ONFILM September 2011

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N Z ’ S S C REE N PR O D U C T I O N I N D U STR Y M A G A Z I N E on f i l m . co . nz

Better the Devil you know

Behind the scenes with Weta Workshop on The Devil’s Rock

PLUS

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Annual training and education guide Four little interns on Two Little Boys NZ On Screen hits the waterfront

contents SEPTEMBER 2011

Views 4 A private view

Onfilm columnist Doug Coutts and cartoonist Barry Linton report from The Tosh Club with an idea for a new film studio.

5 Editorial

A quick word from editor Steven Shaw; Cartoonist Andy Conlan highlights the hurdles involved with getting a film made.

12 COVER: Artwork from Paul Campion’s NZFC funded fright-flick The Devil’s Rock, in release this month. Image: Supplied.

6 Short cuts Philip Wakefield rounds up NZ box office and television news from the NZ screen industry.

10 On the waterfront

NZ On Screen moves on up to the waterfront, taking a selection of NZ television and film clips out on the road as part of the Real New Zealand Festival.

Feature 12 By the Devil I was tempted

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Onfilm talks to Weta Workshop prosthetic effects artist Sean Foot about his gruesome handiwork on Paul Campion’s new horror feature The Devil’s Rock.

Training and education 16 Training for success

Peter Parnham looks at the difficulties facing private training institutions, where student numbers are capped in line with Government policy.

18 Behind the scenes of NZ film Two Little Boys Southern Institute of Technology students worked as interns on Robert Sarkies’ upcoming feature Two Little Boys; Unitec launches Uni Shorts International Student Film Festival.

19-25 Training and education guide

Onfilm’s annual listing of training and education providers.

Regulars 26 Across the ditch

James Bondi, our ex-pat spy based in Australia, rounds up industry news from the Lucky Country.

27 A legal view

Legal expert David McLaughlin examines a couple of high profile US court cases around “stolen ideas” for film and TV projects.

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Production listings

Volume 28, Number 8

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) 09-366 0443 Production Manager: Fran Marshall Designer: Cherie Tagaloa New Subscriptions: www.onfilm.co.nz/subscribe Subscriptions Enquiries: subs@mediaweb.co.nz, 09-529 3000 Pre-press and Printers: PMP Print Onfilm is published 11 times a year by Mediaweb Limited, which also publishes The Data Book.

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september 2011

3

A private view

You know it makes sense There hasn’t been a lot to report from the Tosh Club lately, largely because the memby doug coutts bers have been busy avoiding all the retrenching going on at the moment – usually by digging themselves into very deep holes of their own making.

My own personal excavation involved steadfastly ignoring all Mr Norton’s hints to back up the data on my aged PC until one morning… yes the blue screen of death. For you young film makers, the blue screen of death is not to be confused with green screen – one is very inconvenient, involves a lot of pissing around and often requires dealing with smelly slobbering computer nerds, while the other means your PC’s dead.

Only one week later I’m back up (and backed up) and running with a new PC. All my datas are safely aboard, apart from a U2 album that somehow sneaked into the music collection and is now in the bin (as they all should be) and a few emails from lonely Ukrainian women who loved me madly and would love me even more if I helped out their rich Nigerian uncles. And that means I can type up the minutes of the last Tosh Club meeting, although there’ll be a problem if anyone wants a hard copy – my trusty HP Laserjet refuses to run with anything newer than Windows 3.1.

Regular readers will know that, as a formidable force in the film and television industry, the Tosh

Club is hardly ever behind the eight ball. Nor in front – we prefer to be off to one side. So when the news broke last month that a bold new film destination initiative was earmarked for Wellington’s Upper Hutt, we weren’t surprised. In fact we’ve been working on a similar project for months.

Wellington is, of course, the country’s best region for making films.

Land is cheap, labour even cheaper and there are no problems with traffic congestion, as it’s highly unusual for all seven drivers to be on the road at the same time.

There’s already a major soundstage complex in Miramar, sequestered away from the noises and distraction of the CBD while being very handy to an international airport, and a prison.

It’s a successful model so it’s not surprising that it’s being copied. Not only is Rimutaka Prison within wallscaling distance of the new Studio NZ premises in Upper Hutt but it’s also very quiet up there, with only

NEW ZEALAND’S LEADING ACTORS VOICES PRESENTERS MC’s ENTERTAINERS

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the occasional smashing of a Subaru quarter light and the odd hammering of plywood sheets over the front windows of a failed business to distract the boom swingers. Plus there’s the added advantage of being excitingly close to a shed run by MAF that contains test-tubes full of anthrax, smallpox and milk for morning tea.

The Tosh Club project hasn’t managed to luck in on the biosecurity angle, but our own film megacentre concept ticks the other two boxes, in emphatic fashion. We have options for the purchase of a vast chunk of land just a bit further north than Upper Hutt, and a wee bit further north again from Miramar.

The spot we have chosen is close to no fewer than three prisons, one international and one military airport and there’s already five starplus accommodation on site. Close at hand is a television facility run by people no longer in the business of making television and there are restaurants, amusement parks and

ready-to-vandalise bus shelters within walking distance.

There’s also a huge labour pool, many of whom will work for the experience or the promise of a fake passport. Currently the space is owned and operated by an outfit called Auckland City but it’s our understanding they want to quit the property, all 640 square kilometres of it, because of parking issues.

The only hassle is that we can’t move in straight away, because they’re shooting an extended Heineken commercial there for the next month or so. They’re flying in thousands of extras, spending a bundle on wardrobe and even more on gaffer-taping over every logo and street sign within a hundred kilometre radius.

Which is good in a way, as it shows just how viable our idea is.

And, as everyone knows, viability is the cornerstone of every good idea.

Views

Andy Conlan’s view

Ed’s note A

Calling for champions

s far as viewing goes, rugby is probably going to be the winner on most days this month, but there are still many ways to get a fix of locally produced TV and film.

Local films, including Paul Campion’s The Devil’s Rock and Patrick Gillies’ indie comedy The Holy Roller, are opening in cinemas nationwide over the next month.

For more on The Devil’s Rock, turn to page 12. And the first Samoan language feature film, Tusi Tamasese’s The Orator (O Le Tulafale), funded by the NZFC and the Samoan Government, will be released in early October. More on that one (I’ve just seen it, it’s outstanding) next issue.

With the rugger on, some events have been pushed out to November. The Aotearoa Film & Television Awards (AFTAs) will be held in Auckland this year, with the Craft Awards on 10 November and the Gala Awards ceremony on 12 November.

Also coming up in November: the Asia Pacific Producer’s Network (Auckland, 11-13 Nov), AnimFX NZ (Wellington, 15-16 Nov) and the annual SPADA conference, to be held 10-11 November at SkyCity in Auckland.

A quick heads-up about the SPADA conference – once again, we’re calling for nominations for the Onfilm/SPADA Industry Champion. The 2010 Champion was Rob Tapert; the other alumni are Michael Stedman, Caterina de Nave, Dick Reade, Mladen Ivancic, Dave Gibson, Diane Rowan, Jon McRae, John Barnett, Peter Jackson/ Fran Walsh, Lindsay Shelton and Arthur Baysting.

A nomination form will go online via onfilm.co.nz later this month – we’ll alert readers via our email newsletter and give you a timely reminder in the next issue.

In the meantime, while you’re pondering just who can step up to become the next Onfilm/SPADA Industry Champion, we hope you enjoy the issue – and we look forward to the All Blacks (and Manu Samoa!) proving themselves to be champions.

Steven Shaw, editor

Giveaway – John Waters’ This Filthy World

F

ilmmaker, writer and shock auteur John Waters is coming to NZ to perform his one man show This Filthy World in Wellington (31 October, The Opera House) and Auckland (2 November, Civic Theatre) – and Onfilm has one double pass for each show to give away.

This Filthy World celebrates the film career and obsessive tastes of the man William Burroughs once called “The Pope of Trash�. Focusing on Waters’ early artistic influences, his fascination with true crime, exploitation films, fashion lunacy, and the extremes of the contemporary art world, his monologue elevates all that is trashy in life into a call to arms. The show also draws on material from Waters’ most recent book, Role Models, described by Sydney newspaper The Sun Herald as “a study in lunatic admiration, a tribute to self-acceptance and tolerance and a joyful and witty celebration of life�.

In 1967, Waters made his first 16mm film, Eat Your Makeup, the story of a deranged governess and her lover who kidnap fashion models

and force them to model themselves to death. Mondo Trasho, Waters’ first feature, was completed in 1969. In 1972 he created what would become the most notorious film in American independent cinema of the 1970s, Pink Flamingos, which turned him into a cult celebrity and went on to become a smash success.

In Hairspray (1988), Waters created “an almost big-budget comedy extravaganza about star-struck teenage celebrities in 1962, their stage mothers and their quest for mental health�. The film was a box office and critical success, later turned into a Broadway production, with a remake of the film released in 2007 starring John Travolta, Michelle Pfeiffer and Christopher Walken. His later films include Cry-Baby with Johnny Depp and Serial Mom with Kathleen Turner.

To enter the prize draw, write to editor@onfilm.co.nz with This Filthy World in the subject line and specify which show (Wellington or Auckland). Good luck!

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september 2011

5

Short cuts

By Philip Wakefield

Battle of the Billy Ts

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ooks like TVNZ’s Billy telemovie had the last tee-hee over Billy T: Te Movie. Ian Mune’s documentary feature about Billy T James opened the same weekend that TV One screened, to recordbreaking ratings, the Sunday Theatre dramatisation of his life.

Confusion over the competing projects and the telemovie’s phenomenal popularity appear to have cost Billy T: Te Movie at the box office, prompting a call for better coordination of public funding.

While the NZFC-funded documentary grossed an impressive $273,133 in four days on 65 screens to open at #1, it didn’t match distributor Sony Pictures’ expectations.

“We’re pretty happy with it, but we got ambushed by the TVNZ drama,” says Sony’s Andrew Cornwell.

He argues while the movie’s Sunday night business was down because of the telecast, “it was less the huge ratings and more the confusion it caused in the marketplace.”

Exhibitor and anecdotal feedback, including from social networking sites, reveals some people thought Billy T: Te Movie and the NZ On Air-funded Billy were one and the same.

Indeed, Cornwell has been busy on Billy T: Te Movie’s Facebook page, pointing out the difference to people like Michelle Barker, who commented about what she thought was the movie: “I saw the show on TV Ondemand [sic] and thought it didn’t show Billy T at all.”

Heightening Sony’s concerns was the second weekend’s takings falling nearly 45%, to $146,022, and the movie slipping to #4 on the top 20.

“It was a steep falloff, which is unusual for a documentary,” Cornwell says.

As well as public confusion over which is which, he believes Billy’s inferior reviews and criticism of its accuracy by the likes of James’ family and co-star Peter Rowley may also have contributed to the movie’s rapidly diminishing box office.

“Whatever the final result, we would have done better if the

two films hadn’t head-butted on the same date.

“It’s pretty disappointing given we were the only entity that was commercially at risk.”

James’ legacy and Cornwell’s faith in the movie saw Sony invest heavily in advances and promotion and advertising.

As one wit quipped: “They did a great job of promoting the TV drama with their $100,000 of publicity.”

Tainui Tukiwaho as Billy T James in So much so that Cornwell Sunday Theatre drama Billy. Photo: supplied. believes there should be more collaboration between the NZFC, of which he’s a member, and NZOA on the projects they’re funding, “so this sort of clash can be avoided.

“There is room for two projects [about the same subject] but I don’t think there’s room for two on the same weekend without causing confusion.”

Cornwell says it was too late for Sony to change release dates by the time TV One had confirmed its scheduling of Billy.

It had been locked in months earlier, not only to coincide with the 20th anniversary of James’ death but also to fit in with the opening of Hoyts’ The Base complex in Hamilton, where Billy T: Te Movie had its premiere, and to exploit the theatrical window of opportunity between the flood of US summer blockbusters and the Rugby World Cup. Cornwell hopes confusion will ease enough for Billy T: Te Movie to sustain a long run like The Topp Twins: Untouchable Girls.

“The most successful documentaries do about 10 times their opening weekend gross,” he says.

“Every documentary that’s succeeded in the last five to seven Billy T James. years has started off relatively small and ambled along.”

Photo: Jenny Scown/NZ Herald.

Devil Rocks on to 20 screens

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ill the Rugby World Cup help The Devil’s Rock to score at the box office? It opens on 15 to 20 screens from September 22, the day after the NZ premiere in Wellington.

Distributor Vendetta Films is primarily targeting young men, and war and thriller fans for Paul Campion’s lowbudget debut about Kiwi commandos who thwart a Nazi plot to unleash a demon.

“Our secondary target is fans of Kiwi films, and also the Rugby World Cup tourists who’ll be here at the time of release,” sales and marketing manager Jill Macnab says.

“From past experience, with a big sporting audience comes a big audience of people wanting to experience our culture, and that includes our movies.

“They will be looking out for something different from what they might see back home. We really think this movie will also appeal to them.”

Vendetta’s campaign is positioning The Devil’s Rock as a supernatural thriller that potentially will play wider than

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a horror movie.

“And the fact that it’s a Kiwi film releasing in its home market extends its reach straight away, of course,” Macnab says.

“But ultimately this is a movie which unashamedly has a very clear-cut audience and we will play to those strengths.

“Online and digital are key focuses of the campaign but print is always important, particularly for reviews and publicity, and radio is important for this demographic too.

“We are also focusing on a lot of promotional tie-ins with partners such as Hell Pizza, The Rock, Spookers and Demon Energy drinks.”

Vendetta opted to open The Devil’s Rock mid-September after consulting with exhibitors on which dates would maximise screens.

Initially it went for July, which is when the movie had a simultaneous theatrical, DVD and video-on-demand launch in the UK.

“But that didn’t work with screen availability,” Macnab says, “particularly with the number of 3D movies which were released in that month.

“They use the same format, DCP, as The Devil’s Rock is in, although with so many screens converting to DCP even as we The Devil’s Rock. speak, that’s becoming much less relevant.”

Macnab says exhibitors have been positive, especially Event Cinemas.

“They have been fantastically supportive of us. Reaction has been really good across the board as well – I think it’s refreshing for people to see a Kiwi movie that’s so different from the norm.”

(For more on The Devil’s Rock, see our interview with Weta Workshop makeup fx artist Sean Foot on page 12).

By Philip Wakefield

Rialto to showcase more directors

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his month’s Roman Polanski season on Sky’s Rialto Channel will be followed by tributes to Henri-Georges Clouzot, Francois Truffaut and Michael Winterbottom.

The channel’s first Director’s Showcase opened with Polanski’s Knife in the Water and is continuing with Repulsion (September 11), Cul De Sac (September 18) and Rosemary’s Baby (September 25).

Showcased next month will be the works of Clouzot (The Truth, Wages of Fear, Le CorScreening on the Rialto Channel: Brigitte Bardot in Henri-Georges Clouzot’s beau, Les Diaboliques, Quai La vérité (The Truth); and below, Mia Farrow in Roman Polanski’s des Orfevres), with Truffaut to Rosemary’s Baby. Photos: supplied. follow in November (The 400 Blows, Jules and Jim, The Last Journey, Cameraman: The Work of Metro, Shoot the Piano Player) and Winterbottom in December (Won- Jack Cardiff and American Grindderland, Jude, 24 Hour Party People, house).

Also notable this month is the NZ Tristram Shandy).

Each Director’s Showcase is linked TV premiere of Hawke (September 23), a Channel 10 dramatisation to Rialto’s premiere of a movie from that filmmaker or a documentary about starring Richard Roxburgh as the former Prime Minister of Australia. him.

The Herald Sun called it “the For instance, in December it will best Aussie drama in a decade … debut Winterbottom’s controversial The Killer Inside Me, while premiering [that] gets everything right” and Film in November is the Truffaut doco, Two Ink “a rollicking, engaging biopic of the first order”. in the Wave.

Hawke averaged 1.6 million And included in a season of filmviewers when it aired in July 2010 maker documentaries next month will be Henri-Georges Clouzot’s Inferno and won AFI Awards for best telefea(watch also for Bruce Lee: A Warrior’s ture, direction and actor.

Kiwi flyer wraps

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irector Tony Simpson has just wrapped his first feature, Kiwi Flyer, after four weeks on location in Nelson.

Principal photography of the low-budget family movie, which Simpson (Shortland Street, The Adventures of Cumie the Cloud) wrote with Andrew Gunn, started on August 19 and ended September 14.

“We are shooting HD on the Sony F3 and have a particularly good image shot by DP David Paul,” producer Tim Sanders said during filming.

The $1.1 million production was made with the support not only of the NZFC, NZ On Air and TVWorks but also the Nelson City Council and the Venture Accelerator Network, a group of Nelson-based private investors.

“It took a year to bring the finance together,” Sanders says.

“It shows how tough it is to finance local films now the NZFC requires additional parties for funding.”

Vince Martin, Tandi Wright and Dai Henwood head a cast that includes many newcomers, led by Edward Hall and Tikirau Hathaway.

Nelson actors filled all but five of the 39 speaking parts, while the crew came from Auckland, Wellington, Christchurch, Dunedin and Queenstown.

“We are delighted to have a cast and crew committed to local drama as the rates we have on a $1.1 million film simply do not compare to the Hollywood films made here,” Sanders says.

“These people made a choice to be involved and we are very grateful. But how long we can sustain paying highly experienced people very low rates is yet to be determined.”

Short cuts

WIFT NZ welcomes new board

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e all know what a tough year it has been for the industry. In spite of weathering a number of challenges, Women in Film and Television NZ (WIFT NZ) continues to go from strength to strength and is still the largest pan-industry organisation in the country and – per capita – in the world. Much of this is thanks to the dynamic group of women who come forward each year to offer their services, entirely voluntarily, to lead the organisation through both the good and bad times.

This year WIFT welcomes an even larger group of board members to the governance role of the organisation, with Debra Kelleher as the incoming president. Many of you will know Debra as an award-winning TV producer, who brings with her 25 years of experience in the screen industry.

WIFT NZ also welcomes back: Teresa Brown, who has worked for unions for over 18 years and for whom empowerment is at the root of all her work in negotiation, mediation, facilitation and lobbying; Amanda Beckett, a chartered accountant with 15 years’ experience in a broad range of media organisations, including multinational television broadcasters and independent TV production companies in both the UK and NZ; Janine Morrell-Gunn of Whitebait TV, recently celebrating 30 years of What Now?, New Zealand’s longest running and most successful children’s programme; and, Glenis Giles, who has served 19 years on the board of the Wellington Film Festival.

