal talent agency based in Kumeu, Auckland. We have been in the business of sourcing and training animals for film and print work for over 27 years, providing quality animal action set to the highest safety standards for the film industry, we only utilize positive training methods. We pride ourselves on the hassle-free excellence of the animal action we can offer. Furthermore our knowledge of animal species is extensive. For these reasons we are able to offer consistent quality performances from our animal actors in a safe and humane way. We have a stable of experienced ‘in-house’ animals of various species, and if you have any special requests, we can locate a suitable animal for you. We also offer treatments for pets with behavior problems. Our private facilities and film location are set in acres of lush, natural forestry, easily accessible from Auckland city.
NZ Stunt Guild president Paul Shapcott
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aul Shapcott has been involved with stunts for screen productions since 1992. With a background in martial arts and outdoor pursuits, he was first given the opportunity to work as a stunt performer by Peter Bell on the TVNZ series Marlin Bay. He usually works as a stunt coordinator, but he still performs and rigs stunts at times, depending on what is required for various projects. “I like to continue to perform so I don’t lose sight of what the guys taking the hits are going through,” he says, “and to keep my skills up.” Shapcott is also the president of the NZ Stunt Guild, a non-profit organisation formed in 1999 to represent and promote its members. The guild has an elected council of seven and around 75 members. There are 11 stunt coordinators in the guild, most of whom have vast national and international experience and a fantastic credits list to their names. The guild runs a website at http:// stuntguildnz.com offering headshots of all members. You can even click on a poster from a production to find out who performed or coordinated the stunts. Shapcott has been through every aspect of stunt work, from spending eight years on Hercules and Xena as a performer, rigger and coordinator, then on to Lord of the Rings, The Last Samurai, Oliver Stone’s Alexander and The Legend of Zorro. He also doubled for Paul Bettany as the albino monk on The Da Vinci Code. “I came back to NZ in 2005 and was assistant coordinator on 30 Days
Mark Vette: 021 984 270 09 411 9099
Rosie Miles: 027 481 2659 09 411 9099
As production-minded coordinators, we provide free budget and script breakdowns and work closely with your production team, providing you with professional animal actors within your budget in a safe and happy environment. In previous years we trained and worked with Lucy Lawless on The Xena Warrior Princess Series. From Chariot Races on Wild West Coast Beaches to turning Hercules in to a very talented pig. In recent years we have trained cows for the American Dairy Company and Californian Cheese. Our animal actors have featured in International movies such as, The Water Horse, The Last Samurai, Dean Spanley, The Lion, the Witch & the Wardrobe, numerous films and thousands of TV commercials. For an indication of our experience take a look at our website.
Coordinating on Aliens in the Attic. of Night, then assistant coordinator on Prince Caspian in NZ and Prague.” Then it was onto the assistant coordinator job on Underworld 3 where he doubled for actor Bill Nighy, followed by Aliens in the Attic, Legend of the Seeker and Spartacus. He finished coordinating on the Spartacus series at the end of last year. He is now working on a big production in Wellington. In terms of safety, Shapcott says directors are pretty good the world over. “They will generally ask for everything, but they respect the word of the coordinator if we have to pull out the safety card.” He says his best experience was being involved in the Lord of the Rings trilogy and that working on The Last Samurai was a lot of fun. “Working on The Da Vinci Code was also a fantastic opportunity. The worst job from an endurance point of view was Alexander. Five months of epic battle action and horse riding in the extremes of the Moroccan desert and the Thai jungle.”
Marie Manderson: 021 CRITTER 021 274 8837
e m a i l : a n i m a l s @a n i m a l s o n q . c o m
www.markvette.com www.onfilm.co.nz
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n Productio Listings How to get your production listed Because all listing information is voluntarily supplied by the production companies concerned, these pages are indicative of production activity rather than being an exhaustive record.
