ONFILM October 2010

october 2010 $7.10 incl gst

N Z ’ S S CREE N P RO D U CT I O N I N D U S TR Y M A G A Z I N E

onfilm.co.nz

After

thoughts Writer-director Simone Horrocks on making feature film debut After the Waterfall Plus Tracker at Toronto, Ever Wondered? questions answered, and much more

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contents octoBER 2010

Views 4 Doug Coutts and the Tosh Club are considering taking their

business offshore in pursuit of cost-effectiveness; a prescient 2006 Chris Knox cartoon seems to predict a present-day predicament; and it’s time to nominate your choice for the 2010 SPADA/Onfilm Industry Champion; profiles of WIFT member and documentary maker Suzanne Raes and new WIFT board members Stephanie Bennett and Imogen Johnson; and expat trans-Tasman man of mystery James Bondi files a report on the Oz screen industry.

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When disaster strikes

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The natural history of Michael Stedman III

18 Cover: Lead Antony Starr in the turning point scene of feature film After the Waterfall, which is released nationwide on 4 November. Photo: Kirsty Griffin.

When the earth shakes or the rain pours there may actually be some relief already provided for in most screen industry contracts. David McLaughlin elaborates.

The final instalment of our interview with the NHNZ CEO and 2009’s SPADA/Onfilm Industry Champion, in which he talks about the company’s international expansion and what the NZ screen production industry needs in order to grow.

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12 Wonder boys

Producer Glenn Elliot of ButoBase and director Simon Raby talk about the challenges involved in making science series Ever Wondered?

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What’s new

A spotlight on three new products or services.

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Following Tracker at TIFF

Kerry Doole reports on the reception received by NZ-UK co-pro Tracker at the Toronto International Film Festival in September.

18 Before, during & After the Waterfall

Part one of a two-part interview with writer-director Simone Horrocks about making her feature film debut, After the Waterfall.

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Lighting feature

Including Local Action’s Brett Mills, A2Z Technology’s Rex Milton and David Epstein, Flashlight Film Services’ Gordon Smith, Panalux’s Jim Keating, and Hooked on Power’s Jeff Benton.

28 Production listings

Volume 27, Number 10

Est 1983

Editor: Nick Grant (editor@onfilm.co.nz) 027-810 0040 Contributors: Doug Coutts, Kerry Doole, Philip Wakefield Ad Manager: Kelly Lucas (admanager@onfilm.co.nz) 0-9-366 0443 Production Manager: Fran Marshall Designer: Cherie Tagaloa New Subscriptions: www.onfilm.co.nz/subscribe Subscriptions Enquiries: subs@mediaweb.co.nz, 0-9-845 5114 Pre-press and Printers: Benefitz Onfilm is published 11 times a year by Mediaweb Limited, which also publishes The Data Book.

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OCTOber 2010

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w e i v e t a A priv Making a clean sweep It’s spring-cleaning time down at the Tosh Club and, before you say “it’s almost a by doug coutts little late for that”, let me point out we’re still on Spring 2007. Our healthy disrespect for deadlines is all-pervasive.

Still, there’s nothing like a lick of paint to get the creative juices flowing, especially if it’s lead-based and still in the can. We’ve embarked on a huge clean-up and a revamp of the premises, something that hasn’t been done for a number of years. (A very large number it is too.)

To keep costs down, we’ve been doing the work ourselves. That’s involved a huge amount of preparatory work – in order to work out a roster we’ve been going through the membership lists sorting the wheat from the chaff, and making a mental note not to store the records in anyone’s barn ever again.

It hasn’t been an easy job working out how many active members we have at present, and not just because the definition of “active”

W FT NZ

can be vague – for instance, it might mean turning up for meetings, or taking advantage of the gym, or leaping to the front of the bar queue when Happy Hour starts.

So we’ve relied on a tried and true method used by some industry moguls to determine the size of various industry groups in the country – hearsay. After talking amongst ourselves and taking the advice of a couple of friends, we’ve come up with a total of between two and 17 active members of the Tosh Club, which is rather poor when you consider that the number of freelance writers employed across the board in the New Zealand media is around 73 million. (This, of course, includes those who have written letters to the editor, shopping lists and sick notes for their children.) We must go on a membership drive, when we get our licence back.