Joining the board this year are: life member Fiona Milburn, chair of WIFT International for two terms and chair of WIFT Auckland; Melanie Langlotz, with 20 years of film industry under her belt and currently general manager of Images & Sound; Bernadette Kelly, an editor who has worked for 30 years all around the world and more recently as head of the post production department of South Seas. Finally, WIFT NZ warmly welcomes another life member – Robin Laing – founding chair of the organisation and currently working in the sales department of the New Zealand Film Commission.

– Susi Newborn, executive director, WIFT NZ

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AUCKLAND Wednesday 2 November, The Civic Bookings (09) 357 3355 or www.buytickets.co.nz www.onfilm.co.nz

september 2011

7

Short cuts

By Philip Wakefield

Underbelly NZ finale triggers DVD release

Sunday Theatre dramas DVD-bound

nderbelly NZ: Land of the Long Green Cloud will have a record-fast TV-to-DVD turnaround for a NZ drama when the two-disc set goes on sale on September 21.

It is being released only 12 hours after the series finale on TV3.

The six-part Screentime production launched a week later than planned, amid headlines over a programming stoush between TV3 and NZ On Air that resulted in its 11th-hour rescheduling.

The premiere went on to win its slot in the key demographics that TV3, One and 2 target, averaging 9.9% of 2554 year-olds, 9.7% of 18-49 year-olds and 10.6% of 18-39 year-olds.

But both the second and third episodes were down two to three ratings points and lost to TV2’s The Walking Dead.

“Of course, I would like the overall numbers to be higher,” programming chief Kelly Martin said after episode three.

“But we’re happy enough with it, taking into account all the hoo-ha around scheduling and promotion and publicity, competition on the night and lead-in.

“It’s doing very well on-demand, and we remain very, very happy with the performances and show in general.”

Martin would have preferred Underbelly NZ to air 8.30pm, with Rocked the Nation: 100 Sporting Moments as its 7.30pm lead-in.

But NZOA and the industry opposed this because it would have clashed with TV One’s South Pacific Pictures commission, Nothing Trivial.

Martin’s strategy also was stymied by competition across the Tasman, where Channel Nine delayed airing Underbelly: Razor because it didn’t want to go headto-head with Ten’s MasterChef.

Contractually, TV3 couldn’t air Razor ahead of Nine, which prevented Martin from pre-empting Underbelly NZ for Razor and launching the former after Nothing Trivial had ended its run.

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U

Razor, which stars Kiwi Danielle McCormack and Chelsie Crayford-Preston as feuding Sydney brothel keepers in the 1920s, and Craig Hall as a young cop, goes to air this month.

Meanwhile, DVD distributor Roadshow Entertainment expects Underbelly NZ to sell more units than the Australian Underbelly DVDs it’s released.

“New Zealand has and continues to produce superb television content,” general manager John Davie says.

“Our positioning of the title, and marketing around the general release, is comparable to all major TV-on-DVD releases and includes a multimedia channel mix of exposure.

“While consideration was given to releasing the title on Blu-ray, we wanted to release the title as close as possible to the final television broadcast.

“We are building the DVD literally episode by episode to achieve this and unfortunately, due to the very tight production schedule, we are unable to offer the release on Blu-ray.

“However, we are investigating an Underbelly box set for the Christmas market and will certainly be looking to release that with a Blu-Ray option.”

he first of this year’s NZ Sunday Theatre dramas, Tangiwai: A Love Story and Bliss, are out on DVD this month, with Billy and Rage to follow in October or November.

Tangiwai and Bliss have been released in stylish Sunday Theatre packaging, with the names of the production companies, Lippy Pictures and MF Films, prominent on the covers.

“We are pleased with the performance of the other Sunday Theatre dramas, which have sold reasonably well, and we see the release of these new titles as a good opportunity to highlight the availability of the previous Sunday Theatre titles,” TVNZ Licensing’s Leigh Wilson says.

At presstime, Billy easily had been the most popular of this year’s NZ dramas. It averaged 733,000 viewers and Tangiwai, 636,800.

But the Katherine Mansfield drama Bliss finished a distant third. It was largely competitive with the movies on TV2 and TV3 but rated only 7.2 percent of TV One’s target audience, 25-54 year-olds, compared with Billy’s 18%, which earned it a 44.1% share, and Tangiwai’s 14.5%.

Rating a mention

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he August board meeting of the NZFC approved conditional funding of two projects: Severe Features’ The Weight of Elephants (producers Leanne Saunders and Katja Adomeit; writer/director Daniel Borgman) and Kura Productions’ Mt Zion (producer Quinton Hita; writer/director Te Arepa Kahi) … The NZFC’s also investing in the early development of: WWW Pictures’ The Whole World’s Watching (p. Richard Thomas and Owen Hughes, w/d. Alan Erson, $17,500); Index Films’ Southern Light (p. Jonathan King and Matt Grainger, w. Grainger, $17,500); Lippy Pictures’ The 10pm Question (p/w.

Donna Malane and Paula Boock, $17,500); Bad Bread’s Ergotism (p. Jonathan Dowling, Andrew Beattie, Sue Thompson and Jon Staton, w/d. Stefan Rochfort, $20,000); Octopus Pictures’ Pictures of Susan (p. Tash Christie, w/d. Dan Salmon, $35,000) … Captain America: The First Avenger muscled its way into the NZ box office record books by notching up the year’s eighth highest opening weekend gross of $1.07 million … Only two movies in the top 10 cracked $2 million-plus in their first week: Harry Potter and the Deathly Hallows: Part 2 ($4.03 million) and Transformers: Dark of the Moon ($2.8 million) … At presstime, HP7.2 had topped $7.6 million ... Rare and historic rugby footage will feature in Finlay Macdonald’s four-part documentary series, The Game of Our Lives, which will kick off on Maori TV on September 27 …

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Letter to ed

Underbelly vs. Nothing Trivial – NZ On Air responds I

n the August Onfilm Phil Wakefield has some strong views about NZ On Air and the Underbelly/Nothing Trivial scheduling. Phil’s entitled to his views of course but he makes several assertions that are worth challenging.

NZ On Air is in the privileged position of being able to disburse over $80 million into diverse television production each year. It’s a significant sum and we take our responsibilities very seriously. Every producer will attest it’s a highly competitive environment – we always have more good projects available than we have funds to invest.

And, particularly in these economically straitened times, we need to avoid waste wherever we can.

Two precious local dramas scheduled against each other? Waste. Pure and simple. It doesn’t matter they’re available on demand. It doesn’t matter that the PVR can work. That’s great, but in the prime time series

Super

business, first transmission ratings matter.

The beauty of the NZ On Air model is that it’s focused on delivering diverse content to diverse audiences.

We’re not in the business of industry support (although obviously that’s a significant and useful side effect); nor in the business of propping up broadcaster balance sheets. We work on behalf of the audience – and the taxpayer.

In effect the system is like a threelegged stool: us, broadcasters, and programme makers. None of us have absolute power, all of us have some, and all of us are entitled to take a view.

In our case we have the power to say yes or no to funding. We do not have the power to dictate scheduling – but we do have a covenant with the broadcasters to ensure, wherever possible, we get the scheduling result that was proposed when we agreed

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to invest. And that we are consulted when there are significant changes; or indeed when like programme looks like it will screen against like.

In the Underbelly case we did not “demand” or “force” TV3 to change, nor have an “eyeball to eyeball” encounter (gosh, Phil, getting a bit over-excited there). We asked them to explain their reasoning, and we asked again when we needed more info to help us understand the issue clearly. This is neither the first nor the last time we will go into bat for ‘our’ programmes. A passive funding agency we are not.

We will always accept that a broadcaster’s decision is final – but it won’t stop us putting our case. Why? Not because we are bureaucrats or particularly combative: in this case we were thinking of the taxpayer and whether it was really a good idea to have over $11m of production in a scheduling clash. The general public

(audiences, taxpayers) already have enough difficulty understanding the comparatively high cost of drama without throwing further complexities into the mix.

We completely understood TV3’s difficulties – and we also completely understand that, as always, getting a new drama series to work is a delicate process. And that includes Nothing Trivial. We really respect TV3 for making a tough call (and for the cynics among you I can tell you that makes it neither easier nor harder to get future funding for programmes).

We may be bureaucrats but we’re damned skilled ones. We’re advocating for the best options for audiences and taxpayers – and to avoid waste.

One thing we do agree with Phil about: it will be a great day when there is so much local drama that scheduling doesn’t matter anymore. Sadly we’re still some way from there.

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september 2011

9

Events

On the waterfront NZ On Screen hits the road and moves on up to the waterfront as part of the Real New Zealand Festival.

The creative team – Dave Turnbull (Chrometoaster), Rob Appierdo (Storybox) and Brenda Leeuwenberg (NZ On Screen).

A

couple of months back, Guardian film blogger and critic Ruth Jamieson wrote, “Pop-up cinema is having a moment.” In the UK, endless examples have emerged over the European summer with site-specific screenings in vans, canal boats, and even in empty spaces under motorways.

Tapping into the zeitgeist is not something NZ On Screen had in mind when creating the concept for its major installation project, happening now as part of the Real New Zealand Festival, but it’s happy to be riding the wave. Two interactive exhibitions in modified shipping containers and a converted caravan cinema are allowing thousands of Kiwis and tourists to experience popup cinema, NZ style, during the rugby tournament.

NZ On Screen editor Paul Ward says, “NZ On Screen has existed as a website for four years now, growing hugely in content terms over this time and establishing itself as the online showcase of Aotearoa screen culture.

We wanted to cross over into the real world as a way of promoting the content onsite, but also as a way of reaching new audiences for NZ film and television when the eyes of the world will be looking in this direction.”

The NZ On Screen installations on the Wellington and Auckland waterfronts are offering a selection of NZ television, film, docos and music videos. Constructed by Wellington production company Storybox, the containers will be set-up alongside the Rugby World Cup fan zones from 9 September to 23 October.

The centrepiece is an interactive wall where visitors are able to navigate a selection of videos from the NZ On Screen site via state-of-the-art gestureactivated technology. Produced by the creative talents at Lumen Digital, the wall uses Xbox Kinect technology to enable viewers to be the conductors on an immersive journey through the content.

The content is organised into seven key themes: TV Classics, Music Videos, Tangata Whenua, Give Em a Taste of Kiwi, Home, Land & Sea and Heroes & Icons. There is also regionally specific content for Auckland and Wellington audiences.

“The project also contains a significant focus on short films,” says Brenda Leeuwenberg, project director of NZ On Screen. “We’ve worked closely with the Film Commission to create an area where visitors can sit and watch some of the short films that have starred at prestigious festivals and established

Marcus Stickley and Mark Westerby of Storybox: “It’s rather like Lego with giant pieces.” Photos: Dave Turnbull.

a front-running reputation for NZ filmmaking over the past couple of decades. There is space for people to sit and relax and gather a much wider impression of the talent and culture of this country.”

Short films will also be projected from the installations from 5pm to 10pm each night. Users who visit during the day will be able to access the same shorts on their smart phones via codes printed on the containers.

“Increasingly filmmakers are becoming aware that having a credible online presence can continue to grow their audience – and for short films, reach a local audience beyond the festival circuit,” says Leeuwenberg.

“We ran a very successful series with Stuff.co.nz earlier this year under the direction of the Film Commission, where the likes of The Six Dollar-Fifty Man commanded nearly 10,000 views each.”

The NZ On Screen short film selection is also hitting the roads of the Mainland in a retro-fitted caravan.

The mini cinema on wheels is stopping at 19 locations over a six-week period. Originally a third container installation was planned for Christchurch but due to the earthquake a flexible mobile solution was created.

“We realised that many small towns

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10

september 2011

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would be missing out on the central rugby-related activities,” says Ward, “and as part of Real Festival, which aims to encourage visitors and locals to ‘take the long way round New Zealand’, we reckoned a touring caravan would be a sweet way to get the NZ On Screen experience to the people.

We’ve had a fantastic reaction from places like Murchison and Arthur’s Pass. It’s going to be great to see how people react to the short films on the road.”

“Many of our top directors – the likes of Taika Waititi, Christine Jeffs, Niki Caro and others – announced their talents internationally in these shorts en route to making movies in Minnesota, Alburqueque and… Te Kaha,” says Leeuwenberg.

“Much more than stepping stones on the path to fame, these shorts are gems in their own right. They can also have a hard time reaching new audiences. We’re stoked to be able to take the likes of Taika’s Two Cars, One Night and Tama Tu on the road. Plus classics like the Front Lawn’s Walkshort (1987), Rob Sarkies’ Signing Off and the seminal short Kitchen Sink (1989)

by Alison Maclean.”

• For more information go to http://real. nzonscreen.com

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Gina Varela in The Devil’s Rock. Images: supplied.

By the

Devil I was tempted

Paul Campion’s new horror film The Devil’s Rock, in release this month, is a tale of demons, Nazis and things that go “splat” in the night. Onfilm talks to Weta Workshop prosthetic effects artist Sean Foot about his handiwork.

I

t’s a perfect setting for a horror film.

While on a trip to Guernsey in the Channel Islands in 2009 to screen his short film Eel Girl, director Paul Campion spotted an abandoned World War Two German observation tower. Teaming with producer Leanne Saunders and working with British writer Paul Finch, he came up with a story involving war, witchcraft and the Nazi obsession with the occult.

Craig Hall and Matthew Sunderland star as soldiers on opposite sides – Hall, known for roles in TV’s Outrageous Fortune and Taika Waititi’s Boy, plays New Zealand officer Captain Ben Grogan, and Sunderland, best known for his lead performance in Out of the Blue, plays Nazi officer Colonel Klaus Meyer.

Gina Varela (Xena, Sione’s Wedding) plays the demon, an expert in manipulation, who takes on the form of someone known and loved by her victims in order to seduce and kill them. Varela went through her own hell, involving hours of paint, latex and other preparations to appear as the demon seductress.

Working for Weta Workshop, prosthetic makeup artist Sean Foot was the lead technician on The Devil’s Rock. His work involved the demon prosthetics, various splatter “gags” and war wounds.

While it’s commonplace for filmmakers to only reveal a monster in the later stages of a story, this demon is on screen for a long time and had to be believable.

The demon designs were quite

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Craig Hall (with firearm) and Matthew Sunderland.

detailed, says Foot. â&#x20AC;&#x153;All of that came from Paul Campion. Heâ&#x20AC;&#x2122;s a designer down at Weta Digital as well. He did all the designs for it and he was quite specific about what he wanted. I went down a couple of roads design-wise but he always pulled me back, he had quite a precise vision about what he wanted.

I went down the road of putting more texture and form into it, but we always went back to that more elegant kind of look. And it did work really well, it looks quite stunning.â&#x20AC;?

With only a limited budget to work with, Foot did most of the work himself. â&#x20AC;&#x153;Richard [Taylor] basically handed the entire job off to me. I did all the sculpting and mould-making; I made the teeth and everything. There were a couple of other people that ran foam and transfers for me and a few other bits and pieces, but 80% of the job I did every aspect of. â&#x20AC;&#x153;There were the wings at the back â&#x20AC;&#x201C; theyâ&#x20AC;&#x2122;re torn off wings, like wing-stumps.

And she has all these brandings over

her; there were about 15 or 16 of them, all over her back. Theyâ&#x20AC;&#x2122;re symbols of demons, names and stuff. The idea was that sheâ&#x20AC;&#x2122;d been attacked by other demons and theyâ&#x20AC;&#x2122;d branded her.â&#x20AC;?

Foot says Varela was â&#x20AC;&#x153;awesomeâ&#x20AC;? and lovely to work with, although her work was arduous. â&#x20AC;&#x153;She had an extreme job to do,â&#x20AC;? says Foot. â&#x20AC;&#x153;It was a four or five hour makeup job. Obviously sheâ&#x20AC;&#x2122;s naked the majority of the time, so thereâ&#x20AC;&#x2122;s quite a lot of sensitivity towards that aspect of it.â&#x20AC;?

Weta technicians Dordi Moen and Jade Jolly did a fantastic job of taking care of some of the more delicate aspects, he says. â&#x20AC;&#x153;Dordi looked after Gina on set and oversaw a few things.â&#x20AC;?

Varela went through three days of full makeup. â&#x20AC;&#x153;They were really long days,â&#x20AC;? says Foot. â&#x20AC;&#x153;It took a couple of hours to get it all off too; they were 16 hour days for her. It was quite exhausting work, especially when she had to stand there for three to four hours getting painted in the morning. We got

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september 2011

13

Gina Varela undergoes a full head and shoulders casting with Weta Workshop’s Sean Foot, Richard Taylor and Frances Hawker. Director Paul Campion films the event.

Images: supplied.

it down to about two and a half in the end, we had a few extra people come in and lend a hand.”

Her makeup was a fairly standard foam latex job, he says, but prosthetics artists also use a lot of silicones these days. “They’re incredibly tricky but they move really well and they look like skin.

So it’s gone more towards silicone these days. The transfers we put on Gina are another thing that’s come up in the last few years, and they work quite effectively.”

The Devil’s Rock is not just a horror, it’s a wartime setting as well, and making the job more intense was the fact that there were so many other “gags” going on. “We were doing three to four gags a day. There was the guy with the gun down his throat, there were bullet wounds. There was so much stuff to look after.”

As well as live actors, there were the dead bodies to deal with. Foot had the gruesome task of making all the dead bodies, body parts, bullet wounds and

all sorts of bruising makeup. “There was also a lot of character stuff with the other actors, with Matt Sunderland and Craig Hall,” he says. “Craig had a bruised eye for most of it. Davina LaMont was the head of makeup – she’s an incredible makeup artist and I couldn’t have done it without her. She’s so onto it with continuity – there were so many continuity issues with blood and bruises and things like that.”

Foot’s resume stretches back around 20 years to the early 1990s. After completing the 10-week Joe Blasco makeup course in LA, he came back to NZ and landed his first big job with Weta founder Richard Taylor, working on Peter Jackson’s 1994 film Heavenly Creatures.

“Way back then, there was only really Richard and Shane Radford and a couple of other people that were doing it. So I was quite lucky to hook up with Richard and go straight onto Heavenly Creatures, then The Frighteners, Hercules and Xena as well.”

Of his time working on Lord of the Rings, Foot says, “I was doing Sean Astin’s feet for 90% of it.”

Foot says The Devil’s Rock is pretty much the first gore film he’s worked on. “We did a lot of that stuff on The Last Samurai; I did all the wound prosthetics on that, so it was kind of similar. But yeah, this was the first with the full-on blood and guts thing.

“There was one funny bit with the operation on the bullet wound,” he says, “where he puts the pliers in, to pull the bullet out. That was right at the end of the day and I had to take the wound off Matt. Paul was like, ‘I want to do this shot in 20 minutes’ and I was ‘well, I need half a day to glue it on a body or paint it up properly’. He said, ‘No, I need it in 20 minutes’ so I ended up sticking it on the side of a bucket, cutting a hole in the bucket and just painting the bucket. I got it back to him in about 20 minutes, we shot it and it actually looked quite effective.