Film POST PRODUCTION BILLY T JAMES: THE MOVIE
90min 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
COMPOUND
Feature 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 HEAVEN
16mm 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 BurtonDavis 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
ETERNITY
Feature 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 Thomas, 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 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 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
FRIENDS BY THE WATER
16mm short prod co The Film School dir Sandy BurtonDavis writer Joseph Ryan prod John Reid exec prod Tommy Honey asso prod Alison Langdon DP Gene Warriner prod mgr Steven Charles prod asst Betty Savage prod runner Sagar Janvekar loc mgr Bonnie low cam op Dylan Jauslin f/puller Helmut Marko c/loader Ahmed Osman vid asst Nathaniel Hinde grip Sinclair Dyer grip asst Tom Frame gaffer Mark Jackson gaffer asst Kathleen Collins snd rec Pavel Kvatch boom op Neil Hunter 1AD Lisa Fraser-Clark 2AD Joseph Ryan cont Lillian Beets art dir Ben White prps/art asst Joshua Kamau w/robe Annalisa Ridley unit Paul Jackson cast Zoe Lovell-Smith, Nick Blake, Bailey McCormack, Vivien Bell, Aidan Grealist
GHOST SHARK 2: URBAN JAWS
Feature 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 ROLLER
Feature 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 Bridgman 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 Communications cast Angus Benfield, Victoria Abbott, Jeremy Brennan, Mike Maxwell, Ron Rodger, Martin Howells, Al Kincaid, Nick White, Patrick Duffy
HOOK, LINE AND SINKER
Feature 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 Guerchmann prod assts Mary Hebberd, Jack Nicol, Keryn Johns, Kerem Blumberg, Nicole Case gfx Geoff Aickin, Sebastian Sloan snd post prod Nic McGowan pic post
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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
JAKE
Fe a t u r e ( R E D ) p r o d c o H y b r i d M ot i o n Pictures prods Alastair Tye Samson, Anoushka Klaus, Doug Dillaman writer/dir Doug Dillaman 1AD Ellie Callahan prod mgr Amanda Cairns-Cowen DP Ross Turley 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 RogersScott 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 Cotton 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
REST FOR THE WICKED
Feature 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 HOLOGRAM
12min 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 ROCK
Feature 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 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 Felicity 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 Matthew 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 Abbey snd des James West, Lloyd Young postprod 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 Drinkwater, Luke Hawker, Jess Smith, Nick Dunbar, Hayden Green, Geraldine Brophy, Jonathan King
THE FALL GUYS
Feature 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 Corbett, 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
IN RELEASE BABY
20min short prod co Treetop Productions prod/dir/ writer Raquel Sims prods Richard Whiteside, Julieanne Stephens, Amanda Berryman DP Matt Sharp 1ADs Jules Lovelock, Luke Ruscoe, Bruno DuBois 2AD Felicity Hamill prod mgr Amanda Berryman prod asst Laurence Fauatea runners Marty Chung, Tayla Davies, Keiran Vane ed Nikki Parlane snd ed/des Joel Anscombe-Smith snd asst Tim Blake colourist/vfx Matthew Harris cam op Ben Forman f/pullers Bryson Rooney, Graham Smout cam assts Graham Smout, Alex Lee gaffer Lee Scott b/boy Bret Saunders lx assts Daniela Conforte, Royce Goddard grip William Mathews asst grip Andrés Bocage snd Dan Urlich boom op Tim Blake music snd Lauren King data mgr Symon Choveaux unit mgr Eugene Becconsall unit asst Sharon Lucinsky, Sandra Munro set dress/props Mike Mercer, Melanie Hull props Julieanne Stephens cont Heidi Jeynes, Marian Angeles w/robe Bonne Kemp m/up Jasmine Amohau, Renei Bailey, Lucy Gargiulo, Kerry Taylor hair Dayna Morris, Sandra Stevenson @Zambezi music Mama Tilly, Rose Blake, Catherine Norton pub Richard Whiteside prod stills Greig Sims pub stills Sarah Julianne medical advs Sharon Graham, Dr Vincent Wong casting Beth Brash cast Jessica Manins, Vincent Wong, Rose Blake, Richard Whiteside, Elliot Travers, James Trevena-Brown, Barbara Woods, Elaine Butler