Because of the lack of helpers, progress has been steady but slow.

The gutters are almost clear of Moss, Lichen and Fungi, former property developers who fell upon hard times and then our club roof. The graffiti has been washed off the toilet walls,

after being copied down for use once copyright has expired. And the toilets themselves have been sanitised within a centimetre of their lives and wouldn’t be out of place in a Commonwealth Games village.

Which leaves the floor coverings… where once were carpet and lino is now a homogenised gooey mess, the result of aeons of spillages and tramplings. In fact, there’s a spot by the servery hatch that looks distinctly plaid, possibly leftover from a Burns Night party regularly run by the Guy Fawkes Adjunct until the Fire Service started charging for callouts.

It’s got to go. But choosing a replacement is proving difficult. The initial idea was to go for all natural timbers, until we realised most came from unsustainable forests. That meant going back to the drawing board, handily made of MDF but nowhere big enough to do the whole building. So we’ve opted for carpet, which means choosing a supplier.

There are several local mills to choose from, all with many years of experience and a reputation for quality products.

Sadly, they also have a reputation for

“WIFT is an organisation I’m proud to support as a female producer.”

ROBIN LAING

WIFT NZ international reach, local support Join a world of women in film and television.

ENQUIRIES TO: info@wgtn.wift.org.nz or office@wiftauckland.org.nz www.aucklandactors.co.nz

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october 2010

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charging like a wounded gaffer, so we’re looking offshore as well.

There are a couple of possibles, one in a small town in Asia that offers a similar product but at a much better price – we understand that children may be employed in the manufacturing process but very few actually end up in the product itself. And our contacts have assured us in writing there is a sweetshop on the premises.

They also assure us that their staff prefer to work not for wages but for the experience of being part of a giant flooring conglomerate that brings warmth to many billions of feet around the world.

And that’s fine by us. Because if they don’t come through, there’s another factory down the road where everyone works for peanuts, although there may be an issue with fleas in the packaging.

The important thing is that we end up with all our bases, and floors, covered. Oh yeah, and some money left in the kitty. Just in case we opt for a hobby palm oil grove in the carpark.

Ed’s note

Chris Knox’s view in Dec ’06

Size matters A

Nominate your industry champion by 1 November I

f you haven’t yet registered for this year’s SPADA Conference, then you’d better get a move on if you’re intending to attend (for more info, see www.spada. co.nz).

Which of course means it’s time again for readers to nominate a member of the New Zealand screen sector for the 12th annual SPADA/Onfilm Industry Champion Award.

The nomination form is available via the featured post section on Onfilm’s new website (www.onfilm.co.nz), while the deadline is Monday 1 November.

The award is intended to reward “passion and professionalism in making a significant contribution to the production industry”. The term “significant contribution” is deliberately vague, to keep the criteria as open and as broad as possible – it may describe a single action, activity or achievement, or an entire lifetime of commitment.

The winner may be an individual, an organisation, or a company, and will be announced at the conference that’s being held 11-12 November at The Langham Hotel, along with the recipients of the SPADA New Filmmaker of the Year and the Independent Producer of the Year Awards (you can find all the details you require about these awards on SPADA’s site – deadline for both is Friday 29 October).

The inaugural Industry Champion in 1999 was writer Arthur Baysting, a key figure in uniting the industry under the Green Ribbon Trust banner to campaign for a NZ TV quota, while the 2000 winner was the NZFC’s marketing maven of 20 years, Lindsay Shelton.

In 2001 the honour went to Peter Jackson and Fran Walsh for their “passion, bloody-mindedness and sheer chutzpah” in bringing Hollywood to Miramar.

South Pacific Picture’s John Barnett got the nod in 2002 thanks to the myriad of roles he has played as an “indefatigable member of the industry, its culture and its politics”, and in 2003 John McRae was tapped in recognition of his unstinting contribution to New Zealand television drama during his long career.

The recipient in 2004 was Diana Rowan, thanks to her “immeasurable passion, commitment, integrity and success in helping NZ drama” in her career as a casting director par excellence, while independent producer Dave Gibson of the Gibson Group was honoured in 2005 for his commitment “to the industry, his staff and colleagues, and to the Wellington creative sector that he has helped to build”.