So it was pretty much glued onto the

side of a bucket and I was holding it underneath. It was pretty funny; there was a lot of ‘fly by the seat of your pants’ stuff in there.”

Computer generated effects may be popular these days, but Foot maintains that directors still like to be able to see something on set. “A lot of directors don’t enjoy CG because they don’t have as much control,” he says. “With practical effects, on the day they can look at something and they can see how to shoot it, and from what angles it looks good. Neill Blomkamp, who made District 9, he loves practical effects. And Peter Jackson is very much the same.

“You get a certain style and a certain look from having practical effects. CG is wonderful, but it does leave you a little bit cold. It’s definitely a style thing that they’re only just getting to grips with now. There are too many choices, they can put in too many things and lose the subtlety.”

Locally made horror films don’t come up that much, especially horror films that don’t just play it for laughs.

“I was talking to the actors about it.

You can take it one way or the other; you can ham it up or you can take it as a serious subject. All the actors are amazing – Matt Sunderland, I’ve never seen anyone like him, that guy deserves a huge break. You’re put in a ridiculous situation but if you play it seriously it can work really well. Look at a movie like The Thing; I’ve just been watching that again. It’s an ensemble cast, put in a ridiculous situation.

“It was interesting talking to Rob Marsh, the DOP,” says Foot. “We approached it like an international movie.

I don’t know why the New Zealand industry isn’t making more movies like that because there is a market for that kind of thing. We were looking at it for the international marketplace, a certain marketplace, and aiming towards that.

As for landing overseas work, Foot says he’s never really felt that way inclined. “It’s quite difficult to work in the States, even getting work permits – and you end up being a small fish in a big pond. We get to meet and work with international crew through Weta, you get to work with a lot of those people anyway.”

Foot is looking forward to spending the next year working on The Hobbit.

“I’ve moved up and down the country my whole life, following the industry around. I’ll hopefully base myself in Wellington and stick around here. I’m enjoying working with Weta, I’ll try and stick with them as long as I can.”

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Training for success Their success rates may be outstanding, but enrolment growth is hard when student numbers are capped.

Peter Parnham looks at the difficulties facing private training institutions.

S

etting up a film and television school is not for the faint-hearted.

Not now, and not 20 years ago. To make a go of it you need enthusiasm, resilience and lots of optimism. At least that is the impression you get observing South Seas Film and Television School, which is running its 20th intake this year.

Enthusiasm is needed to lead the place, resilience to take the hard knocks from the bureaucracy, and optimism to keep going when the effect of government policy is to squeeze private training providers.

Except for a few get-off-the-dole courses, the Tertiary Education Commission holds the $3 billion tertiary education purse in New Zealand, controlling it with scores of acronyms and 38 separate funds that veer to and fro like weather vanes, some with initials so obscure they don’t appear in the Tertiary Education Commission’s own acronym glossary.

The SAC fund is the one that matters the most for training organisations and if you were familiar with it from last year, well, that was last year and it is dif-

16

september 2011

ferent now – although the underlying policies are the same.

SAC stands for Student Achievement Component, a fund that is the Government’s contribution paid to tertiary education organisations to assist with direct costs of teaching and other costs driven by the numbers of learners. It is based on EFTS – equivalent full time students.

In this tight fiscal era, public tertiary education institutions may only be getting just enough from the fund to get by – they complain that it is not enough – but they still get 10.5% more funding than private training establishments for the same type of course.

Private training establishments can’t just raise student fees to compensate because the Tertiary Education Commission imposes strict limits on fees as a condition of the funding.

The Tertiary Education Commission says the reason that public tertiary education institutions receive a higher funding rate than private training establishments is because they get a capital contribution. In other words public institutions get paid for capital

www.onfilm.co.nz

expenditure like land and buildings, vehicles, computers systems, equipment – and private providers don’t.

But film and television or animation schools need to provide practical training and this means a heavy investment in cameras, studios, editing suites, animation software and so on, none of which can be allowed to fall behind if the course is to maintain relevance to the industry.

Despite the financial squeeze, none of this seems to have dimmed the enthusiasm of Gerben Cath, who with David Coddington co-founded South Seas Film and Television School back in 1992, and leads it today.

Cath says it came about after he opened a production company studio.

“Once we were in operation we started getting an increasing number of young people knocking on the doors and wanting to try out here. David was teaching on a film course that they were trying to get off the ground, and he suggested we get together.

“So I placed one little classified advertisement in the New Zealand Herald and got 236 replies from it, which

convinced me. Initially it was just an extra part of the studio production business. We thought we’d start small, but it did take on a life of its own quite quickly.

“In the first two years there were no student loans, allowances, or anything,” says Cath. “I think in those days the students were mainly from affluent backgrounds, because the parents could afford it. Once the student loans and allowances were available, the nature of the intake changed to be far more indicative of young people all throughout New Zealand.”

The first year’s intake was 32 film and television students and by the mid-1990s South Seas become a government registered private education establishment. These days the school has added animation, acting and digital photography to its full-time diploma courses.

“Remarkably the courses still retain a lot of the character of those early years,” says Cath. “I had been through a four-year film and television course in Holland. But when I looked at that I realised how much of that time was

Training & education

Private training establishments can’t just raise student fees to compensate because the Tertiary Education Commission imposes strict limits on fees as a condition of the funding. wasted, the course just wasn’t intensive enough. If they’re going to go for a job, one of the things that gives people confidence is having done it before. We were keen to have a series of practical learning exercises that got more complex as the year went on so that by the end of the year they hadn’t just done things once or twice, they’d literally done it 20 or more times.

Therefore there was a confidence that came through experience.”

Over the past five years, the number of students on the one-year film and television course has hovered at 128, a number Cath says is pretty well matched to the demand for graduates.

“It is difficult if you’re not achieving graduate employment targets because the parents and students question us quite closely on what the employment situation is. Initially we tracked graduate employment because simply we wanted to be able to report on it for promotional purposes, and also to stay in touch. We’ve retained links with so many people from the early years.

“In 1996 or so we started publishing the list of graduates in the prospectus and we found it was a really good marketing tool, because students, teachers, and parents all enjoyed seeing what they were achieving. It adds quite a bit to the printing cost, because now in the latest prospectus it’s six pages long,” he grins.

Cath says the film and television course has a graduate employment target of 85% and over. “I think for government purposes we need to achieve a target of 80%, it’s never been specified in writing, but it’s expected.

“Some years we’ve got well over 90%. Some of them get married, go off overseas and some of them don’t stay in touch, so we never achieve 100%. I think about 60%-65% are employed on full-time contracts and there is a growing percentage each year who freelance contract.”

Lifeway College’s School of 3D Animation is another private training establishment that makes graduate employment rates a priority.

The School of 3D Animation is part of the College’s unique campus located on 32 acres on the edge of Snells Beach, a settlement an hour or so north of Auckland. During the offseason, empty seaside houses provide a ready source of rental accommodation for students who choose not to live on campus.

The campus also separately houses Huhu Studios, a digital media studio that produces animation you can let your children watch without fretting about the values they will be picking up. When production is in full swing some 100 animators and artists plus support staff are kept busy while founder Trevor Yaxley – also known as the co-inventor of bubble wrap – racks up an enormous amount of air-miles on planes, selling projects around the world. Despite Lifeway College’s Christian origins, the 3D animation courses are entirely secular and attract students from a wide variety of backgrounds.

It is a source of both pride and frustration for principal Craig Hansen when he says the school’s student graduate employment rate is 98%.

The frustration arises because numbers like this create demand from potential students that Lifeway College cannot take on because student numbers are capped by the Tertiary Education Commission.

“We have students who want to enrol and we have to say ‘We can’t fit you in. Sorry, you will have to go to a lower performing school’. That’s not fair,” says Hansen.

He says the cap is not just on the number of places part-funded by the Government but applies to the overall numbers.

“We have taken on students and given them scholarships but they still count in the capped total. It is an arbitrary number. Five years ago they did an average and found that we had 70 or so students so they are allowing us to have that many students. We have far more than that in excess demand.”

The Tertiary Education Commission says it is all about cost and if they didn’t have the cap on numbers, training organisations might enrol more students, and that would mean more student loans and allowances.

“This is a cost to the Government and the student,” says a Tertiary Education Commission spokesperson. But this approach ignores the difference between an ordinary cost and an investment in education, and overlooks the fact that student loans are paid back.

However the Commission spokesperson bolsters its position with an additional line of reasoning. “It [student achievement component funding] therefore needs to be premised on need for the qualifications rather than

a private training establishment’s need to generate revenue.”

In plain English, listen up private training establishments: the Government is not here to support your increased revenue – never mind that you have a waiting list of willing applicants.

But even if a private training establishment found a way to privately fund more students they will be penalised, says the Tertiary Education Commission spokesperson: “Private training establishments that deliver over the agreed volume of funded and unfunded equivalent full-time students are allocated fewer funded equivalent full-time students in future years.”

Back at Lifeway College, Hansen offers a simple solution for the Government to stay within budget: take the funding from the poorly performing training providers and give it to the high performers.

“We have proven that we deliver excellent employment outcomes because of our relationships with industry, and we have consistently done so for a number of years. Despite changes in government and changes in policy we’ve still delivered good results,” he says.

“It is counter intuitive that as a high-performing provider we must be penalised and send students away, just because we are not allowed to take them. Funding should be taken from lower performing providers and given to us.”

There may be some hope on the horizon for Lifeway College because the Tertiary Education Commission says the necessary framework is in place and claims it is already working – without providing any examples pertinent to the screen production industry.

“Poor performing private training establishments may not be funded from 2012 and the highest performing private training establishments have been offered 10% additional student achievement component funding from 2012,” says the spokesperson.

“Performance is based on course completion, qualification completion, progression of students to higher level learning, and retention of students.”

These are the performance criteria that the Government has laid out in its tertiary education strategy. However Lifeway College’s 3D animation course won’t score highly on these criteria because a high graduate employment

South Seas Film and Television School co-founder Gerben Cath.

Photo: Peter Parnham.

Lifeway College School of 3D Animation principal Craih Hansen.

Photo: Supplied.

rate – a highly prized performance indicator by industry, students and parents, means a low performance on two of the four performance criteria: progression of students to higher level learning, and retention of students.

The Tertiary Education Commission does say the Government’s Budget 2011 announced additional funding for approximately 750 equivalent full-time students for private training establishments from 2012, although that is spread across all industries.

“High-performing private training establishments will be eligible to apply and will likely need to demonstrate evidence-based need for their qualifications and graduate outcomes,” it says.

For his part, Hansen hasn’t given up, and he says Lifeway College will be pursuing additional funding. After all, you don’t survive for long heading a private training establishment without a lot of enthusiasm, resilience and optimism.

www.onfilm.co.nz

september 2011

17

Training & education

Behind the scenes of NZ film Two Little Boys Film students from the Southern Institute of Technology were lucky enough to get work experience as interns on Robert Sarkies’ upcoming feature Two Little Boys.

T

wo Little Boys, the upcoming movie from director Robert Sarkies starring comedians Hamish Blake and Bret McKenzie, is due for release in early 2012. The film is based on the novel of the same name by Duncan Sarkies, and was filmed in over 50 locations throughout Southland over summer 2010/11.

As part of the production for Two Little Boys, Tent Pole Films partnered with local tertiary provider Southern Institute of Technology (SIT) to run an internship programme for nine SIT students, giving them the opportunity to gain valuable work experience in the film industry.

Audiences can get a sneak preview behind the scenes of the film by tuning in to 16 “webisodes” being released weekly from 5 September on YouTube. The webisodes were produced by SIT film school students and follow the experiences of four of the student interns on set – the director’s assistant, wardrobe assistant, production runner and art production runner. The series is called “Four Little Interns on Two Little Boys”.

Producer Vicky Pope says, “One of the toughest challenges for graduates of film courses is the first step to get their foot in the door of the professional sector of the industry.

Because of the fast turnaround, high stake nature of the work, film HODs generally appoint people they have worked with previously, who they know they can rely upon to deliver.

In this sense, the programme was a fantastic opportunity for the student interns to demonstrate their capabilities to other professionals and begin to build a foundation of contacts for

future work.”

Bachelor of Digital Media graduate Hannah Ley was a production runner for the film, and with this experience, she subsequently gained her first professional role on Wellington telefeature Rage as a unit assistant. “Getting into the internship is the biggest thing I achieved at SIT,” says Ley. “Through that I got to work on another movie, and from that I got to work on another movie.”

Bachelor of Digital Media student Ash Bartlett’s internship as a lighting trainee also translated into further work, with the opportunity to join the lighting department of NZ Film Sione’s Wedding 2 in Auckland. “SIT gave me the skills I needed and the internship gave me the foot in the door to make contacts. It was a huge step up.”

CEO Penny Simmonds said, “Because SIT is so industry focused we are always looking for opportunities for students to get involved in actual industry projects which enable them to get relevant industry experience.

The Two Little Boys film provided an excellent opportunity for this.”

To view the webisodes, search “Four Little Interns” on YouTube or head to www.sit.ac.nz.

Bret McKenzie and Hamish Blake as Nige and Deano in Two Little Boys, due for release early 2012.

Southern Institute of Technology interns on the final day of the shoot in Invercargill. Photos: Matt Grace.

Unitec launches Unishorts film fest A

uckland tertiary institute Unitec has launched a new film festival to celebrate the best emerging student talent from New Zealand and around the world.

Unishorts 2011 is a new international student film festival, open for submissions until 30 November, with the festival running in April 2012.

“We realised that there was a gap in the Australasian region for the showcasing of tertiary student work,” says Athina Tsoulis, head of Unitec’s Performing and Screen Arts Department. “Given that the quality has increased tremendously and many of these films screen internationally, we felt they deserved to be seen by

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a wider New Zealand audience.

“New Zealand is very much on the international map in terms of filmmaking,” says Tsoulis, “both in the local talent we produce, and in attracting large-scale Hollywood productions. It seems very appropriate that our filmmaking department, also highly regarded, should play a role in supporting and nurturing new talent.”

The festival will feature 100% student work, which must be no more than 20 minutes in duration. Film students and recent graduates all over the world can enter their work, which must have been made as a requirement of their tertiary study. Another key criterion is that the

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work must have been made between March 2010 and November 2011.

The categories are: fiction, non-fiction, animation and non-narrative. The cost to enter is set at an affordable level – $40 for early birds and $50 full price – to encourage participation.

“We anticipate that the festival will not just screen their work,” says Tsoulis, “but provide a platform for discussion on the issues that affect emerging filmmakers and the landscape they are entering.”

There will be prizes (€1000) for best local, best international and best film overall, as well as for most outstanding performance, chosen by a panel of

judges.

“Unitec already has a strong reputation amongst industry organisations and businesses,” says Tsoulis. “From a student point of view, we offer relevant programmes for aspiring filmmakers in all key areas – camera, editing, directing, production, sound design and writing – taught by the most experienced practitioners and academics in the country.

We look forward to using that strength to champion student work in every way possible.”

• For entry forms to the competition and festival, go to www.unishorts.unitec. ac.nz

Training & education guide

sound recording. Students also undertake an advanced television studio production.

UNIVERSITY

AUT University

Private Bag 92006, Auckland 1142 School of Communication Studies, AUT Tower, Level 16, Corner of Wakefield and Rutland Streets, Auckland Ph: 0800 AUT UNI (0800 288 864) Fax: 0-9-921 9987 Email: courseinfo@aut.ac.nz Website: www.autcommunications.ac.nz Key personnel: Communication studies • Diane Musgrave, Television, Curriculum Leader, School of Communication Studies, Faculty of Design and Creative Technologies, diane.musgrave@aut.ac.nz • Paul White, Advertising Creativity, Curriculum/ Programme Leader, School of Communication Studies, Faculty of Design and Creative Technologies, paul.white@aut.ac.nz • Gudrun Frommherz, Digital Media, Curriculum/ Programme Leader, School of Communication Studies, Faculty of Design and Creative Technologies, gfrommhe@aut.ac.nz Organisation statement: The demand for graduates of the AUT University is always high because our standard is high. AUT’s Communication Studies courses are designed in consultation with media and communication professionals; they give a thorough grounding in theory and practical skills.

Courses: Bachelor of Communication Studies – Television Major Suitable for: Those who have the ability to think creatively, laterally and independently. The AUT BCS Television offers a thorough grounding in all aspects of TV production.

Qualification: BCS Cost: Approximately $5147 NZQA registered: Yes Duration: 3 years Available: Full-time Prerequisites: Contact for details Key tutors: Diane Musgrave, Eileen Lavranos, Julian McCarthy, Gilly Tyler, James Nicholson, Danni Mulrennan, Jim Marbrook, Format: On campus Description: Television major students research, write, direct, production manage, and edit their own work as well as assisting other students through presentation, camera operation and

Bachelor of Communication Studies – Digital Media Major Suitable for: Students interested in digital moving image production/post-production and design, including compositing, animation, motion graphics and visual effects. Also suitable for students interested in creating moving image content for broadband, mobile, interactive and other new screen media forms.

Qualification: BCS Cost: Approximately $5147 NZQA registered: Yes Duration: 3 years Available: Full-time Prerequisites: Contact for details Key tutors: Ross Brannigan Format: On campus Description: Digital Media students work both individually and in project teams on a range of briefs including live projects for external clients.

Students also research, develop, write, design, manage and produce their own self-initiated projects.

Bachelor of Communication Studies – Advertising Creativity Major Graduate Diploma in Advertising Creativity Suitable for: Those who want to learn how to put together a professional-standard portfolio of work that is essential for getting a job in an advertising agency’s creative department or for obtaining work in a creative marketing communications company.

Qualification: BCS or Graduate Diploma in Advertising Creativity Cost: Approximately $5147 NZQA registered: Yes Other accreditations: D&AD (International); CAANZ (NZ) Duration: 3 years (BCS); 1 year (Graduate Diploma) Available: Full-time (BCS); Full-time and Part-time (Graduate Diploma) Prerequisites: Contact for details Key tutors: Paul White, Jane Berney, Dave Brown Format: On campus, short internship Description: Students have the chance to work on live briefs, to write and design real ads for real products. There may also be the opportunity for some students’ work to be published in the media.

Bachelor of Communication Studies – Journalism Major Suitable for: Those seeking to become professional journalists, who wish to study journalism as it is practised across all media (newspapers, magazines, TV, radio, online).

Qualification: BCS Cost: Approximately $5147

NZQA registered: Yes Other accreditations: New Zealand Journalists Training Organisation Duration: 3 years Available: Full-time Prerequisites: Contact for details Key tutors: Greg Treadwell, David Robie, Allan Lee, Allison Oosterman, Helen Sissons Format: On campus Description: Study includes newspaper editing and design, bi-cultural reporting, media law and ethics, public affairs reporting, broadcast journalism, magazine journalism, photo journalism, new media journalism, and news production.