Productio n Listings BEAT
14min HD short prod co Pitts Productions dir/ scrnply/prod Virginia Pitts chrgrphr Karen Barbour cmpsr Jeremy Mayall DP Leon Narbey prod mgr Patti Mitchley prod des Brenda Kidd ed TemaKwan Fenton-Coyne cons Shona McCullagh snd mix Chris Burt tech mgr Grant Sherson snd rec Brad George lx Tony Lumsden lx asst James Dudley cam asst Arianne Zilberberg 2nd cam Shoshana Sachi 1AD Bonnie Frires prod asst Kirsty Russel unit TemaKawn Fenton-Coyne cont Maryanne Tuao hair m/u Kathy Hart snd asst Jihad Qhanbari cat Orca Bar and Restaurant loc Rohi Manu ins Crombie Lockwood insrmntl perf Jeremy Mayall guitar Joe McNamara asst ed Shoshana Sachi vid post-prod Images and Sound, VET cast Reiki Ruawai, Whetu Silver, Karere Henare, Alex Hitchmough, Claire Gray
CURRY MUNCHERS
prod co Mahayana Films distributor Incubate prods Rajendran Naidu, Anand Naidu dir Cristobal Araus Lobos s/play dev Anand Naidu s/play writer/sup Padma Akula DP Karl Schodt snd Ande Schurr mus Allen Jensson grip Anton Leach tech dir/post prod Media Networks Corporation exec prod Shanta Naidu line prod Gaurav Gupta asso prod Paul Marshall marketing mgr Graham Rogers 1AD Jordan Mauger 2AD Rowan Sharp loc mgr Eddy Fifield unit mgr Steven Baker prod assts Rowan Sharp, Amit Sharma, Sophiya Elisabeth, Rosemary Abel grip asst Corei gaffer Matt Johns b/boy Ken Stratton b/girl Aleisha Frazer f/puller Matthew Gerrand cam asst Priscilla Northe snd mixers Ben Vanderpoel, Nikora Edwards boom op Chanel Simpson m/up Powder Puff Inc w/ robe Laura Schneemann, Sarah Koopu w/robe asst Danielle Orme prod des Robin Charles art dir Haley Williams art assts Angela Gray, Courtney Sanft art dept runner Josh Finnigan runners Ashley Pitman, Christopher Pretty, Lydia Stott cast Aunanda Naaido, Alison Titulaer, Ajay Vasisht, Leela Patel, Ben Mitchell, Rajeev Varma, Tarun Mohanbhai, Vidya Venugopalan, Bhavnesh Soni, Jenny Li, Robyn Patterson, Dwayne Cameron, D. Mark Harrison, Sophia Elisabeth, William Wallace, Amit Odhedar, Jazeel Mistry India crew: line prod Gaurav Gupta prod mgr Sanjay Banerjee prod assts Raju, Vinjay, Ajay asst dir Nitin Bharti cnmtgrphr Bithin Da snd rec Nitin Adarkar casting dir Prabha Tonk direction runner Prateek driver Tilak India cast Prince Kohli, Nitin Bharti, Deepankur Batra, Natasha media partners Radio Tarana, Indian Weeknder with thanks to our sponsors
DETENTION
12min short prod co Nightshade Films writer/dir Aden Shillito prods Clinton Spencer, Aden Shillito 1AD Clinton Spencer 2AD Bruno Peeters 3AD Sam Harris prod mgr Neil MacNicol prod asst Douglas Royds cont Adrienna Ember unit mgr Charmaine Hart DPs Graham Richie, Karoly Spah cam asst/grip Paul Abbott snd rec Gabriel Müller post snd prod/mus Rob Mayes 3D anim Dammoju Mahesh Chary vfx/comps Morten Leirkjaer, Aden Shillito post prods Aden Shillito, Yaser Naser, Daniel Struthers cast Nick Jeffrey, Matt Hudson, Brian Sullivan, Torum Heng, Kirsty Tait
MY LIVING MEMORY
20min short prod co Fine Eye Films prod/dir/writer Oliver Barnett DP/cam op Mathew John Pearson snd rec/boom op Patricia Hetherington ed/snd ed/sfx Oliver Barnett gaffers Anthony Radich, Mathew John Pearson c/loaders Anthony Radich, Angus Dunn, Aron Jackson m/up Church Haley stunts Thomas Rimmer driver Patricia Hetherington stills Anthony Radich, Sarah Julianne catering Dennise Murch casting Oliver Barnett, Jack Barnett, Duncan Murch cast Thomas Rimmer, Susannah Donovan, Ben Frensham, Anita Rossbach, Vincent Wong, Amelia Murch
THE RUNNER
10min prod co 316 Productions prods David McCartney, Allan George exec prod/dir Ben O’Hanlon writer Jarret Filmer DP Allan George prod mgr Emily O’Hanlon 1AD Omar Al-sobky cast dir David McCartney art dir Isaiah Vaega lx assts Johnathon Huston, Mathew Harte m/ up Kerri Thomassen grip Kerem Blumberg runner Jason Daniels stunt coord Craig Dunn stunt rigger Noodles stunt dbl Adrien McGaw ed Ben Fowler compsr Peter Laussen audio Kieran Clarke vfx art Paul Jones colourists Allan George, Ben Fowler art Leslie Chih cast Patrick Morrison, David McCartney, Samuel Thomas, Lathan Lockwood, Isaiah Vaega, Duane Haugie, Andrew Jenkins, Allan George