In 2006 the NZFC’s Mladen Ivancic was acknowledged for being “the consummate professional in all his dealings – humble, empathetic, fair and entirely trustworthy” with “a genuine desire to get films made and real satisfaction from contributing to others’ success”.

2007’s SPADA/Onfilm Industry Champion was Dick Reade, in acknowledgement of his generous and humble support of the industry via both his creativity as a sound recordist and mixer and the way in which he has mentored many sound recording and engineering professionals over the years.

2008 saw the award go to Caterina De Nave, for her “legendary contribution to New Zealand drama, comedy and film for 30 years” as both producer and network executive, while last year the recipient of the title of Industry Champion was NHNZ CEO Michael Stedman, the final part of our interview with whom you will find on page 10.

So what are you waiting for? Nominate your industry champion now.

s I sit down to write this, the obvious topic to address is the impasse over The Hobbit, now three weeks old and counting. It’s such a complicated subject, however, that I’m loathe to take a tilt at it in the limited space I have here.

Also, am I being overly optimistic to think that by the time this issue has been printed and made its way to subscribers and bookshops the imbroglio will have been resolved? Hope not.

Anyway, for both these reasons I’m intending to pontificate about it on the new website (yes, it’s finally up if you haven’t looked during the past month). Of course, I may decide discretion is the better part of valour and chicken out – given how heated some of the inter-industry exchanges have been to date, the prospect of venturing an opinion is somewhat daunting. Ah well, if I have posted such a piece, you might well have read it by now, or heard it referred to in such terms as ‘editor immolates own career’…

Anyway, to return to a thought I had intended to explore last issue: surely it’s the small size of New Zealand’s population that’s a primary – if not the prime – problem that bedevils our local screen production sector?

With a modicum of effort, almost any issue one can identify that’s hindering the industry can be traced back to a simple lack of warm bodies inhabiting these increasingly shaky isles.

Get a cross-section of industry members around a table, for example, and before long you can be sure someone will be bemoaning – from the perspective of both maker and viewer – the lack of more challenging fare in the networks’ primetime schedules.

The wonderful The Wire being buried in a graveyard slot is a touchstone that’s readily reached for, while the primetime success of The Sopranos is the exception that proves the rule, thanks to its creator having cunningly wrapped his tale of Freudian foibles and existential angst in sufficient brutality to appeal to a broad audience.

As Mad Men’s Matthew Weiner noted in a section of the interview there wasn’t room to publish last issue, it was the fracturing of the television market in the US and the accompanying “ability to make money off a smaller audience that has been the secret” of the success of shows like his.

Of course, “smaller” is a relative term – as a proportion of the US population, Mad Men’s audience there is tiny (The Hollywood Reporter describes it as “tragically low”); in real terms though, a group of viewers equivalent to 75% of New Zealand’s population is nothing to be sniffed at.

In the end the percentage of NZ viewers who enjoy Mad Men and its ilk is pretty similar to that in the US; it’s just the reality of those raw numbers that sees them banished to the further reaches of the networks’ schedules here.

The same issues inarguably afflict our film industry – low budgets are a reflection of a low population base and so too are low box office figures (though obviously perceived quality plays a role too).

So, here’s a modest proposal: how about a pan-industry campaign to change NZ’s immigration policy so it’s more permissive – thus increasing our population much faster – and with a love of NZ film and television being a key qualification criteria?

Hey, I’ve heard many more hare-brained ideas than that in the past couple of weeks…

– Nick Grant

www.onfilm.co.nz

october 2010

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s w e i v T F WI

Cinema activism in action A documentary filmmaker from the Netherlands, Suzanne Raes’ films have often focused on topical social issues, including an undocumented immigrant photographer in The Houses of Hristina, a black school in The Hague in World Class, and now retired political activists in The Rainbow Warriors of Waiheke Island, which had its New Zealand premiere at the NZIFF this year. Interview by Ghazaleh Golbakhsh.

Suzanne Raes

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october 2010

Your film is described as ideals in action, about the individuals who so earnestly wanted to bring about change in the world by taking radical action. How can we, as filmmakers, use the platform of cinema to raise social awareness of important issues for our audience and inspire activism through film?

Film is a unique and most powerful way to inspire and provoke action because of its ability to both inform and emotionally involve. In film, much more than in a pamphlet, you can draw an audience into the story you tell.