Institute of Technology

New Zealand Broadcasting School at CPIT (Christchurch Polytechnic Institute of Technology)

City Campus, Madras Street, Christchurch PO Box 540, Christchurch 8140 Ph: 0800-24 24 76 Fax: 0-3-940 8701 Email: info@cpit.ac.nz Website: www.cpit.ac.nz/nzbs

Key Personnel: Tony Simons, Head of School, New Zealand Broadcasting School, Mobile: 027 540 8078, tony.simons@cpit.ac.nz Organisation statement: The New Zealand Broadcasting School (NZBS) at CPIT is the premier national provider of advanced education and training in digital film and television production, video post-production, broadcast journalism, and radio performance and production in New Zealand.

Courses: Bachelor of Broadcasting Communications Suitable for: Undergraduates Cost: Domestic – $7800 per annum approx International – $18,850 per annum approx Qualification: Bachelor of Broadcasting Communications Duration / Enrolment: 2.5 year (full-time) Available: Full-time, Part-time for industry professionals, distance Prerequisites: Available on request Spaces available: 60 approx Key tutors / Faculty: Richard Bell, Mark Aldridge, Brendan Reilly, Paul Norris, Jocelyn

Darling, Ruth Zanker, Morris Shanahan, Tony Simons, Brian Pauling, Liz Smith, Bronwyn Beatty Format: Full-time 2 years on campus followed by a 25-week internship; or part-time off-campus options available for those with significant prior radio, film or television industry experience.

Description: The Bachelor of Broadcasting Communications aims to prepare students for a successful career in the broadcasting or communications industries. Students study one of three areas within the broadcasting field: Digital Film & Television Production, Broadcast Journalism or Radio Production & Performance.

Digital Video Post Production Suitable for: Undergraduates Cost: Domestic – $8300 per annum approx International – $19,500 per annum approx Qualification: Diploma in Digital Video Post Production Duration / Enrolment: 1 year (full-time) Available: Full-time Prerequisites: Available on request Spaces available: 18 Key tutors / Faculty: Masen Ma Format: Full-time 1 year on campus.

Description: This programme offers handson learning using industry level software and equipment. The programme is designed to prepare graduates for employment opportunities created by the rapid evolution in the technology and software used in the television, film and video industries.

Online Training & Coaching

Handy Training Online

PO Box 911532, Victoria St West, Auckland 1142 Secondary campus address: Auckland, Wellington, Christchurch, Dunedin, Nelson, Queenstown Ph: 021 883 025 Email: training@handytrainingonline.co.nz Website: www.handytrainingonline.co.nz KEY PERSONNEL: • Andy Day, Creative Director, Ph: 021 883 025, andy@handytrainingonline.co.nz ORGANISATION STATEMENT: We provide Apple & Adobe certified training in

CPIT’s New Zealand Broadcasting School Realise your broadcasting

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g and Talk to us about your excitin rnalism jou io, rewarding career in rad n. or television productio

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www.cpit.ac.nz Jack Tame, TVNZ News Reporter, CPIT NZ Broadcasting School Graduate

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Training & education guide

an instructor-led hands-on class situation in locations throughout New Zealand & Australia.

We also provide online LIVE classes directly to the home or workplace.

See www.handytrainingonline.co.nz for details.

For professional users we also provide on-site bespoke training.

For details of our free webinars go to www.handytrainingonline.co.nz/webinars COURSES: VARIOUS APPLE, ADOBE, ABLETON, AVID, DIGIDESIGN & DOLBY COURSES Suitable for: Videographers, photographers, editors, graphic designers, creatives, businesses, home users, musicians and audio enthusiasts.

Cost: From just $50 per hour Duration / Enrolment: Training available by the hour or in 4-hour modules Available: Part time or online Prerequisites: None Spaces available: From 1 to 50 Key tutor: Andy Day Format: On-site, Classroom, One to One sessions or Online Description: Four-hour instructor-led handson classes, led by industry veteran with over 25 years’ experience in post production and professional audio.

Private Training Establishment

South Seas Film and Television School

3/75 Ellice Road, Glenfield, North Shore, Auckland PO Box 34579, Birkenhead, 0746, Auckland Ph: 09-444-3253 or 0508-768-847 Fax: 09-444-7821 Email: info@southseas.co.nz Website: www.southseas.co.nz MISSION – Nga¯ Wha¯ inga: To create career pathways into the New Zealand Film, Television, Animation and Media Industry through the provision of professional, industry related training using a “He ako kei roto i te mahi ~ Learning through Action” philosophy.

VISION – Te Matakitenga: To develop media training courses that inspire people to attain their full potential.

COURSES: DIPLOMA IN FILM AND TELEVISION PRODUCTION course (1 year full-time) Emphasis: A practical training course in Television/ Video Industry related production skills and an introduction to Film related skills including camera operating; lighting; sound recording; post-pro-

)& 9/5 7!.4 4/ ,%!2. &),- 4(%2% )3 /.,9 /.% 0,!#% The New Zealand Film and Television School Wellington’s only practical film course

duction editing; production planning; programme directing; studio production; script writing; interviewing/presenting and on-screen acting.

Tutors: Full-Time: Gerben Cath, Kobus Schoeman, Jon Kirk, Jenny Stark, Dennis Brooks, Ben Jones, Santo Giuliano. Part-Time: Paula Jones, Allie Simpson, Johnny Givins, Sean Rundle, Mike Westgate.

Facilities: Course Equipment/Facilities include a multi-camera production studio with control room, lighting grid and full technical facilities; 12x Camera/Audio/Lighting location kits with Digital HD cameras, Film camera super 16mm Arriflex SR3 from Panavision, lights audio mixers etc; 9x Broadcast/Digital/Online Avid editing suites; Production office, Directors office and Script Writing Office each equipped with 16x computer workstations with relevant software etc.

Entry criteria/Prerequisites: Applicants must clearly demonstrate enough potential talent, aptitude, energy and commitment to achieve the skill levels required for careers in the Film, Video and TV industries. Minimum age 17 years.

Costs: $15,617 (inc 15% GST) for 1 year (43 weeks) full-time course fees for NZ students.

Ministry of Education EFTS subsidy of $6135.00 is available for eligible NZ students which reduces the course fees to $9482 (inc 15% GST).

For International students the cost is NZ$22,839.

Student Loans and Allowances are available for NZ students.

Practical experience: Production of over 200 short practical projects and 16 television studio shows in Terms 1, 2 and 3, plus 12 short 16mm films in Term 3 and then 12-14 documentary and 14-16 drama productions on digital formats in Term 4.

Work experience: N/A. Job search help: Yes. Application closing date: 7th December 2011 No of NZ places: 100 Description: An intensive one-year, full-time highly practical industry relevant training course designed for people with little or no previous production experience but who have the potential to establish careers in the film or television industries. South Seas is a New Zealand Qualifications Authority and Ministry of Education accredited private training establishment.

FTV RONGO COURSE OPTION: The Film and Television production course is also available with a Rongo course specialisation option for Maori students with Te Reo skills so they can produce programmes in the Maori language. The course curriculum and content is identical to the FTV production course.

Tutors: Haare Williams is the course founder/ leader and school Kaumatua.

DIPLOMA IN ANIMATION PRODUCTION course (2 years full-time) Entry criteria/Prerequisites: Minimum age 17.

Basic computer skills. Demonstrated drawing skills. Must clearly demonstrate enough potential talent, aptitude, energy and commitment to achieve industry skill levels.

Cost: $15,249.00 (inc 15% GST) per year for 2 year full-time course fees for NZ students. Ministry of Education EFTS subsidy of $6135 is available for eligible NZ students which reduces the course fees to $9114 (inc 15% GST).

For International students the cost is NZ$18,469.

Student Loans and Allowances are available for NZ students.

Description: Practical training course in 3D & 2D Computer as well as classical animation production skills. Focus is on providing industry relevant training in all aspects of animation production processes including In-Betweening, Clean Up, Key Animation, Layouts, Storyboarding, Drafting, Life Drawing, Production Processes as well as Software, Technical, Historical, Creative, and Production Planning knowledge. The course is run in close association with the animation industry. This is a course designed from the ground up for vocational outcomes. Animators need more than an understanding of techniques: they need to have extensive experience in the techniques of the animation process.

Key Staff: Full-Time: Greg Chapman, Geoff Ind. Part-Time: Paul Hooker, Jonathan Mafi.

Work experience: N/A. Job search help: Yes. Application closing date: 7th December 2011 Students per intake: 14-16 per class Duration: 2 years (2 x 47 weeks) DIPLOMA IN ON SCREEN ACTING course (1 year full-time) Emphasis: A practical training course in Screen Acting. The emphasis throughout the course is on practical skill development and work experience.

Students will work with Directors and DOPs, act in several multi-camera dramas in the school’s well equipped studios, act on film, act in end of year location drama productions.

Key Staff: Full-Time: Johnny Givins.

Part Time: Maya Dalziel, Ben Crowder, Linda Cartwright, Jonathan Hunter, John Sweetman, Ruth Dudding, Di Rowan.

Entry criteria/Prerequisites: Applicants are required to demonstrate through an audition process the intrinsic qualities necessary to achieve a high level of Screen Acting skills.

Minimum age 18 years.

Costs: $13,225 (inc 15% GST) for 1 year (43 weeks) full-time course fees for NZ students.

Ministry of Education EFTS subsidy of $6135 is available for eligible NZ students which reduces the course fees to $7090 (inc 15% GST).

For International students the cost is NZ$18,009.

Student Loans and Allowances are available for NZ students.

Work experience: N/A. Job search help: Yes. Application closing date: 30th November 2011 Students per intake: 18-20 per class Description: Through classroom and practical situations, students will be challenged to break through individual blocks, discover and deepen a sense of truth and develop creative individuality.

The aim is for students to develop an awareness of what goes into effective on camera work and become familiar with the unique film acting processes. In addition, ongoing training is given in voice, speech improvisation, communication, character development and physical agility.

South Seas is an NZQA and Ministry of Education accredited private training establishment.

DIPLOMA IN DIGITAL PHOTOGRAPHY Course (1 year full-time) Emphasis: A practical training course in professional digital photography. The aim of the 1 year full time Diploma in Digital Photography course is to provide students with all the essential

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Online LIVE One year programme: Intakes in February and July.

A practical, hands-on programme that covers all aspects of filmmaking including: lighting, camera, sound, editing, art department, writing, directing and producing.

www.filmschool.org.nz

In Person

Call 021 883025 for details

Handy

Training

Online .co.nz

Register for a free webinar: www.handytrainingonline.co.nz/online-live

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Training & education guide

practical skills and knowledge necessary to work professionally in the overall field of digital photography.

Key Staff: Full-Time: Marco Hidalgo.

Part-Time: Janiene Crawford.

Entry criteria/Prerequisites: Applicants should already have a strong interest in photography and clearly demonstrate enough potential talent, aptitude, energy and commitment to achieve professional skill levels. Minimum age 17 years.

Costs: $15,571 (inc 15% GST) for 1 year (43 weeks) full-time course fees for NZ students.

Ministry of Education EFTS subsidy of $6135 is available for eligible NZ students which reduces the course fees to $9436 (inc 15% GST).

For International students the cost is NZ$18,837.

Student Loans and Allowances are available for NZ students.

Work experience: N/A. Job search help: Yes. Application closing date: 7th December 2011 No of places: 16 Description: An intensive one year, full time highly practical industry relevant training course designed for people with little or no previous photography experience but who have the potential to establish careers in the photographic industry. South Seas is NZQA and Ministry of Education accredited private training establishment.

Short duration practical hands-on introductory courses: VIDEO PRODUCTION INTRODUCTORY COURSE Duration: 1 week (5 days) Commencement dates: Available in July, September and November.

Students per intake: 32-48 (2 classes of 16-24) per course.

Emphasis: Courses provide students with practical hands on production experience using Television Studio, and Location EFP camera and Audio Equipment as well as Post Production Editing facilities. It is primarily designed to introduce students to the scope and content of the full time Film and Television Production Course and has become an important preparatory course for the 1 year full time Film & Television Production Course.

Tutors: Ben Jones, Jenny Stark, Jon Kirk.

Facilities: As per TV Production course.

Entry criteria: Minimum age 15 years.

Cost: $379.50 (inc 15% GST).

Practical experience: 1 practical project per day.

ON SCREEN ACTING INTRODUCTORY COURSE Duration: 3 days Commencement dates: Available in July, September and November.

Students per intake: 16-18 per course.

Emphasis: Course offers 3 days of practical exercises giving students the opportunity to present and see themselves on screen. We

explore television commercials and simple drama scripts looking at sub-text and how it is communicated through the lens whilst giving students a basic introduction to camera techniques and script analysis. This short course gives a good insight into the content, techniques and training practices of our 1 year full time On Screen Acting Course.

Tutor: Johnny Givins.

Facilities: As per on-screen acting course.

Entry criteria: Minimum age 15 years.

Cost: $253.00 (inc 15% GST) Practical experience: 1 practical project per day.

ANIMATION INTRODUCTORY COURSE Type: Short duration practical hands-on introductory course.

Duration: 4 days Commencement dates: Available in July, October and December each year.

Students per intake: 14-16 per course.

Emphasis: Courses provide students with practical hands on animation production experience using South Seas Animation School facilities and equipment. It is primarily designed to introduce students to the scope and content of the 2 year full time Animation Production Course and has become an important preparatory course for this course.

Tutor: Greg Chapman, Geoff Ind. Facilities: As per animation course.

Entry criteria: Minimum age 16 years.

Cost: $276.00 (inc 15% GST) Practical experience: 1 practical project per day.

AVID EDITING SHORT COURSES Duration: 2-3 days Suitable for: People with previous experience in editing skills. Courses will be delivered throughout the year as and when applicants apply and the required facilities and tutors are available.

Students per intake: Maximum 8 per course.

Tutors: South Seas Editing Tutor and Industry Tutors.

Cost: $600 (exc GST) per day NON-LINEAR EDITING INTRODUCTORY COURSE Duration: 2 days Emphasis: Covers Digitising, Basic Data-basing, Time Line Management, Basic trimming, Basic Graphics & Effects, Basic Audio and Laybacks.

Includes introduction to Avid Editing Suites.

Students per intake: Maximum 8 per course.

Tutor: Full-Time: South Seas Editing Tutors.

Cost: $600 (exc GST) per day SPECIALIST WORKSHOP COURSES Duration: 1 week Suitable for: Industry personnel.

Emphasis: Specialist and advanced industry workshop courses including Film Camera Assisting, Clapper Loading, Focus Pulling and Computer Motion Control Operating. Courses

delivered in January and mid year holiday periods or when required.

Tutors: Selected Industry and South Seas tutors.

Cost: On application.

Final confirmation of all short and industry workshop courses is subject to numbers. South Seas Film & TV School reserves the right to amend or cancel any course or content.

Institute of Technology

Southern Institute of Technology – SIT

133 Tay Street, Invercargill Freepost Authority: SIT ZERO FEES, Private Bag 90114, Invercargill, 9840 Ph: 0800 4 0 FEES Fax: 0-3-214 4977 Email: info@sit.ac.nz Website: www.sit.ac.nz

Key personnel: • Rachel

Mann, Programme Manager – Digital Media, info@sit.ac.nz • SIT2LRN Department, sit2lrn@sit.ac.nz Organisation statement: Southern Institute of Technology (SIT) situated in Invercargill, New Zealand offers degree, diploma and certificate programmes, as well as SIT2LRN Study Anywhere options.

SIT offers a Zero Fee Scheme to New Zealand citizens and permanent residents which means it pays your tuition fees and all you pay are the direct material costs for your course – saving you thousands!

PROGRAMMES: Bachelor of Digital Media (L7) Suitable for: Students interested in the exciting arena where creative arts meet digital media. This programme is suitable for students who want to cover a wide range of subjects, including video production and editing, cd-rom production, screenwriting, digital animation, web design and business and legal skills.

This programme has a core of subjects, which branches into two major strands – digital film (from script to finished product) and animation (limited only by your imagination).

Cost: The Zero Fee Scheme means you only pay for the direct material cost – approximately $3800 total over the three year programme (estimate based on 2010 prices).

NZQA registered: Yes Duration: Three years (full-time) Available: Full-time, Part-time

Prerequisites: University Entrance required – for more details go to www.sit.ac.nz Spaces available: 30 Key tutors: Rachel Mann, David Woolley, Graig Storey.

Format: On campus (Invercargill) Description: This programme aims to give students not only solid technical skills, but also to expand their creative skills and to give them the ability to adapt in a rapidly changing industry. In 10 years’ time, the technology we use today will be obsolete, but skills in storytelling, critical thinking, composing images and relating them to one another will be necessary and relevant irrespective of future technology. While the technical side is an important part of the programme, the primary focus is on bringing creative ideas to life.

A wide range of subjects are covered, including video production and editing, screenwriting, 2D and 3D animation, stop motion, motion graphics, and business and legal skills.

Diploma in Animation (L6) Suitable for: Students seeking the opportunity to work with some of the most advanced digital software in the market. We include programmes like Massive, Toon Booms, Studio 3d Max and Maya in our ever-expanding course which has led to SIT Animation graduates winning places in the leading animation studios in Australasia.

Our dedication to a quality learning experience is combined with a “low cost to students / high expectations” philosophy. This ideally positions the graduating student for entry into the industry. We promote an atmosphere of creative freedom which is balanced by delivery of real-world transferable skills and an attitude of quality through effort supported by quality hardware.

Cost: The Zero Fee Scheme means you only pay for the direct material cost – approximately $1060 per year (estimate based on 2011 prices).

NZQA registered: Yes Duration: Two years (full-time) Available: Full-time, Part-time Prerequisites: Contact us for details or visit www.sit.ac.nz Key tutors: Rachel Mann, Craig Storey Format: On campus (Invercargill) Description: Papers include: Communications, 2D/3D Visualisation, Storyboarding for Animation, Principles of Animation, Film and Animation, Theory and History, Drawing, Animation and Interaction, Audio Techniques, Fundamentals of Research, 3D Animation, 3D Character Animation, Motion Graphics and Compositing, Business and Legal Studies.

Diploma in Digital Film (L5) Suitable for: Students interested in making films on digital video. This SIT2LRN Study Anywhere programme is right for students who

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0800 4 00800 FEES4 0 FEES 2LRN TXT 2LRN future.FREE TXTFREE www.sit.ac.nz www.sit.ac.nz www.onfilm.co.nz

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Training & education guide

want to get their creative genius going and build up to the production of their own short film.

Cost: The Zero Fee Scheme means you only pay for the direct material cost – $660.