Television pre PRODUCTION BOIL UP
30x26mins 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 CASH
6x30min 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
NZ DETECTIVES SERIES 2
3x45min 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
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. DeKnight 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 Bassett 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 coords 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 7
26x26min 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 2011
3x3hrs, 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
ATTITUDE - 7
40x29min 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 4
6x60mins prod co Screentime exec prod Philly de Lacey dirs Mary Durham, Rita Attwood, Peter Bell, Eugene Carnachan, 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
CANINE
prod co Greenstone Pictures ho prod Andrea Lamb prod Anna Lynch line prod Kylie Henderson prod coords Catriona Goodey, Chansina Chin fund TV3
IN PRODUCTION 3D AMERICA’S NATIONAL PARKS
CLINICAL YEARS
5x60min 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 mgr Christine Drew NHNZ DPs Max Quinn, Alex Hubert stgrphr Karl Schodt loc asst Lindsey Davidson 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 REVEALED
10x60min 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 WORLD
5x60min 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
AKO
prod 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 EXPEDITION
HD doco prod co NHNZ (www.nhnz.tv) exec prod Judith Curran dir/prod/snd op Max Quinn prod mgr Nikki Stirling
ANZAC 2010
1x17hrs coverage of Anzac Day prod co Mäori TV exec prod Ross Jennings prods Carmel Jennings, Te Rangitawaea Reedy prod mgr Leichelle Tanoa snr prod mgr Sandra Richmond
ASIA DOWN UNDER
40x29min 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
subs@mediaweb.co.nz
1x60min doco prod co PRN prod/dir Paul Trotman cam Stephen Dowwnes, Wayne Vinten snd Brian Shennan
COASTWATCH
prod co Greenstone Pictures ho prod Andrea Lamb prod John Bates prod mgr Hebe Van Schagen prod coord Clare Parsons fund TVNZ
COUNTRY CALENDAR 2011
26x30min 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 SQUAD
prod co Greenstone Pictures ho prod Andrea Lamb prod Kate Peacocke prod mgr Jani Alexander prod asst Siobhan Kelly fund TVNZ
EVER WONDERED – SERIES 2
10x28min 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 eds Niki Hiini, Jack Woon
FIRST CALL
52x180min prod co Trackside exec prod Mandy Toogood prod Roger Moore dirs Jamie Annan, Glen Bourne, Brendan Burns host Karyn Fenton-Ellis panellists Des Coppins, Stu Laing, Brett Davison prod asst Nichola Johnson eds Shane Devitt, Elena Ash, Rhyce Barker, Iain Logan
GOOD MORNING 2011
prod 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
HAA
30min 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
The 2011 Data Book will be available soon. Order your copy today for just $25 + GST www.onfilm.co.nz
APRIL 2011
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n Productio Listings stylist Rachelle Christian m/u art Kelly Isherwood sen prod mgr Sandra Richmond
Kerr, David Jones prod mgr Sue Killian snr prod mgr Sandra Richmond
HEAD START
NATIVE AFFAIRS
11x26mins & 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
HINDSIGHT
13x30min 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 HAMMER
prod co Greenstone Pictures ho prod Andrea Lamb prod Kate Peacocke line prod Kylie Henderson rsrchr Alex Reed fund PRIME / NZOA
60min 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 WAR
prod 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 WHAKAPONO
prod co Mäori TV prod Toi Iti rsrch/pres Ruia Aperahama rsrchr Tipare Toi snr prod mgr Sandra Richmond
HIGHWAY
NGA TAONGA WHITIAHUIA
HOMAI TE PAKIPAKI
NOTHING TRIVIAL
prod co Greenstone Pictures exec prod Cass Avery prod Sam Blackley prod mgr Laura Peters prod coord Elea Huston fund TVNZ