So you give shocking information, or show examples of how activism did change things and people will consider taking action themselves. But not by just broadcasting it – you have to carefully distribute films for the right audiences and prepare education, debate and discussion.

In a film like Budrus, about a peaceful protest in Gaza, the film was used in both Israel and Palestine as a good example of how to change things. In the credits the filmmakers thanked not only the people they filmed but also many other similar initiatives.

The Rainbow Warriors of Waiheke Island can be used to inform youth about this important chapter in modern history but is also used by Greenpeace internally in many offices to debate on where the organisation stands now and what to learn from its own history.

www.onfilm.co.nz

The Rainbow Warrior story is legendary in New Zealand, so what were your thoughts prior to showing it to an NZ audience?

The story of the bombing and the spyintrigue afterwards is legendary but, as I heard from many New Zealanders, the actions the boat did in Rongelap, for example, were not so well known.

By choosing the perspective of the people witnessing it I was hoping to offer a new insight, even in NZ. I read that the film inspired some young viewers in Holland so much so that they were keen to come to Waiheke and help change the world.

However, I’ve also encountered the opposite – some of my own peers and those of the younger generation have no interest in activism as they believe that it has all been done before and that nothing can come of it. What advice would you give to new filmmakers who are keen to help change those views?

Well, there were young people who wanted to come to Waiheke for a holiday, or have a similar life like Hanne’s, but there were also students who asked if it still is possible to get on a boat like the Rainbow Warrior. I did not present the film as a ‘lesson’ but as a good story and an exciting film, which helps if you want to get the message through.

What kind of stories do you think inspire people today? Are there

specific issues that should be raised in film?

I was really very moved and shocked by the documentary Inside Job, an American film about the financial crisis.

This film will really change me – for example, I will be going to another bank than the one I am with now. I think it is important that good investigative journalists work together with filmmakers to get their information to a wide audience and stimulate awareness.

Jean-Luc Godard once said that all films are political. Do you agree? For example, should more fictional films aim to show a political conscience with hopes of providing a more active response from viewers, as opposed to just allowing them a film to escape in passively?

I do not think you can say that films should show a political conscience.

For me, that reminds me of Soviet or Nazi propaganda. I just hope that there always will be both talented and critical thinking filmmakers who want to make good films and show where their heart is as well.

This year WIFT is strongly advocating for women directors. What are your thoughts on the ratio of male directors outnumbering female directors in the industry?

In the Netherlands most documentary filmmakers are women!

New WIFT NZ board members Stephanie Bennett Stephanie Bennett recently moved to New Zealand where her first film – Chris Bailey: Ringha Whao, about the renowned Māori sculptor – recently aired on Ma¯ori Television. She is currently developing a number of other projects from stories originating in New Zealand with her production company Rongo Films.

Bennett started her filmmaking career in 1982 with her company Delilah Films producing the first ever “rockumentary”, The Compleat Beatles, which sold over one million copies and set the standard for all the company’s music documentaries and concert films that were to follow, including Endless Harmony: The Beach Boys, Woman Of Heart and Mind: The Joni Mitchell Story, The Everly Brothers Reunion Concert, and The Everly Brothers: Rock ’n Roll Odyssey.

Bennett then teamed with The Rolling Stones’ Keith Richards and Ray director Taylor Hackford to capture Chuck Berry’s story in the Universal feature film release Chuck Berry: Hail, Hail Rock ’n Roll.

With the advent of home video and cable television, Bennett created the innovative and successful Cinemax Sessions for Home Box Office, focusing on music legends, for which she produced Roy Orbison: Black and White Night, featuring Bruce Springsteen, Elvis Costello, Bonnie Raitt, Jackson Browne, KD Lang, JD Souther, and T-Bone Burnett, backed by James Burton and Elvis Presley’s famous band.

Bennett has now produced over 50 documentaries and concerts for PBS, BBC, MTV, VHI, and HBO, many of which have been distributed worldwide on DVD and international television.

Imogen Johnson Imogen Johnson has worked in the film, television and PR industries for nearly 20 years. She has been a successful senior actor and voice agent since 1998, having spent four years prior to this as a PR account manager for a blue chip company in London. She has a comprehensive and extensive understanding of the industry and is adept in a range of business areas, including sponsorship, publicity (she once worked for TVNZ in this area), entertainment law, and journalism.