NZQA registered: Yes Duration: One year (full-time) Available: Full-time, Part-time Prerequisites: Contact us for details or visit www.sit.ac.nz Key tutors: Teri McClelland Format: Every week there will be readings to do, and assignments to complete which are returned via email. Students will be expected to contribute to an online discussion group with other students and stay in touch with their tutor by email. Daily educational screenings on Sky Digital Channel 110 or Freeview Channel 23 are also available to supplement learning Materials (all programmes also supplied on DVD to students).

Description: The cost of filmmaking equipment has fallen astonishingly in recent years, and now successful films such as ‘28 Days Later’ are being shot on digital video. Today, the only barrier to successful filmmaking is skill, not finances. This programme will give you a solid base of skills to expand your talents, pushing your creativity, and heightening your technical skills. What’s more if you want to continue your studies, successful completion of this programme cross credits into SIT’s Bachelor of Digital Media programme.

Private Training Establishment

The New Zealand Film and Television School

86 Vivian Street, Wellington PO Box 27044, Wellington Ph: +64 4 939 2954 Fax: +64 4 939 2951 Email: info@filmschool.org.nz Website: www.filmschool.org.nz Key personnel: • T ommy Honey, Director, 021-744 531, tommy@filmschool.org.nz • J ohn Reid, Head Tutor, john@filmschool.org.nz Organisation statement: The only school in the country that focuses on film. The students spend half their year on digital technology and half the year working with 16mm film.

The course is run by the film industry for the film industry. It covers all major aspects of film production: scriptwriting and direction; camera operating and lighting; sound recording; production management, assistant director work and scheduling; art department; post production including film and digital editing and sound post.

SOUTH SEAS

1992-2012

COURSE: Certificate in Film and Television Production Suitable for: Motivated mature individuals who are serious about a career in film.

Cost: $15,548 (incl GST) NZ students; $30,000 (inc GST) for international students Qualification: Certificate NZQA registered: Yes Duration: One year, 2 intakes: February and July Available: Full-time Prerequisites/Entry criteria: Minimum age 18 years, driver’s licence desirable. Experience in a related discipline useful but not essential.

Spaces available: 24 in each intake Key tutors: John Reid and visiting tutors including Dave Armstrong, Richard Bluck, Alun Bollinger, Costa Botes, Adam Clark, Robin Laing, Hamish McIntyre, Danny Mulheron, Gaylene Preston, Ken Saville. Each intake has contact with more than 70 industry professionals.

Format: On campus and on location Description: The course is hands-on and highly practical with supporting theory and an ongoing film studies component. Students develop a functional skill base in all key craft/ management areas and leave the course ready to participate to the fullest in the screen production industry.

Private Training Establishment

Toi Whakaari: NZ Drama School

Te Whaea: National Dance & Drama Centre, 11 Hutchison Road, Newtown, Wellington PO Box 7146, Wellington South, 6242 Ph: +64-4-381 9251 Fax: +64-4-389 4996 Email: drama@toiwhakaari.ac.nz Website: www.toiwhakaari.ac.nz Key Personnel: • Christian

Penny, Director christian.penny@toiwhakaari.ac.nz • J onathon Hendry, Associate Director & Head of Acting, Faculty: Acting, jonathon.hendry@toiwhakaari.ac.nz •P enny Fitt, Head of Design, Faculty: Design, penny.fitt@toiwhakaari.ac.nz • Kate

Robertson, Head of Entertainment, Technology and Performing Arts Management, Faculty: Technology & Management, kate.robertson@toiwhakaari.ac.nz •K aarin Macaulay, Head of Costume Construction, Faculty: Technology & Management, kaarin.macaulay@toiwhakaari.ac.nz •B rett Adam, Head of Directing, Faculty: Directing, brett.adam@toiwhakaari.ac.nz • T eina Moetara, Head of Context & Practice, teina.moetara@toiwhakaari.ac.nz

20 YEARS OF FILM & TELEVISION ON-SCREEN ACTING 3D ANIMATION AND DIGITAL PHOTOGRAPHY INDUSTRY TRAINING COURSES

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Organisation Statement: Toi Whakaari: NZ Drama School is New Zealand’s foremost and largest dedicated training provider for the screen and dramatic arts. Our vision is to be a global leader for innovation in theatre and screen education and research. We are committed to excellence in teaching and leading. In particular Toi Whakaari’s aim is to ignite the creativity in each student and provide them with the skills of their craft to effectively tell the stories of Aotearoa and beyond.

The school’s philosophy is to provide talented students with the skills to apply their imagination and intelligence to the realities of a career in the performing arts – producing

uniquely ‘New Zealand’ graduates. This requires dedication to excellence in training and continual striving to maintain the high standards the industry and students have come to expect. Our tutors are some of New Zealand’s most respected actors, technical specialists and directors.

Courses: Bachelor of Performing Arts (Acting) Suitable for: People wishing to act on stage and screen NZQA registered: Yes Duration: Three years Available: Full-time Prerequisites: Must turn 18 prior to first year of study Spaces available: 20 per year Key tutors: Jonathon Hendry, Tom McCrory, Nathaniel Lees, Perry Piercy, Teina Moetara, Jade Eriksen, Heather Timms Format: On campus Description: Aims to instill skills and mastery of the actor’s craft, leading to professional performance work in stage, radio, television, film and related arts.

Bachelor of Design (Stage and Screen) Suitable for: People wishing to be designers for stage and screen NZQA registered: Yes Duration: Three years Available: Full-time Prerequisites: Must turn 18 prior to first year of study Spaces available: 10 per year Key tutors: Penny Fitt, Brian King, Cathy McCullagh, Teina Moetara, Jade Eriksen, Heather Timms Format: On campus Description: Develops designers who demonstrate creativity, originality and critical thinking, empowering them to drive the performing arts culture in New Zealand. It also investigates and encourages a collaborative process of interdisciplinary work that provides effective and innovative models for industry practice.

Diploma in Costume Construction for Film, Theatre & Allied Industries Suitable for: People wishing to become costumiers for stage (theatre, opera, ballet) and screen (film, television).

NZQA registered: Yes Duration: Two years Available: Full-time Prerequisites: Must turn 18 prior to first year of study Spaces available: 6 per year Key tutors: Kaarin Macaulay, Donna Jefferis Format: On campus Description: Designed to provide students with competence in all forms of costume construction, leading to employment in the theatre, film and allied industries.

Bachelor of Performing Arts (Management) Suitable for: People wishing to produce, stage manage and event manage theatre and film NZQA registered: Yes Duration: Three years Available: Full-time Prerequisites: Must turn 18 prior to first year of study Spaces available: 6-8 per year Key tutors: Kate Robertson, Lisa Maule, Pam Hindmarsh, Tony Toufexis, Paul Tozer Format: On campus Description: Designed to provide students with exposure to all forms of performing arts production and technology, leading to employment in the management areas of the performing arts industry.

Diploma in Entertainment Technology Suitable for: People wishing to work backstage in theatre and film, particularly in lighting, sound and multimedia operation.

NZQA registered: Yes Duration: Two years Available: Full-time Prerequisites: Must turn 18 prior to first year of study

Training & education guide

Spaces available: up to 4 per year Key tutors: Kate Robertson, Lisa Maule, Pam Hindmarsh, Tony Toufexis, Paul Tozer Format: On campus Description: Designed to provide students with an understanding of and competence in all forms of technical theatre production.

now offers a PhD with Creative Practice, which allows 40% of the research output to be creative, in this instance, a film, documentary or screenplay, while 60% of its worth is a written thesis. Please contact FTVMS if you want further information about the degree and its entry qualifications.

Master of Theatre Arts in Directing Suitable for: People wishing to be directors for stage and screen NZQA registered: Yes Other accreditations: Joint degree between Toi Whakaari and Victoria University of Wellington Duration: Two to four years Available: Full-time, Part-time Prerequisites: Prior theatrical or screen experience or a Bachelor’s degree Spaces available: 6 per year Key tutors: Brett Adam, Teina Moetara, Jade Eriksen, Heather Timms (Toi Whakaari), David O’Donnell, Bronwyn Tweddle, John Downie, Megan Evans, James McKinnon (Victoria) Format: On campus Description: Through a combination of practical and theoretical studies MTA students will develop the necessary skills to direct and initiate projects in the professional theatre and related areas. The course encourages reflective thinking about the nature of theatre and its place in society, and develops students’ awareness and understanding of their work in relation to the wider professional and social context. At the same time, the practical skills needed for directing are developed under the guidance of experienced theatre professionals.

COURSES: GRADUATE PROGRAMME IN SCREEN PRODUCTION Suitable for: Individuals with a BA degree, a strong creative vision as either a writer, director, or producer, and the potential to become a creative leader in the film and television industries.

Cost: Please contact fees@auckland.ac.nz Qualification: BA Hons/MA NZQA registered: Yes Duration/enrolment: Up to two years Available: Full-time Prerequisites: BA in a relevant subject with a B average at stage three Spaces available: 15 (Competitive entry on the basis of work submitted with application) Key tutors/Faculty: Vanessa Alexander, Annie Goldson, Shuchi Kothari, Sarina Pearson, Margaret Henley, Allan Cameron, Peter Simpson, Martin Hansen

UNIVERSITY

Screen Production at University of Auckland, Department of Film, Television and Media Studies

Private Bag 92019, Auckland Ph: 09 373 7599 x 87464 Email: screen@auckland.ac.nz Websites: www.arts.auckland.ac.nz/screen www.youtube.com/ScreenProduction KEY PERSONNEL: •A ssociate Professor Laurence Simmons, Head of Department •V anessa Alexander, Director of Graduate Production (Drama) •D r Shuchi Kothari, Graduate Production Advisor (Screenwriting) •P rofessor Annie Goldson (Documentary) •D r Allan Cameron (Drama) •K atie Richardson, Departmental Administrator, Faculty of Arts, 09 373 7599 x 87464, ke.richardson@auckland.ac.nz ORGANISATION STATEMENT: The Department of Film, Television and Media Studies at the University of Auckland offers the leading graduate-level film production programme in New Zealand. We offer an intensive film-school-style experience for future writers, directors and producers of drama and documentary films. Student works have screened at major international A-list festivals including Venice, London and New York and make regular appearances in both the New Zealand International Film Festival and DocEdge. The University of Auckland prides itself on the high percentage of our students who go on to work in the industry. As most of our staff members are working practitioners our courses are closely informed by trends and shifts in the professional industry. The University of Auckland

BA (HONOURS) OR POSTGRADUATE DIPLOMA IN SCREEN PRODUCTION During this year, students can expect an intensive individual and group learning experience. Starting with basic production management, shot composition and editing, we take students all the way through interviewing documentary subjects to advanced blocking and camera movement. Students can expect to direct actors in front of the class, pitch documentary ideas and cut trailers as part of the many assignments. Students learn Final Cut Pro, EP Scheduling, and Final Draft. The year ends with a production project, where, depending on their area of focus, students will complete their own 10-minute short film, documentary and/or write a feature screenplay.

Competitive entry by submission of previous work.

MA IN SCREEN PRODUCTION Students with a Postgraduate Diploma or BA (Honours) in Screen Production or equivalent can apply for entry to the MA year, where they will focus on a major project of their choice.

Production and postproduction facilities are state-of-the-art and include a Red camera, Sony EX-3 cameras, and well-resourced FCP edit suites. Less class- and exercise-driven than the BA (Honours) year, an MA allows students to choose a project in screenwriting, producing or directing (drama or documentary) and work closely with a supervisor to realise their vision.

The high quality of the students as well as the rigorousness of the supervision has meant that many of these projects have gone on to screen at festivals here and around the world.

Competitive entry by submission of previous work.

UNIVERSITY

The University of Waikato, Screen and Media Studies Programme

Private Bag 3105, Hillcrest Road Hillcrest, Hamilton Ph: 0-7-838 4543 Fax: 0-7-838 4767 Email: screenandmedia@waikato.ac.nz Website: www.waikato.ac.nz/film/

KEY PERSONNEL: • Dr Alistair Swale, Chair of School of Arts, Screen and Media Studies, Faculty of Arts and Social Sciences, alexei@waikato.ac.nz

• Professor Dan Fleming, dfleming@waikato.ac.nz •A thena Chambers, Programme Administrator (for undergraduate enquiries), Screen and Media Studies, School of Arts, Faculty of Arts and Social Sciences, athena@waikato.ac.nz •D r Ann Hardy, Convener, Screen and Media Studies hdra@waikato.co.nz, •D r Geoff Lealand, Graduate Advisor, Screen and Media Studies lealand@waikato.co.nz ORGANISATION STATEMENT: The University of Waikato/Te Whare Wananga o Waikato seeks: To create and sustain an institutional environment in which excellence of performance is encouraged and recognised; people are understood, appreciated and consulted; Mäori customs and values are expressed in the ordinary life of the University and the Treaty of Waitangi is clearly acknowledged in the development of programmes and initiatives based on partnership between Mäori and other New Zealand people and which is characterised overall by: • A spirit of cooperation.

•K eenness to meet and respond to new challenges.

•F reedom in the exchange of ideas and information.

COURSES: SCREEN AND MEDIA STUDIES (UNDERGRADUTATE AND GRADUATE PROGRAMME) Undergraduate papers include: Digital Screens; Media Cultures; Video Production; New Zealand Screen; Media & Society, Topics in Media Representation, Small Studio Production,

Screen Studies; Digital Practices, Television, Medium, Narrative and Audience; Introduction to Media Research; European Media American Media; Screen Theory; Writing for Screen Media; Creativity at Work; The Cultural Economy; Media Ethics; Screen, Spirituality and Culture, Animation Studies; Documentary Screen and Games Studies.

Starts: Semester A – March; Semester B – July; Summer School – January.

Graduate programme includes: Creative Theory; New Audience Formations; Children & the Media, Scriptwriting; Teaching NCEA Media Studies; NZ Screen, Media & Creative Industries; Digital Cinema; Production/ Development; Directed Study.

Duration: 3 years (undergraduate BA and BMCT); BA Hons, one year: MA, one year; BCS Hons, one year; PhD, 3 to 5 years (full-time or part-time) Apply by: Normal tertiary enrolment periods Students per intake: Some limits on production courses Prerequisites: Tertiary level entry Emphasis: Criticism and Creativity in the 21st Century Facilities: Broadcast-quality digital cameras and editing facilities for teaching and research; dedicated media and game labs.

Qualifications: BA (Screen and Media Studies); BMCT (Bachelor of Media and Creative Technologies); BA Hons, MA; PhD Cost: Tertiary student fees Course contacts: Athena Chambers, Programme Administrator (for undergraduate enquiries), athena@waikato.ac.nz; Dr Ann Hardy, Convener, Screen and Media Studies hardy@waikato.ac.nz; Dr Geoff Lealand,

CREATING INNOVATIVE AND EXCELLENT STAGE AND SCREEN PROFESSIONALS_

DESIGN | DIRECTING | ACTING | ARTS MANAGEMENT | COSTUME | ENTERTAINMENT TECHNOLOGY |

FIND OUT MORE AT: www.toiwhakaari.ac.nz www.onfilm.co.nz

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Training & education guide

Graduate Advisor lealand@waikato.ac.nz Description: New Zealand’s number one Media Research programme (2006 PBRF rating) is a centre for innovative teaching and learning, integrating hands-on creative work and the intellectual challenge of critical thinking. Specialisations include Creative Industries, Video Art, Media Policy, Audience Research, Games, Animation, New Media and Democracy, Religion and Media literacy, Digital Cinema Production & Development.

Our new degree programme, the Bachelor of Media & Creative Technologies, consolidates our emphasis on combining practical experience with critical thinking, so students may work independently or as a team in all areas of the media.

Teaching and research staff includes: • Chair of School of Arts: Dr Alistair Swale • Professor Dan Fleming • Associate Professor Geoff Lealand •S enior Lecturers: Dr Adrian Athique, Dr Lisa Perrott, Dr Ann Hardy, Dr Craig Hight, Dr Stan Jones, Dr Gareth Schott, Dr Alistair Swale, Dr Bevin Yeatman • Lecturers: Dr Ted Nannicelli.

Institute of Technology

Unitec Institute of Technology

Carrington Road, Mt Albert, Auckland Private Bag 92025, Auckland Freephone: 0800 10 95 10 Email: courses@unitec.ac.nz Website: www.unitec.ac.nz

KEY PERSONNEL: Athina Tsoulis, Head of Department, Performing and Screen Arts, Faculty of Creative Industries and Business, 021-613 372, atsoulis@unitec.ac.nz ORGANISATION STATEMENT: Unitec has acquired a reputation for excellence in vocational and professional education.

All our programmes have a large practical component allowing students to learn about filmmaking by producing work for the screen in multidisciplinary teams which make our graduates industry ready.

COURSES: Graduate Diploma in Creative Practice (Screen and Theatre) Suitable for: Those who have a degree and/or a background in the film and theatre industry and

who want to move into screenwriting, directing for theatre and screen, or theatre design.

Cost: $4000-$7000 NZQA registered: Yes Duration: 1 year Available: Full-time Prerequisites: Undergraduate qualification or relevant industry experience Spaces available: 26 Key tutors: Dr Scott Wilson, Steve Marshall, John Davies, Caroline Grose Format: On campus Description: You will work on your own creative projects under the guidance of industry professionals.

Bachelor of Performing and Screen Arts (Screen Arts - writing/camera/ directing/editing/production/sound and design) Suitable for: Those interested in studying the key specialisations that bring work to the big and small screen.

Cost: Approx $7581 NZQA registered: Yes Duration: 3 years Available: Full-time Prerequisites: Interview required Spaces available: 50 Key tutors: Caroline Grose, Alan Locke, Daniel Wagner, Brent Hargreaves, Larry Justice, Gary Henderson, Victor Grbic & industry guests Format: On campus Description: We provide graduates with a thorough knowledge of filmmaking and television from conception to production, with the opportunity to specialise in script development, production managing/assistant directing, directing, camera, cinematography, editing, sound recording/design in the later stages of the degree in preparation to step out into the industry.

Bachelor of Performing and Screen Arts (Acting for Screen and Theatre) Suitable for: Those wanting to be an actor for Theatre, Film and Television.

Cost: Approx $7581 NZQA registered: Yes Duration: 3 years Available: Full-time Prerequisites: Interview required Spaces available: 24 Key tutors: John Davies, Elizabeth Hawthorne, Pedro Ilgenfritz, Kirstie O’Sullivan Format: On campus Description: The unique voice of each student is celebrated through an intensive training programme that is built on bravery, risk, humour, respect, teamwork and innovation. You’ll be challenged to reach your potential through practical courses in acting technique, voice, movement and critical practice. This course concentrates equally on theatre and screen performance.

Diploma in Performance Technology (Specialise in Costume, Lights/Sound/ Stage Management or Scenery/Props/ Art Department) Suitable for: Those wanting to work behind the scenes in theatre, film and entertainment industries.