20x90min 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 CAPTAIN
90min 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, Richard Borg, Dale Pretorius, Carlos Purcell vfx interns Richard Neal, Brendon Chan, Josh O’Donnell cast Craig Parker, Charles Pierard, Hugh Barnard
I SURVIVED 4
10x60min 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
INDIGENOUS INSIGHT
30mins 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 CHAOS
prod 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 PATROL
prod co Greenstone Pictures ho prod Andrea Lamb prod Kate Fraser prod mgr Rebeca Plaistow prod coord Simone Faets fund TVNZ
NATIONAL WAKA AMA SPRINTS 2010
11hrs Waka Ama racing prod co Mäori TV Wayne Leonard Highlight prod Andy McGarth pres Hoturoa
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APRIL 2011
26x26min 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
13x60min 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 prod mgr Jo Tagg prod co Natalia Perese prod sec Laura Thavat script co Rachael McMahon prod run Tim Burnell accts Lee-Anna Hasson, 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 loc asst trainee Linda Musson unit mgr Amy Russo unit asst Josh Dun DPs Dave Garbett (blk1), Rewa Harre (blk2), Dave Cameron (blk 4,5,6) 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 rec Myk Farmer 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
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 James Gardner 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, 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 HIRA
13x26mins Auckland War Memorial Museum tells stories 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 KAEA
30min 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 PonikaRangi, Kereama Wright prod mgr Sharmaine Moke dept asst Ripeka Timutimu subtitles Eva Mahara, Tepara Koti, rsrchr/pres Stephanie Martin pres Piripi Taylor, Amomai Pihama
ON THE ROAD TO THE INTERDOMS
TE TEPU
3x30min prod co Trackside exec prod Mandy Toogood prod Mathew Smith dirs Jamie Annan, Glen Bourne, Brendan Burns host Mark Rosanowski guests Greg O’Connor, Adam Hamilton
30min 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
POLICE TEN 7
THE ART OF ARCHITECT
36x30min prod co Screentime exec prod/prod Philly de Lacey, Mary Durham dirs Scott Hindman prod SarahLuise 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 2011
prod 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
RENTERS
prod co Greenstone Pictures ho prod Andrea Lamb prod Simone Goulding prod mgr Laura Peters fund TVNZ
RURAL DELIVERY 7
40x30min 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 UNIT
prod co Greenstone Pictures ho prod Andrea Lamb prod Kate Fraser line prod Kylie Henderson prod asst Rochelle Leef fund TVNZ
SHORTLAND STREET
5x30min weekly prod co SPP exec prods John Barnett,
www.onfilm.co.nz
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 REPORT
15x30min TVNZ7 prod co Gibson Group exec prod Gary Scott prod Sofia Wenborn pres Greg King n/wrk Philippa Mossman
THE ERIN SIMPSON SHOW
30min wkday youth show prod co Whitebait-TV pres Erin Simpson reporters Kimberley Crossman, Katy Thomas, Isaac Ross, Mark Dye, Eve Palmer prod coord Tim Morton prod asst Riley Stewart ed/cam op Nathan McKinnon w/robe Lee Hogsden website Kieran Granger eds Stu Waterhouse, Tyler King, Geoff Reid audio post Vahid Qualls gfx Mike Boulden rsrchr Juliana Murphy post dir Tracey Geddes dir Kerry Du Pont prod mgr Jo Eade asso prod Kate Roberts prod Emma Gribble exec prod Janine Morrell-Gunn n/work exec Kathryn Graham
THE MISSING 2
8x60min prod co Screentime exec prod Philly de Lacey dirs Peter Bell, Tom Reilly, Ross Peebles, Mary Durham, Rupert MacKenzie prod Carolyn Harper prod mgr Kate Moses cam ops Chris Matthews, Gavin Stroud eds Roger Yeaxlee, Alex Behse, Margaret Kelly, Lisa Hough online ed Keith McLean
TOI WHAKAARI
prod co Mäori TV exec prod Matai Smith prod Jade Robson snr prod mgr Sandra Richmond