Cost: Approx $6200 NZQA registered: Yes Duration: 2 years Available: Full-time Prerequisites: Interview required Spaces available: 24 Key tutors: Steve Marshall, Brent Hargreaves, Suzanne Sturrock Format: On campus Description: Learn by practical experience as you collaborate with actors, dancers, designers, directors, writers and film and television professionals to produce a wide range of projects. In your second year you will take part in an industry placement.

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Certificate in Communication and Media Arts Suitable for: Those who want to go on to degree study in performing and screen arts or communication studies, or for those who aren’t sure exactly what area to focus upon. Also will suit people already in employment who want to improve particular skills.

Core papers: Communicating Now, Interpreting Media Electives: Speaking Up, Digital World, Writing Well, Telling Stories, Making Dance, Dance Moves, Moving Images, Behind the Scenes Cost: Approx $2251 NZQA registered: Yes Duration: Full-time for one semester or part-time options available Prerequisites: Be at least 16. Applicants must meet the general, discretionary or special admission requirements. Applicants must also meet the English language requirements and may be interviewed.

Spaces available: 30 Key tutors: Steve Marshall, Robin Gee, Catherine Davis, Devlin Bishop Format: On campus UNIVERSITY

The International Institute of Modern Letters, Victoria University of Wellington

Glenn Schaeffer House, 16 Waiteata Road, Kelburn Campus, Kelburn, Wellington PO Box 600, Wellington Ph: 04 463 6854, Fax: 04 463 6865 Email: modernletters@vuw.ac.nz Website: www.victoria.ac.nz/modernletters

Key Personnel: • Ken Duncum, Michael Hirshfeld Director of Scriptwriting, ken.duncum@vuw.ac.nz • Katie Hardwick-Smith, Administrator, modernletters@vuw.ac.nz • Clare Moleta, Administrator, modernletters@vuw.ac.nz Organisation statement: Victoria is built on more than a century of tradition. Victoria College was founded by an Act of Parliament in 1897, the year of Queen Victoria’s Diamond Jubilee celebrations, and began teaching in 1899. Many years on, Victoria University of Wellington is a thriving community of more than 20,000 students and 2000 staff located at four campuses around Wellington.

Victoria is also one of New Zealand’s leading research institutions, and is committed to being a research-led university. Embracing both tradition and innovation, Victoria offers the best of both worlds, providing life-long educational experiences to students from a wide variety of backgrounds and nationalities.

Course: in Creative Writing (Scriptwriting) Suitable for: Graduates with previous experience in scriptwriting Cost: Approx $6395.70 in 2011 Qualification: MA NZQA registered: Yes Duration: One academic year (Late Feb to November) Available: Full time

Training & education guide

Institute of Technology

Waikato Institute of Technology, School of Media Arts Tristram Street, Private Bag 3036, Waikato Mail Centre, Hamilton Fax: +64-7-858 0227 Email: info@wintec.ac.nz Website: www.wintec.ac.nz

KEY PERSONNEL: •R oss Cunningham, Team Manager (Visual Arts) • J ohn Mandelberg, Programme Coordinator Moving Image, School of Media Arts, 021-1602074, John.Mandelberg@wintec.ac.nz •P aul Judge, Moving Image Lecturer, School of Media Arts, 027-258 8391, Paul.Judge@ wintec.ac.nz ORGANISATION STATEMENT: The School of Media Arts provides innovative, interdisciplinary education that prepares students for a future in the creative industries.

If you’re interested in moving image, graphic design, digital media, painting, sculpture, photography, animation, interior design, fashion design, journalism, radio, public relations & advertising, song writing, or commercial music, Media Arts’ programmes of study are a great place to begin your career. Experienced staff and state-of-the-art facilities help you develop a unique range of skills and the ability to apply them in the professional world.

Media Arts study is practical, project driven and collaborative. Students are stimulated to develop individualised research practices, reflective judgement and critical thinking. Graduates are well equipped to seek employment as practitioners or to undertake postgraduate study.

Media Arts offers a range of certificate, diploma, degree, and postgraduate study options.

Please visit www.wintec.ac.nz for further course information.

COURSES: BACHELOR OF MEDIA ARTS (VISUAL ARTS) (MOVING IMAGE PATHWAY) Suitable for: People interested in training for a career in Moving Image Cost: $5435 approx. (per year) NZQA registered: Yes Duration: 3 years Available: Full-time, Part-time Prerequisites: • NCEA Level 2, at least 60 credits across four subjects including English, or • The criteria for entrance to a New Zealand University; or • An equivalent qualification approved by the Media Arts Programme Committee; or • Reached an age of 20 years prior to the first year of entry into this programme and can demonstrate the acquisition of the above skills since leaving secondary school.

Candidates must also provide a portfolio of work and attend an interview.

Key tutors: John Mandelberg, Paul Judge Format: On campus Description: The first year of study in the Bachelor of Media Arts (BMA) is based around your chosen endorsement (Visual Arts, Communication or Commercial Music, plus electives of your choice), after which you can choose to specialise in one of the pathways of study listed: Moving Image, Digital Media Design, Graphic Design, Painting, Sculpture, or Photography (Visual Arts), Music Production, Songwriting, or Performance (Commercial Music), or Moving Image, Journalism, or PR/Advertising (Communication).

You can enter the Moving Image pathway from either the Communication or Visual Arts endorsement. The curriculum provides you with grounding in industry technology and practices, and support for you to create your own work.

You will develop an understanding of how the film and television industries operate, acquire a wide range of skills including camera, lighting, non-linear editing, writing and all aspects of 16mm film, video production and postproduction. You may also elect modules which explore developments in digital technology and gain skills in multi-media, internet publishing, CD-ROM authoring and non-linear image manipulation.

The department is equipped with all the relevant industry-standard software and technology. You will acquire a wide range of skills, and work with High Definition cameras, lighting, digital editing, writing, and the process of video production and post-production.

BACHELOR OF MEDIA ARTS (HONOURS) Suitable for: If you want to further your learning in arts and/or update your studio practice and understanding of current discourse in your field, then the Bachelor of Media Arts (Honours) offers a contemporary, open and rigorous postgraduate learning environment tailored to your needs. It can also prepare you for Master of Arts study.

Cost: $5435 approx. (per year) NZQA registered: Yes Duration: 1 year (if full-time) Available: Full-time, Part-time Prerequisites: • Bachelor of Media Arts (Visual Arts) with a grade average of B or better in the final year of fulltime study (or equivalent in part-time study), or, • Alternate Undergraduate Degree specialising in Communication, Graphic Design, Painting, Moving Image, Sculpture, Photography, Digital Media Design or Music, with a grade average of B or better in the final year of full-time study (or equivalent in part-time study), or, • A history of professional experience in Communication, Graphic Design, Painting, Moving Image, Sculpture, Photography, Digital Media Design or Music, with the ability to undertake independent practical and theoretical research at a level equivalent to that which would be possessed by graduates of the Bachelor of Media Arts with a grade average as specified above. Relevance of professional experience will be determined on the basis of an interview and portfolio.

Key tutors: John Mandelberg, Paul Judge Format: Weekly contemporary theory class, ongoing research practice project, regular meetings with supervisor.

Description: The Bachelor of Media Arts (Honours) is a postgraduate programme – ideal for graduates who wish to undertake an in-depth investigation in their chosen field within a research-focused learning environment. As an Honours student you will receive supervision for both the practical and the theoretical components of your study. Additional supervision from external representatives of your professional field can also be established.

Recent Moving Image projects produced in Honours include dramas, screenplays, animations and documentaries. You will have frequent formal and informal meetings and critiques with other staff and students to discuss your work, helping you to frame and respond critically to issues surrounding your practice at the level required by the professional world. The learning environment

is good-humoured, varied and active, encouraging input from staff and students equally. Facilities and equipment in the School of Media Arts are made available to you as determined by the nature and requirements of your project.

MASTER OF ARTS (VISUAL ARTS, MOVING IMAGE, DESIGN OR MUSIC) Suitable for: This one-year postgraduate programme is ideal for graduates who have completed the Bachelor of Media Arts (Honours) programme, an equivalent qualification, a Postgraduate Diploma or professional practice.

You will extend your domain of practice through undertaking a body of sustained, independent research.

Cost: $5435 approx. (per year) NZQA registered: Yes Duration: 1 year (if full-time) Available: Full-time, Part-time Prerequisites: • Bachelor of Media Arts (Honours) with a grade average of B or better in the final year of full-time study (or equivalent in part-time study), or, • Alternate Postgraduate Degree specialising in Communication, Graphic Design, Painting, Moving Image, Sculpture, Photography, Digital Media Design or Music, with a grade average of B or better in the final year of full-time study (or equivalent in part-time study), or, • A history of professional practice and experience in Communication, Graphic Design, Painting, Moving Image, Sculpture, Photography, Digital Media Design or Music, with the ability to undertake independent practical and theoretical research at a level equivalent to that which would be possessed by postgraduates of the Bachelor

of Media Arts (Honours) with a grade average as specified above. Relevance of professional experience will be determined on the basis of an interview and portfolio.

Key tutors: Team Manager (Postgraduate) David Sidwell, Painting and Sculpture Lecturer Gareth Williams, Theory Lecturer Matthew Bannister.

Format: Weekly contemporary theory class, ongoing research practice project, regular meetings with supervisor.

Description: The Master of Arts programme provides students with a postgraduate study leading towards professional and higher academic practice. In depth investigation is in your chosen area of visual arts, design or music practice within a research-focused learning environment.

The programme will prepare you for high level investigation of and intervention within your chosen field of academic or professional context.

In this programme you will enroll in one module, Research Project. This consists of studio-based practice and a written dissertation. You are required to develop and implement a research methodology which synthesizes and amplifies previous and concurrent experience. Facilities in Media Arts are made available to you as determined by the nature and requirements of your project. Individual studio spaces, specialist edit suites and industry standard digital environments are provided for Masters students.

Photograph by Kerrilee Beetham

MA

in Scriptwriting Seeing things? Hearing voices?

Starting to think there’s a plot?

This one year intensive Masters programme challenges you to bring that story for film, stage or television out into the light - to shape it, write it and rewrite it - working with course convenor Ken Duncum and alongside nine other passionate scriptwriters.

You’ll write every day - and read, think, and talk about writing - in a supportive and stimulating environment that helps you find your own voice.

Learn more at: www.victoria.ac.nz/scriptwriting Applications close 1 November For information, application forms and course dates, please contact: International Institute of Modern Letters Victoria University of Wellington PO Box 600 Wellington New Zealand FHSS0034

Prerequisites: A degree in any subject, and/or an appropriate standard in scriptwriting.

Spaces available: 10 Key tutors: Ken Duncum (Michael Hirschfeld Director of Scriptwriting) Format: On campus class meetings twice weekly.

Description: This programme aims to develop the craft skills and imaginative capacities of talented new writers through a programme of workshops, industry placements, portfolio supervision, and complementary reading and viewing. Each student will submit a final portfolio consisting of a full-length script to thirddraft standard.

Phone Email Website

04-463 6854 modernletters@vuw.ac.nz www.victoria.ac.nz/modernletters

www.onfilm.co.nz

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Across the ditch

New awards launched for Aussie screen industry Our expat spy provides his idiosyncratic take on the Aussie film and television industry.

O

n a cold and windy night in August, the film tribes gathered in a heaving, blackby JAMES BONDI clad mass at the overseas passenger terminal at Sydney’s Circular Quay. They weren’t boarding an ark headed for greener pastures, they were gathering to worship a new totem.

The occasion was the launch of the new Australian Academy of Cinema & Television Arts, AACTA, our very own proper grown-up awards.

Dr George Miller (the maker of Happy Feet, dressed appropriately in the classic penguin suit), announced actor Geoffrey Rush as founding “prez”. The old Australian Film Institute Awards are no more, and AACTA will introduce a new two-step voting model for feature films. Voting panels will “short list nominees based on their area of specialisation, with the short list then voted on by the wider membership”.

An honorary council of individuals recognised as “leaders and luminaries within their fields” includes actors, producers, directors and guild and professional association leaders. The Kiwi mafia has already infiltrated, with director Jessica Hobbs among the founders.

The first awards ceremony will be staged in the Sydney Opera House early next year. The new time slot puts the awards into alignment with the Golden Globes, Oscars and Baftas. The timing is expected to help boost the international profile of the nominees, with over 20 Australian features currently eligible, and some already flaunting great box office results. So, no pressure on the new voting panels!

All in all it was a great gathering of the clan, with lots of folk you don’t often see all in one place.

After the announcement everyone was eager to talk about the news, drink the sponsors’ very generous assistance, and generally mingle and schmooze … but the inevitable loud band started up and conversation was possible only outside on the cold, wet, windy smokers’ balcony.

When will the organisers of these events realise that their target market does not want to dance at these functions? They just want to have a couple of drinks, gossip, laugh, and catch up with friends and colleagues. And as the power brokers, award winners, stars and actual filmmakers melted back into the cold night, on the dance floor were only those young starlets of all sexes, hoping their moves might

impress the odd producer or director. Maybe, maybe, but not for a job, sweeties! ***

G

reener pastures are not always what the film biz needs, it seems. Fury Road, the new Mad Max movie, is on the move. As previously reported, the desert countryside around Broken Hill experienced the rare phenomenon of massive rainfall. Extended rain has now delayed production by 12 months, and while director George Miller was hoping for the desert to dry out, he admits “the Mad Max landscape looks like Wales”.

After praying for rain throughout the drought, the Broken Hill locals now know the meaning of “be careful what you ask for”. The film would have been a huge economic boost for the area. New locations could include other parts of Australia, Morocco, Chile, Namibia or China. ***

N

o worries about rain for the Pilbara mining location of new hit Aussie film Red Dog. Based on real events about a hitchhiking red kelpie dog that united an isolated mining town, by mid-August the feel good movie had pulled in an impressive A$7.68m. I went to a

Sunday session at my local cinema and that session, and the one after, had people queuing up to get in. I tried to go the previous weekend but it was sold out. Not just clever marketing, though there was that, but that genuine word of mouth response that tells you a film is a hit.

The Kriv Stenders-directed film features some lovely performances by humans, but Koko, the dog star, steals the film. Eat your heart out, Lassie.

T

***

he new offering in the Underbelly franchise, Underbelly: Razor also has some lovely performances from a clutch of Pomeranians, but their on-screen owners are the ones to watch. And I do mean watch – watch your back, your wallet, your throat…

Kiwis Danielle Cormack (as slygrogger Kate Leigh) and Chelsie Preston Crayford (as brothel owner Tilly Devine) have turned in superb characterisations of the rival vice queens of 1920s Sydney.

The new series premiered with a double episode on Sunday, August 21. Episode one averaged amazing city metro ratings of 2.510m with a peak of 2.867m, making Channel 9 happy and continuing the success of the franchise.

NZ film artists in brief – a series Jill Kennedy

B

orn in Glasgow, Scotland, Jill Kennedy was brought up in New Zealand where she attained a Bachelor of Design degree in painting and a Graduate Diploma in animation. Her first film, Neuro-Economy (2006), was an experimental animation based on an audio recording found on a telephone answering machine. Continuing to experiment with animation she developed her New Educational Series of animated films, resulting, in 2007, in the pastiche Canaries in Colour, followed by Better Military Modelling (2007) and

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At Home with the Ants (2009).

In At Home with the Ants, Kennedy creates dark, almost surrealistic associations around the idea of sub-urbanity and nuclear families. The ants, which we have been led to expect from the title, seem to become rats and they live in a suburban house. From suburbia we are transported to a strangely lush desert location, then follow a flying insect back to a house interior and further strange juxtapositions and contrasts between the familiar and the unfamiliar.

More recently, Kennedy has created Recent Discoveries (2009) and One Minute Enlightenment (2010).

One Minute Enlightenment was exhibited at the Antoinette Godkin Gallery and the 2011 Auckland Art Fair and will be included in the Everyday Irregular exhibition at the Sarjeant Gallery in Whanganui this September.

Kennedy is currently creating a new work for a solo exhibition at Gus Fisher Gallery in Auckland in January, 2012.

– by Martin Rumsby

A legal view

Someone stole my idea!

A recent spate of high profile US court cases around “stolen ideas” for film and TV projects raises the question – could we see similar litigation erupt here?

T

here are many great ideas out there when it comes to film and TV projects. Mention to anyone that you work in the film or TV industry and it wouldn’t be unexpected to hear them utter at some point in the conversation the immortal lines “I had a great idea for a [insert your choice of film/TV series here]...” But like all great ideas the key really is in the execution of the idea, otherwise the idea remains just that, merely an idea.

A number of recent court cases in the US have shown us two things – first, a great number of people feel prepared enough to protect their “ideas” that they will go to litigation over it in one of the most expensive legal systems in the world – and second, TV networks and film studios are equally prepared to go to battle to defend these claims.

Recent court decisions in cases around the Aliens vs. Predator movie and also the US series Ghost Hunters have highlighted that the supposed stealing of ideas continues to be futile ground for legal action. However, these two separate US cases also raise some very important distinctions between what may and may not support a successful claim for the unauthorised use of one’s ideas for that killer film or TV show.

In the Aliens vs. Predator case, which first kicked off in 2009, a writer by the name of James Muller was suing 20th Century Fox for supposed copyright infringement

by the studio of his script The Lost Continent. Although both the Aliens vs. Predator movie and Muller’s script had as a central theme the conflict between creatures from another planet, unfortunately for Muller any further similarities really ended there. The two stories were reportedly quite different and Muller’s attempt to raise over a further 2000 similarities between the projects was decisively knocked back by the trial judge.

What this case reinforces is that ideas themselves are not directly protected by copyright law, just the precise expression of an idea.

This is equally the situation in New Zealand. In other words if you want to prove someone has stolen your idea you need to show not just general similarities but direct copying of very precise and detailed portions of your work – and if all you initially had was perhaps just an idea without a lot of associated and recorded detail, then this is obviously not something you are going to be able to show.

On the other hand, the Ghost Hunters case raises some other issues that need to be considered by both those pitching their ideas and those who agree to receive other people’s ideas for consideration in the development of potential film and TV projects. The aggrieved parties could show they had submitted a large amount of material to the producers of Ghost Hunters (a subsidiary of NBC Universal) over a period of time prior to the show being created by NBC

and had also met on a number of occasions with NBC executives to discuss a potential paranormal investigation project.

However once again here we are still just really talking about the exchange and discussion of ideas.

What sets the Ghost Hunters case apart from the claims laid against 20th Century Fox by James Muller is that with Ghost Hunters, the two plaintiffs went to great lengths to stress the notion of an implied contract between the parties.

Basically this is the argument that there was an implied agreement between the parties that if NBC took the creators’ ideas further in any substantial way, the creators should be remunerated for this.

The Ghost Hunters case is still working its way through the US courts but because the focus on the breach of an implied contractual term probably has a lot more chance of success than relying on copyright infringement of an idea or concept, the outcome of the litigation is being very keenly watched by many in the US industry.

So what does all of this mean for those operating in New Zealand film and TV industries? There are a couple of key lessons here.

First, proving theft of an idea or concept for a TV show or film based purely on infringement of copyright is very hard to do. Second, when it comes to submitting or agreeing to receive pitches for potential projects you need to be very careful about what is said and exchanged in correspondence

between yourself and the other party. Any conversations and correspondence could later be construed by either party in terms of having created or perhaps negated the intention that the parties had some kind of implied agreement with regards to the concepts and material submitted.

Once again this highlights that at the earliest possible opportunity when submitting or receiving pitches for potential projects, both parties need to make all efforts to clearly specify what their intentions are in terms of the project should it progress past the pitch stage, and also what rights and freedoms each believe they have in respect of the future use of any general ideas or concepts that may be included in such pitch material.

• 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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Production 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 pre PRODUCTION THE CURE Action/thriller feature format Digital prod co David Gould Studios sales agents Archstone Distribution, Joker Films writer/dir David Gould prods Alex Clark, David Gould cast dir Liz Mullane cinematgrphr David Paul vfx sup Frank Rueter loc Wellington NZ

POST PRODUCTION 50% OFF MAIL ORDER BRIDE 13min short (RED) prod co idiotvision writer/dir/ prod Alan D. Parr DP Daniel Wagner art dept hd Brent Hargreaves 1AD Gabrielle Luxton prod mgr Jesse Hilford scrnply ed Alan Brash m/up/hair Celeste Strewe cam op Ben Montgomery f/puller John Whiteside Leyland 3AD Rosemary Abel 2nd asst cam Tegan Good snd recs Nikora Edwards, Brendan Zwaan, Josiah Toclo boom op Arthur Gay gaffer James Dudley b/boy Matt Wilshere lx assts Leigh Elford, Tom Neunzerling, Kelly Chen, Britta Lauritzen, Cody Armstrong-Paul, Debbie Du Preez, Maria Pogodina art dept assts Chris Stratton, Ruby Reihana-Wilson, Ryan Mansfield assts James Watson, Maiken Bryant, Lucy Campagnolo, Jonathan Paul, Alex Cairns snd post eng Jason Fox snd post prod Samantha Jukes asst ed Carsten Kudra art Andrew Long prps/mkr Big Al Parr pre vfx Jared Baigent sfx prps/byr Jacqui Baigent p/ grphr Kelly Newland Photography dir asst Francesca Dodd-Parr ed Yaser Naser cmpsrs Katie Scott, John Paul Carroll cast Simon Ward, Mia Pistorius, Katie Scott, Toby Sharpe

A BEND IN THE ROAD NZFC funded short prod co Alpha Bristol Films prod Gemma Freeman dir/writer Rollo Wenlock DP Simon Baumfield hd art Kasia Pol eds Charlie Bleakley, Michael Horton cast dir Tina Cleary asso prod mgr Georgiana Taylor 1AD Del Chatterton stunts Rodney Cook cam asst Graham Smout lx Byron Sparrow grip Wayne Subritsky lx/grip asst Simon Oliver snd rec Aaron Davis, Kevin Hill w/robe Caroline Stephen m/up Lucy Gargiulo m/up asst Tiffany Te Moananui continuity Marian Angeles, Nina Katungi ed asst Greg Jennings loc res Lily Hacking prod assts Rachael Glassman, Robert Ormsby p/grphr Michael Hobbs catering Peartree Lane Catering cast Aaron McGregor, Tom Hern, Leon Wadham, Cohen Holloway

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 Burton-Davis 1AD Steven Charles 2AD Ahmed Osman cont Betty Savage art dir Sinclair Dyer prps/ art asst Lisa Fraser-Clark w/robe Tom Frame unit Sagar Janvekar cast Nick Dunbar, Don Langridge, Todd Rippon, Sarah Lineham, Elliot Travers

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 Larissa McMillan w/robe asst Daria Malesic art dept Anna Brown art assts Fern Karun, Ryan Roche m/up Julia O’Neil, Lucy Gargiulo sfx Bill Hunt prod des Robert Flynn loc mgr John Patrick data wrangler Symon Choveaux unit Cameron McCulloch stills Robert Johnson runners Mike Potton, Ryall Burden eds Patrick Canam, Nick Swillinghurst asst ed Kevin Dubertrand ADR Darren Maynard cast Elliot Travers, Geraldine Brophy, 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, Amy Tsang

EXISTENCE NZFC Escalator Salvagepunk Western prod co Existence dir Juliet Bergh prods Mhairead Connor, Melissa Dodds writers Juliet Bergh, Jessica Charlton based on a concept by Juliet Bergh, Jessica Charlton, Philip Thomas script adv Graeme Tetley 1AD/asso prod David Norris prod asst/trainee Jess McNamara prod acct Lyndsay Wilcox casting dir Tina Cleary, The Casting Company DP Jessica Charlton cam op Aline Tran 1ac cams Matt Tuffin, Kirk Pflaum 2ac cam Marty Lang vid split/wranglers Josh Obrien, Laetitia Belen, Shane Catherall 3AD Dan Lynch chaperones Miranda Harcourt Stuart McKenzie, Julie Roberts prod des Philip Thomas constr Geoff Goss stby prps/props byr Ryan Roche set drssr Ryall Burden prpmakers Izzat Design prpmaking asst Yohann Viseur r/player prp maker Nick McGowan art assts Ivan Rooda, Shane Catherall, Ian Middleton, Tom Mchattie, Amohia Dudding graphic des Nick Keller armourer Hamish Bruce livestock wrangler Hero Animals, Caroline Girdlestone asst horse wrangler Monique Drake rider dble Mark Kinaston-Smith cos des Kate Trafford asst des Kristiina Ago m/up art Tess Clarke m/up asst Chrystal script sup Karen Alexander snd rec Nic McGowan boom op Dylan Jauslin onset PA/trainee Nick Tapp gaffer/grip Andy Rennie grip Graeme Tuckett grip/lx asst Ray Eagle, Buddy Rennie Ben stunt coord Augie Davis, Shane Rangi safety Scene Safe Rob Fullerton vfx Frank Reuter unit mgr Hamish McDonald-Bates unit asst Zoe Studd catering Blue Carrott EPK/stills Nick Swinglehurst assembly ed Paul Wadel, Gretchen Peterson ed Simon Price snd des Nick McGowan comp Grayson Gilmour post fac Park Road Post cam Rocket Rentals grip/lx Brightlights insure Crombie Lockwood mentors prods Leanne Saunders, Vicky Pope dir Mike Smith DP/cam ops Phil Burchell, Rob Marsh, John Chrisstoffels prod des Joe Bleakley thanks to Museum Hotel, Gail Cowen Management, Johnson & Laird, MAC Cosmetics, Celsius Coffee, Meridian, Wgtn Regional Council, Toi Poneke Wellington Art Centre, Loose Unit/Gabe Page Chris Streeter, Russell Murray & Film Wellington Nicci Lock cast Loren Taylor, Gareth Reeves, Peter McCauley, Matt Sunderland, Thomasin McKenzie, Peter McKenzie, Aaron Jackson, Rachel Roberts, Gentiane Lupi and Richard Freeman

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

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Please see www.onfilm.co.nz or contact crewlists@onfilm.co.nz for everything you need to know about getting your production listing/s in Onfilm, including deadlines, submitting new entries and updates, and abbreviations.

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 sfx Bailey Palmer, Kylie Nixon 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, Lizzie Tollemache, Stig Eldred, Timothy Bartlett, Helen Moran, Jeff Clark, Anoushka Klaus, Leighton Cardno

JAKE Feature (RED) prod co Hybrid Motion 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

OLD SALT 10min Short (RED) prod co Korshis Possum Films dir Matt Johnston writers Tom Furniss, Matt Johnston prods Katie Gray, Matt Johnston DP Ross Turley 1ADs Andrew Burfield, David Boden art dir Julie-Anne Mueller gaffer Mathew Harte f/pullers Dominic Fryer, Ayrton Winitana cam/lx assist Rachel Choy, Jeremy Garland, Puneet Bakshi snd Jude Hassett, Jack Graves, Shannon Walsh m/up Emily Holland, Sharnelle Eden vfx Jill Round art assists Hana Spierer, Justine Keating cost des Katie Gray cast Pete Coates, Stephanie Liebert, Sean O’Connor

SIONE’S 2: Unfinished Business Feature prod co SPP (09 839 0999) prods John Barnett, Paul Davis dir Simon Bennett writers James Griffin, Oscar Kightley line prod Janet McIver acct Susie Butler prod des Tracey Collins construct mgr Nik Novis DP Marty Smith casting dir Christina Asher cmpsr Don McGlashan ed Bryan Shaw asst ed Gwen Norcliffe loc mgr Harry Harrison head m/up sup Kevin Dufty script sup Melissa Lawrence snd rec Myk Farmer pub Tamar Munch stills Jae Frew cast Oscar Kightley, Robbie Magasiva, Shimpal Lelisi, Iaheto Ah Hi, Teuila Blakely, Madeleine Sami, Dave Fane, Mario Gaoa , Pua Magasiva, Nathaniel Lees

THE RIVER CASTLE Short drama prod co SilverGate Pictures dir Pavel Kvatch writer Joseph Ryan prods Helmut Marko, Pavel Kvatch DP Waka Attewell prod mgr Steven Charles prod coord Louise Charles art dir Kathleen Collins cast dir Katie Frost 1AD Del Chatterton 2AD Charlotte Hayes 3AD Elliot Travers loc mgr Lila Reibel locs Sarah West, Matthew Christophers loc asst Jacob Cordtz f/puller Michael Knudsen 1st cam asst Kim Thomas 2nd cam asst Josh O’Brien gaffer Adrian Hebron lx asst Lee Scott grip Jan Kleinheins grip asst Neil Hunter snd rec Benoit Hardonniere boom op Dylan Jauslin cont Lillian Beets set dec Tom Frame art assts Alia Miller, Olga Durban w/robe Roc Travers m/up Natalie Morgan stills Gina Donaldson making of Symon Choveaux unit Rachael Glassman unit assts Gabriel Abreu, Kane Walker cast Te Aho

Eketone-Whitu, Annemieke Van Gent, Tearuru Patia, Nathaniel Lees, Richard Whiteside, Holly Hornell, Andrew Bennett, Challot Elliot, Noosan Paku

IN RELEASE BILLY T: TE 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

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

Production listings 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 post-prod snd trainee Jordan Muzio comp Andrea Posse ed facility Martin Square lab facility Park Road Post cam Rubber Monkey Rocket Rentals lx Gunmetal insurnc Crombie Lockwood int sales NZFilm NZ distrib Vendetta cast Craig Hall, Matt Sunderland, Gina Varela, Karlos Drinkwater, Luke Hawker, Jess Smith, Nick Dunbar, Hayden Green, Geraldine Brophy, Jonathan King

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

LIQUORTINE DREAM 8.30min short digital prod co Remnant Films writer/ dir Kelly Lyndon co prod Graeme Cash, Kelly Lyndon DP Allan George cam asst Matthew Gibson gaffer Isaiah Vaega conts Ben Cooney, Kevin Luck unit/mgr Jesse Crombie cmpsr Hal Smith Stevens art dir Kelly Lyndon sfx m/up Celeste Strewe m/up/hair Peta Winikerei w/robe Dress to Impress ed Nicholas Newton cast Neesha Poole, Grae Burton, Te Kaea Beri, Rugen Du Bray, Chelsea McEwan Millar

Television pre PRODUCTION MEGAFACTORY 2x60min HD docos prod co NHNZ (03 479 9799) for National Geographic Channel exec prod John Hyde prod Job Rustenhoven prod mgr Suzanne Lloyd dir Job Rustenhoven, Mike Bennet rsrchrs Marcus Turner, Michael Henriquez cams Adam Jones, Grant Atkinson snd Daniel Wardrop, Craig Mullis mus Leyton eds Owen Ferrier-Kerr, Jason Horner

RUGBY WORLD CUP – AUCKLAND CITY OPENING CEREMONY 90min Live OB prod co/prod unit TVNZ n/work exec Tony Manson exec prod Tina McLaren prod Gavin Wood dir Rob McLaughlin prod mgr Terri MacFarlane prod coord Nicola Smith prod coord Nix Jaques res Mina Mathieson

SPARTACUS 10x60min graphic action-drama US prod cos Starz Media NZ, Pacific Renaissance exec prods Rob Tapert, Sam Raimi, Josh Donen, Steven S. DeKnight prod Chloe Smith line prod Mel Turner prod dir Michael Hurst, Paul Grinder prod mgr Helen Urban prod coord Tim Judson asst prod coord Amber Lynch prod sec Meredith Black prod assts Alan Drum-Garcia, Tom Furniss, Olivia Marshall prod runners Chris Drake, Andy Brown prod acct Sherie Wikaira asst accts Lissa-Mia Smith, Maya Abu-Mansour p/roll acct Alicia Lee acct assts Annie Baines 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, ep6 Michael Hurst dir ep2, 7, 10 Jesse Warn dir ep3 Brendan Maher dir ep4 Mark Beesley dir ep5 Rick Jacobson dir ep8 Chris Martin Jones dir ep9 TJ Scott DPs John Cavill, Dave Garbett, Rob Marsh cam ops Peter McCaffrey, Ulric Raymond, Todd Bilton 1ACs Henry West, Blair Ihaka, Jonny Yarrell 2ACs Alex Glucina, Dave Hammond, Gray Turner, Neal Wagstaff digi ops Chris Lucas, Ashley Thomas 1ADs Axel Paton, Hamish Gough, Luke Robinson 2ADs Rachael Boggs, Katie Tate, Patrick O’Connor 2nd 2ADs Aimee Robertson, Sarah Rose 3ADs Ngaire Woods, Stuart Morrice, Lynn Hargreaves, Tref Turner, Elaine Te sup art dirs Nick Bassett, Mark Grenfell, George Hamilton, Mike Becroft asst art dir Nick Connor set des Helen Strevens 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 Daniel Birt set drssrs Eliza Meldrum, Gareth Mills, Tane Jarrett set drssr asst Angus Kerr lead fab Hamish Wain lead text Sarah Bailey Harper text Patricia Dennis prps/byr Tasha Lang props asst Henric Matthiesen sec dec fab Neil Laffoley stby prps Tom Holden, Simon Hall stby prps asst Taya Polkinghorne art runner Phil Moore art asst Holly McIvor horse master Wayne McCormack prps/pros des Roger Murray cost des Lesley Burkes-Harding cost sup Alice Baker asst cost des Olivia Dobson key stbys Barbara Pinn, Joan Wilson stby Anna Voon, Naomi Campbell, Aleisha Hall, Amanda Jelicich-Kane key backgrnd stby Jess Neff, Tors Innes backgrnd stby Amethyst Parker cost byr Sara Beale wkrm sup Marion Olsen jeweller Emma Shakes key art finish Steven Starkey key cost props Natalie McAndrews, Sally Maingay cost runner Crystel Tottenham m/up /hair des Denise Kum m/up /hair sup Vinnie Smith onset m/up /hair sup Susie Glass, Claire Wolburg, Lauren Steward, Natasha Lees m/up /hair art Kath Rayner, Hayley Atherton, Aly Williams, Rachel Beedell, Natalie Vincetich, Jacqui Leung m/up pros art Shay Lawrence m/up /hair dept coord Jasmine Papprill bkgrnd m/up /hair Kyra Dawkins, Carmen Te Moananui m/up /hair asst Tamara Eyre 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, Marcus Upton gene ops Kimberly Porter, Aidan Sanders lx assts Vanessa Cotterill, John Paul McDonnell key grip Kayne Asher dolly grips Miles Murphy, Carl Venimore rig grip Jared Edley b/boy grips Peter Cleveland, Andy South crane op Daimon Wright grip assts Te Ra Tehei, Aaron Lewis, Solomon Dalton snd mix Dave Madigan, Fred Enholmer, boom op Chris O’Shea snd utility Sandy Wakefield key stunt coord Stuart Thorp stunt coord 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, Tim Christiansen 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 prod Romola Lang vfx art dir Peter Baustaedter vfx concept art John Walters, Berrin Moody, Dudley Birch vfx eds Stephen McHardy, Anu Webster vfx onset sups Ben Colenso, Tim Capper

THE ALMIGHTY JOHNSONS 2 13x60min drama/comedy prod co SPP (09 839 0999) prod Simon Bennett line prod Tina Archibald writers James Griffin, Tim Balme, Ross Hastings prod mgr Jo Tagg prod co Mariya Narkova prod sec Tim Burnell script co Rachael McMahon 1AD Gene Keelan 2AD Kate Hargreaves script sups Lisa Cook, Gabrielle Lynch loc mgr Benny Tatton DP Marty Smith prod des Tracey Collins cost des Katrina Hodge m/ up des Kevin Dufty

IN PRODUCTION 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

ATTITUDE - 7 40x29min disability focused docos prod co Attitude Pictures prod Robyn Scott-Vincent dirs Emma Calveley, Magdalena Laas, Gemma Murcott Ward, Richard Riddiford, Wendy Colville prod mgr Sue Wales-Earl prod trainees Brent Gundesen, Daniel Wrinch prod acct Jane Cotter rsrch Tanya Black, Dan Buckingham, Ann-Marie Quinn, Gemma Murcott Ward cam Sean Loftin snd Damon Arts, Eugene Arts gfx Brandspank ed Attitude Pictures offline eds Simon Hyland, Jai Waite online ed Simon Hyland snd TVNZ, Simon Weir reporters Tanya Black, Dan Buckingham