UNSUNG HEROES prod 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 POWER Family 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 NOW 120min 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 Browning 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 VETS prod co Greenstone Pictures ho prod Andrea Lamb prod John Bates prod mgr Hebe Van Schagen prod coord Carita De Jong fund TVNZ
POST PRODUCTION HENARE O’KEEFE 1x52min doco prod co Notable Pictures prod Julia Parnell dir Ihakara Wilson writer Dane Giraud cam op Richard Harling snd op Cameron Lenart ed Tim Grocott line prod Anne O’Brien
MAN HUNT 4x60min HD doco prod co NHNZ (03 479 9799) co prod NGCI exec prod John Hyde series prod Nicola Hammond rsrchr Marcus Turner prod mgr Kavita Chopra host Hayden Turner post dir Sandra Welkerling, Giles Pike eds Cameron Crawford, Marilyn Copland comp Leyton GFX Karsten Schneider snd Stacey Hertnon, Errol Samuelson vid post Stu Moffatt, Frank Lodge
MEET THE LOCALS SERIES 3 20x4min family wildlife series prod co TVNZ prod unit TVNZ n/work exec Philippa Mossman exec prod Tina McLaren prod mgr Stewart Jones pres James Reardon, Lesley Judd
OPERATION HERO 10x30min children’s factual entertainment prod co Gibson Group exec prod Dave Gibson prod Bevin Linkhorn dirs Dan Henry, Michael Huddleston edit Ben Powdrell gfx Tim Gibson online ed/colourist Adam Sondej n/ wrk exec Kathryn Graham
TANGIWAI 90min telefeature prod co Lippy Pictures writers/ prods Paula Boock, Donna Malane dir Charlie Haskell line prod Angela Littlejohn DP David Paul 1AD Richard Matthews 2AD Robin Wilson 3ADs Chloe Forbes, Kevin Armstrong f/puller Charles Edwards c/loader Andreas Mahn prod coord Desray Armstrong prod asst Jimmy Hayes prod asst/runner Michael Robins cast dir Tina Cleary extras coord Yvette Reid script sup Merrin Ruck prod acct Maurice O’Reilly rsrchr Angela Boyd miniature train Weta Workshop miniature train sup Ian Ruxton snd rec Chris Hiles boom op Steven Harris prod des John Harding art dirs Ben Milsom, Campbell Read art dept coord Mary Connolly lead prps/byr/ dresser Rosie Guthrie prps/byr/dresser Gim Bon stby prps Josh O’Neill art dept asst Jody Conaglen constr mgr Russell Stoupe carpenter Hugo (Sandy) Wilmor scnic art John Cruickshank brushhand Jeff Koning key grip Hamish McIntyre grip asst TK Bedford gaffer Adrian Hebron b/boy Matty Andrews gene op Hansel Verkerk lx asst Mark Matchett cost des Nic Smillie cost sup Amanda Neale cost stby Sam Morely cost asst Kate Trafford patternmaker Sheila Horton cost runner Rose Morrison m/up des Linda Wall m/up asst Jayne Donaldson stunt coord Augie Davis safety Rodney Cook loc mgr Kevin Magill loc asst Wayne Hart transport Ardy Matthews unit mgr Josanne Tane ed Paul Sutorius cast Rose McIver, Ryan O’Kane, Taungaroa Emile, Miranda Harcourt, Mick Rose, Dean O’Gorman
XENO 1x60min doco prod co PRN prods/dirs Malcolm Hall, Paul Trotman cam Stephen Dowwnes, Michael McLeod ed Josie Haines
BVM-E Series
Professional OLED Master Monitors
NEW
AT NAB 2011
Sony is proud to introduce its much-anticipated BVM-E Series of organic light-emitting diode (OLED) master monitors: the BVM-E250 - 24.5-inch (623.4 mm, diag.) and BVM-E170 - 16.5-inch (420.0 mm, diag.). Only Sony has the capability to develop products such as these, as the company builds on over 30 years of CRT and LCD master monitor experience in the production industry, and has created its own sophisticated OLED display devices and signal processing engines. To improve the OLED self light-emitting device, Sony incorporates its unique Super Top Emission OLED technology. The result is superb picture quality - these new master monitors deliver outstanding black performance, quick response with virtually no motion blur, and a wide colour gamut. Key features • Super top emission OLED display panel - Deep black with high dynamic range - Quick response with virtually no motion blur - Wide colour gamut and accurate picture reproduction • Professional display engine - Nonlinear Cubic Conversion colour management system - Highly-accurate I/P conversion with delay-free pictures • 3G-SDI x 2, HDMI x 1 standard input, option slot x 4 • Robust metal chassis • 3D signal analysis function (as a 2D monitor) with an optional BKM-250TG (BVM-E250 only) • 19" rack mountable (BVM-E170 only)
More information at: sonybusiness.co.nz/monitors