Lisa Cook, Aria Harrison, Kat Phyn prod des Gary Mackay art dept coord Cathy Adams art dirs Paul Murphy, Emily Harris s/by props Owen Ashton, Craig Wilson prps/byr Jo Larkin gfx Sarah Dunn art dept asst Anna Rowsell, James Rennie set dec Angeline Loo set dec asst Jacinta Gibson constr mgr Chris Halligan cost des Sarah Voon cost coord Sarah Jones cost byr Shona Lee cos s/bys Sarah Aldridge, Ciara Dickens, Lee Foreman s/by assts/jr byrs Alex Carter, Ruth England, Angela Sumner drssr Cecelie Bridgeford m/up des’s Vanessa Hurley, Stefan Knight m/up/hair art Shannon Sinton m/up/hair art Ana Au Kuoi 1st ADs Sarah Miln, Mark Harlen, Sophie Calver 2nd ADs Katrien Lemmens, Sophie Calver 3rd AD Esther Clewlow DPs DJ Stipsen, Dave Cameron cam ops Dave Cameron, Oliver Jones f/pullers Sam Mathews, Lee Allison cam asst Sam Fraser cam trnee Aleisha Frazer gaffer John Bell b/boy Chris McAllister gene op Christian Dunn lx asst Ewan Hall key grip Tommy Park asst grip Jeremy Osborn trnee grip TeOranga Witehira snd rec Richard Flynn boom op Matt Cuirc snd asst Adnan Taumoepeau loc mgr Charlotte Gardner loc coord Eddy Fifield loc asst Nina Bartlett eds Bryan Shaw, Jochen Fitzherbert, Brough Johnson, Allanah Milne asst ed Kerri Roggio casting Christina Asher cmpsr Jonathan Bree post prod Images & Sound pub Tamar Munch pub coord Lucy Ewen safety Willy Heatley, Bryce Pearce catering Rock Salt stills Jae Frew, Caren Hastings, Matt Klitscher stunts Mark Harris unit Ben Dun unit asst Josh Dun swing driver cptn Ben Dun cast Jay Ryan, Anna Hutchison, Alix Bushnell, Bronwyn Turei, Esther Stephens, Matt Whelan, Brittany Wakelin, Ingrid Park, Annie Whittle, Leighton Cardno, Michele Hine, Johnny Barker, Roy Snow, Arthur Meek, Quinn-Ava Meredith, Neill Rea, Bruce Philips, John Tui, Ayse Tezel, Brandon Cook, Jon Brazier, Dan Musgrove

GOOD MORNING 2011

13x26min factual/entertainment prod co Notable Pictures prod Julia Parnell dirs Dane Giraud, Ihakara Wilson pres Glen Osborne writers Dane Giraud, Ihakara Wilson DP Richard Harling cam op Lisa Moore snd op Cameron Lenart eds Tim Grocott, Yan Chengye prod mgr Zanna Gillespie

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 rsrchrs Andrew Wood, Georgia Stephens, Simon Ragoonanan, Erina Ellis, Laura Bootham, 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

BUILT FOR THE KILL

HINDSIGHT SEASON 2

4x60min doc prod co NHNZ co prod Nat Geo Wild exec prod Phil Fairclough series prod Ian McGee post prods Lemuel Lyes, Jacqui Crawford eds Jason Lindsey, Jason Horner archive prod Lemuel Lyes archive asst Steve Ting prod mgr Glenda Norris

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

BRING YOUR BOOTS OZ – SERIES TWO

CLINICAL YEARS 1x60min doco prod co PRN prod/dir Paul Trotman cam Scott Mouat, Stephen Dowwnes, Wayne Vinten snd Brian Shennan

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

DESCENT FROM DISASTER

prod co Greenstone Pictures ho prod Andrea Lamb prod Kate Peacocke line prod Kylie Henderson rsrchr Alex Reed fund PRIME / NZOA

HOMAI TE PAKIPAKI 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

6x60mins prod co Screentime exec prod Philly de Lacey dirs Ross Peebles, Mary Durham, Bryn Evans, Rupert McKenzie prod Ross Peebles prod mgr Carolyn Harper

GO GIRLS 4 13x60min drama/comedy prod co SPP (09 839 0999) exec prods John Barnett, Gavin Strawhan, Rachel Lang prods Chris Bailey, Britta Johnstone line prod Sharron Jackson s/liners Gavin Strawhan, Rachel Lang, Kate McDermott, Alistair Boroughs, Sam Shore, Laura Hill writers Gavin Strawhan, Rachel Lang, Kate McDermott prod mgr Linda Fenwick prod coord Kate Olive asst prod coord Sylvia Guerra script/extras coord Sarah Banasiak runner Tim Burnell prod acct Susie Butler asst acct Natalie Millerchen dirs Murray Keane, Michael Duignan, John Laing script sups

subs@mediaweb.co.nz

HISTORY UNDER THE HAMMER

90min feature prod cos Making Movies, Gebrueder Beetz prods James Heyward, Andy Salek line prod Liz DiFiore writers James Heyward, Leanne Pooley dir 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

The 2011 Data Book is now available. BUY YOUR COPY TODAY for just $25 + GST www.onfilm.co.nz

september 2011

29

Production listings 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

INSIDE TATTOOING

44min doco brdcst TV3 prod co Buto Productions exec prod Glenn Elliott prod/dir Glenn Elliott prod Karen Bunting DP Greg Parker prod mgr Anna von Tunzelmann snd Cameron Lenart ed Niki Hiini TV3 commissioner Sue Woodfield

I SURVIVED 4 (#2) 10x60min HD doco prod co NHNZ (03 479 9799) for A&E TV Networks exec i/c of prod Michael Stedman series prod Alan Hall prod mgr Dayle Spavins rsrchrs Marina De Lima, Stephanie Antosca, Bridget Baylin, Jonathan Zurer, Peter Holmes, Brant Backlund

I SURVIVED 9/11 1x2hr special HD doco prod co NHNZ (03 479 9799) for A&E TV Networks exec i/c of prod Michael Stedman exec prod Andrew Waterworth series prod Alan Hall prod mgr Dayle Spavins rsrchrs Marina De Lima, Stephanie Antosca, Bridget Baylin asst prod Peter Holmes dir Alan Hall DP Kris Denton 2nd cam Robert Winn, Stephen Downes, Max Quinn, Michael Dwyer VFX Donald Ferns archive rsrchr Lemuel Lyes post dir Bill Morris offline ed Cameron Crawford

I SURVIVED...

BEYOND AND BACK 10x60min HD doco prod co NHNZ (03 479 9799) for A&E TV Networks exec i/c of prod Andrew Waterworth exec prod Judith Curran series prod Janice Finn prod mgr Robyn Pearson rsrchrs Nadia Izakson, Becky Beamer, Alissa Collins Latensa, Kelly Meade dir Judith Curran, Lauren Thompson DP Alex Hubert, Eric Billman prod coord Supriya Vasanth post dirs Craig Gaudion, Kelly Meade, Jane Adcroft offline eds Cameron Crawford, Marilyn Copland, Karen Jackson

WHAT WOULD YOU DO? 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

RENTERS

UNSUNG HEROES

prod co Greenstone Pictures ho prod Andrea Lamb prods Simone Goulding, Anna Lynch prod mgr Laura Peters fund TVNZ

prod co Greenstone Pictures exec prod Cass Avery prods Bridgid Davis, Saffron Jackson prod mgr Jani Alexander rsrchr Kirsten Warner prod asst Siobhan Kelly fund TVNZ/NZOA

RURAL DELIVERY 7 40x30mins weekly prod co Showdown Productions exec prod Kirsty Cooper prod Tracy Mika line prod Emma Slade dir Jerome Cvitanovich, Kirsty Cooper prod mgr Iris Derks prod coord Barbie Nodwell prod asst Andrea de Klerk DP Richard Williams rsrchrs Richard Bentley, Jerome Cvitanovich, Hugh Stringleman, Marie Taylor ed Christine Jordan presenter 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, Simon Bennett prod Steven Zanoski line prod Liz Adams dirs Geoff Cawthorn, Katherine McRae, Richard Barr, Wayne Tourell, Laurence Wilson trainee dir Oliver Driver script prod Paul Sonne s/liner/story ed Paul Hagan s/liners Kirsty McKenzie, Alistair Boroughs, Caley Martin, Joanna Smith, Damon Andrews, Aimee Beatson 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 coord Bryn Collins vis mix Fran Hodgson lx asst Chris Watkins loc DP Drew Sturge 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, Jessica Leijh gfx coords Alex Kriechbaum, Sarah Dunn cost des Nicola Newman asst cost des Rebecca Jennings cost standbys Katie Jones, Kelly Marumaru, Keri Wheeler 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 Benedikter asst ed/digitiser Matthew Allison online ed Dylan Reeve snd mix Neil Newcombe snd eds Margaret Newcombe, Ora Simpson cast dirs Andrea Kelland post prod sup Sara Knight pub Rachael Keereweer pub asst Chris Henry dialogue coach Shirley Duke asst chaperone Kate Lumb 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, Matt Chamberlain, Beth Allen, Sally Martin, Jacqueline Nairn, Ido Drent, Pearl McGlashan, Natalie Medlock, Geordie Holibar, Frankie Adams, Virginie Le Brun, Tyler Read, Amelia Reid, Teuila Blakely

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 Gem Knight, Johnson Raela eds Michelle Bradford, 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 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

POST PRODUCTION INNOVATION STORIES 14 eps TVNZ7 prod co Gibson Group prod Gary Scott res Emily McDowell prod mgr Ali Black dirs Emily McDowell, Dan Salmon cams David Paul, Bed Freedman, Matt Knight ed Ben Powdrell n/wrk Philippa Mossman

M HARO 6 50x26min Māori language, educational series prod co Tūmanako Productions exec prod Kay Ellmers prod Kim Muriwai prod mgr Moana-Aroha Henry prod coord/art/res Casey Kaa prod asst Miria Flavell res/ comp dirs Summer Wharekawa, Jo Tuapawa pres/ dir Huria Chapman pres Whatanui Flavell reo con Hohepa Ramanui dirs Kent Briggs, Kewana Duncan, Dan Mace, Lilly Panapa, Paora Ratahi, Tui Ruwhiu, Orlando Stewart, Jan Wharekawa, Lanita Ririnui-Ryan, Ngatapa Black, Mahanga Pihama, Jo Tuapawa trnee dir Monowai Panoho cam ops Samarah Wilson, Greg Parker, Daniel Apiata, Te Rangi Henderson post prod RPM Pictures ed Charlotte Wanhill comp ed Jason Pengelly illus Zak Waipara snd post prod/anim Phill Woollams comps Joel Haines, Ngatapa Black

MEET THE LOCALS CONSERVATION WEEK SPECIAL 2011 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

NOTHING TRIVIAL

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

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 h/o dev Tim Balme dirs Mark Beesley, Murray Keane, John Laing, Peter Salmon acct Elisha Calvert asst acct Sheree Silver eds Allanah Milne, Jochen Fitzherbert, Paul Maxwell gfx des Savannah MacIntosh post prod sup Grant Baker pub Tamar Munch pub asst Lucy Ewen stills Jae Frew, Matt Klitscher cast Blair Strang, Tandi Wright, Debbie Newby-Ward, Shane Cortese, Nicole Whippy

THE ART OF ARCHITECT

NZ DETECTIVES SERIES 2

prod co Greenstone Pictures ho prod Andrea Lamb prod Kate Fraser prod mgr Rebeca Plaistow prod coord Simone Faets fund TVNZ

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

NEIGHBOURS AT WAR

THE COURT REPORT 3

3x45min doco prod co Gibson Group prod Alex Clark exec prod Gary Scott dir Dan Henry ed Paul Sutorius gfx Tim Gibson online ed/colourist Adam Sondej cmpsr Stephen Gallagher snd post prod Phil Burton n/wrk exec Jude Callen n/wrk TVNZ

MANA MAMAU 40x26min brdcst Maori TV prod co Buto Productions exec prod Glenn Elliott n/work exec Melissa Wikaire asso prod Karen Bunting prod mgr Anna von Tunzelamann prod cam ops Greg Parker, Jake Mokomoko, Guy Quartermain, Ollie Logan dir Rangi Rangitukunoa snd Cameron Lenart, Tom Dreaver prod assts Maria Hendrischke, Sean Buckley, Rachel Jury presenters Tumamao Harawira, Patara Berryman IPW crew Nathan Fenwick, Daniel Burnell eds Calkin Rameka, Janice Mulligan asst ed Samuel Rodgers Te Reo cons Scott Morrison

MOTORWAY PATROL

TANGAROA WITH PIO SERIES 7

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

18x30min TVNZ7 prod co Gibson Group exec prod Gary Scott prod Sofia Wenborn pres Greg King cam/ snd TVNZ Avalon n/wrk Philippa Mossman

POLICE TEN 7

30min wkday youth show prod co Whitebait-TV pres Erin Simpson reporters Kimberley Crossman, Katy Thomas, Isaac Ross, Mark Dye, Eve Palmer prod coord Kim Johnston studio rsrchr Nicola Eton dir asst Tom Dyson art dept Lennie Galloway cam op Matt Martini ed/cam op Nathan McKinnon w/robe Lee Hogsden website Kieran Granger eds Stu Waterhouse, Tyler King audio post Vahid Qualls gfx Mike Boulden rsrchr Juliana Murphy post dir Tracey Geddes dir Nigel Carpinter prod mgr Jo Eade asso prod Penny Watson prod Emma Gribble exec prod Janine Morrell-Gunn n/work exec Kathryn Graham

40x30min prod co Screentime exec prod/prod Philly de Lacey, Mary Durham dirs Scott Hindman, Les Dawson prod Sarah-Luise Whatford asso prod/ rsrch Katherine Birchall prod coord Olivia Lynd gfx Marcus Brill, Kathy Kennedy pres Graham Bell offline ed Malcolm Clarke 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

30

september 2011

THE ERIN SIMPSON SHOW

www.onfilm.co.nz

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 cmpsr Stephen Gallagher snd post prod Phil Burton n/wrk exec Kathryn Graham n/wrk TVNZ

PRIMEVAL NEW ZEALAND 1x60min HD doco prod co NHNZ exec prod Judith Curran prod/ed Celia Offwood host Peter Elliott cam Max Quinn rsrchrs Brant Backlund, Steve Ting prod mgr Glenda Norris post prod snd Stacey Hertnon

RAPTORS 1x60min HD doco prod co NHNZ co prod National Geographic Channel & Nat Geo Wild exec prod John

Hyde host James Currie prod/dir/cam Giles Pike cam Max Quinn prod mgr Christina Gerrie rsrchrs Marcus Turner, Michael Henriquez ed Christopher Tegg mus Leyton post prod snd Errol Samuelson

SHACKLETON’S CAPTAIN 90min feature prod cos Making Movies, Gebrueder Beetz networks TVNZ / ZDF / ARTE dist ZDFE writers James Heyward, Leanne Pooley, Tim Woodhouse prods James Heyward, Andy Salek line prod Liz DiFiore dir Leanne Pooley dir assts Kelly Krieg, Olivia Garelja prods pa Katie Bolt 1AD Hamish Gough 2AD Katie Tate 3AD Andrew Burfield prod assts Ellie Callahan, Rachel Choy, Shannon Ween prod intern Lisa Brown prod runners Jasmine Rogers-Scott, CJ Withey, 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 assts Kim Thomas, Jacob Slovak vid splt/data intern Leigh Elford 2nd unit DP John Cavill 2nd unit ac George Hennah 2nd unit 2nd ac Meg Perrot snd Myk Farmer conts Rachel Choy, Katie Theunissen gaffer Thad Lawrence b/boy Tony Slack lx assts Merlin Wilford, Gilly Lawrence, Steven Renwick, Ben Corlette, Sam Jellie, Jack Gow key grips Kevin Donovan, Jim Rowe b/boy grip Chris Rawiri grip assts Winnie Harris, Chris Tait grip trainee Sam Donovan spfx Film Effects Company spfx sup Jason Durey spfx office coord 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 assts Charlotte Turner, Amber Rhodes m/ up des Davina Lamont m/up arts Michele Barber, Tash Lees, Hayley Oliver, Debbie Watson, Levonne Scott safety coords Scene Safe, Chris Griggs, Sam Armitage nautical adv Kevin Donovan unit mgr Samuel 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 archive res Sarah Bunn cast Craig Parker, Charles Pierard, Hugh Barnard

UNDERBELLY NEW ZEALAND 6x60min drama prod co Screentime ep Philly de Lacey prod/dir Ric Pellizzeri dir Mike Smith co prod Bridget Bourke prod coord Jo Finlay prod sec Kate Moses cast dir Terri De’Ath 1AD Natasha Romaniuk eps 1-2, 5-6 Edd Bennetto eps 3-4 2AD Katie Hutchinson 3rd AD Richard Silvester ep 1-4 Sarah Rose ep 5-6 on set PA Rachael Bristow prod runner Melinda Jackson prod des Chris Elliot art dir Brant Fraser on set art dir Sam Storey art dept coord Liz Thompson-Nevitt set dec Gareth Edwards prps buyer/set drssrs Karin Reinink, Gareth Mills prp master Seth Kelly prps assts Scott Satherley st/by prps Zach Becroft art assts Anna Roswell art runner Bonnie Kells scenic art Peirce Clarke constr mgr Matthew Thomson gfx Sue Mercer vehicle wrangler Justin Cardon DP Tom Burstyn 1st cam op DJ Stipsen 2nd cam op/gaffer Grant McKinnon 1st AC Peter Cunningham 1st cam 2nd AC Kent Belcher 2nd cam 1st AC Steve Allanson 2nd cam 2nd AC Kim Thomas eps 1-4 Mi Kyung Shannon Ryu eps 5-6 DIT Jay Weston cont Hayley Abbott eps 1-2, 5-6 Laurel Urban eps 3-4 gaffer Grant McKinnon lx assts Brian Laird, James Young, Mike Toki lx trnee Alex Jenkins key grip Anton Leach b/boy Chris Rawiri grip asst Winnie Harris grip trainee Sam Donovan snd rec Adam Martin boom op Sam Good eps 1-2 Kyle Griffiths eps 3-6 stunts Mark Harris cost des Tracey Sharman w/robe sup Kirsty Steele w/robe st/bys Jacinta Driver, Carmel Rata eps 1-2, 5-6 Ciara Dickens eps 3-4 drssr Adele Hing w/robe assts Keri Wheeler, Lissy Patterson m/ up hair des Tracey Reeby m/up arts Jean Hewitt, Kirstie Fullerton, Reia Perkins m/up trainee Merin Williams loc mgr Sean Tracey-Brown loc asst Craig Tikao safety coord Robert Gibson on set safety Steve Jennings unit mgr Charlie Adams unit asst Nod Anderson caterers Luscious prod acc Barbara Coston acc asst Mandalina Stanisich ed Lisa Hough eps 1-2, 5-6 Margot Francis eps 3-4 ed asst Shailiesh Prajapati legals Russell McVeagh, Karen Soich cast Dan Musgrove, Thijs Morris, Holly Shanahan, Jamie Irvine, Stelios Yiakmis, John Leigh, Errol Shand, Joel Tobeck, Gary Young, Edith Poor, Richard Knowles, Damien Avery, Andrew Laing, Will Hall, Aaron Ward, Mark Warren, Scott Wills, Olivia Tennet, Colin Moy, Rachael Blampied, Peter Tait, Katherine Kennard, Melissa Reeve, Sophia Huybens, Esther Stephens, Sophie Henderson, Anna Jullienne, Milan Borich, Jason Hoyte, Johnny Barker, Calvin Tuteao, Tahl Kennedy, Ranald Hendriks

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I have not yet done anything or see anything done on digital that could not be ndon on film and be more beautiful and easeier .

Joaquin Baca-Asay Director. Cameraman. Realist.

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