Johnson established Johnson & Laird Management in 2002 after recognising a niche need in the market place. J&L’s philosophy from the outset has been to provide pro-active and creative representation to its exclusive clientele base, which consists of many of the country’s best actors, presenters, MCs, entertainers, and voices.

Johnson & Laird Management has many shared clients with international agencies in LA, New York, London, Sydney, and Melbourne, and Johnson travels extensively every year to service these associations, which have resulted in many leading local actors now working in drama and film in Australia and the US. Johnson has a Masters (Hons) degree in English Lit and a double BA in English and Art History.

NZ film artists in brief – a series Popular Productions

P

opular Productions arose from a loose art ‘collective’ comprising a number of interchangeable individuals. Their work, which addresses concepts of gender, originality and individuality plays with ideas of artistic meaning. Because much of their work arose from a variation on secondhand shopping, they were sometimes seen on Auckland’s Karangahape Road, though they have been seen less regularly in that precinct since many of the second-hand shops moved elsewhere. The collective has since graduated to patronising army surplus stores.

Popular Productions specialises in producing Bad Music, Bad Sound, and Bad

Films in works such as the Master Bedroom (1986), You Require Filmic Pleasure (1987), Dora Visits The Blushing Bride (1988), Wonder What (1990), Wonder What’s Wrong (1990), Utopia: Discreet Investigations (1992), Epicene Soundworks (1993), and Ploughed Field (2003). These wryly contemplative works, which refute notions of cinematic craft and quality, are currently being digitised for some type of release this year.

In 2004, a work created by this collective, known as et al, was the subject of a media furore in New Zealand after being chosen as the country’s official representative at the 2005 Venice Biennale.

Less than a month to go… have you registered?

SPADA CONFERENCE 11-12 November 2010 The Langham Hotel Auckland

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h c t i D e h t Across

Our expat spy provides his idiosyncratic take on the Aussie film and television industry.

B

y the end of September, Boy had taken around A$1.5 million at the Oz box office, on

by JAMES BONDI top of its earlier screening to audiences of more than 2000 at the Sydney Film Festival.

That’s a very respectable result on this side of the ditch for a Kiwi film – or an Aussie one!

Meanwhile, new local teen flick Tomorrow When the War Began has opened strongly. Based on John Marsden’s best seller about a group of Australian teenagers who return from a camping trip in the bush to discover their country has been invaded and they must hide and fight to stay alive, it took A$3.6 million in its opening weekend, a record gross for an Australian-funded movie. And after its fifth weekend in release it was just shy of A$12 million.

Crikey!

A

ustralia’s more urbane film and television makers (they do exist, oh cynical Kiwis) have long tried to erase the stereotypical “flies, swaggies, outback desert, and kangaroos� im-

age of Australia. Our Federal funding body has no problems with the clichÊ though. The logo on Screen Australia’s MIPCOM 2010 material features a cowboy twirling a lariat while riding a kangaroo (pictured). An homage to US/Oz relationships perhaps? Or just a bad design job? Whatever, it made Aussies attending MIPCOM cringe with embarrassment‌ especially those who hadn’t packed their RM Williams boots, their stockwhips and their Akubra hats.

Crikey!

I

f a script writer penned it, he/she would be scoffed at as being totally out of touch with reality and waaay over the top. But no, it’s the daily news‌ I refer to the soap opera that is the NSW Labor (that’s how you spell it here) government.

Only six months out from the next State election, the governing body of Australia’s largest populated state is setting records for scandals and resignations.

In the past few months NSW Government ministerial losses have included: John Della Bosca, due to a “sex scandal� after an affair with young woman; Penrith MP Karyn Paluzzano – a “corruption scandal�, having been caught rorting her staff expenses; Roads and Transport Minister David Campbell – another “sex scandal� (he was photographed leaving a gay sauna); Ian “Sir Lunchalot� MacDonald, Major Events Minister – “corruption scandal� (a private trip to Dubai was found to be taxpayer funded);

Ports and Waterways Minister Paul McCleay – caught, in a Parliamentary audit, downloading porn on his government computer (so is that sex or corruption?); and Juvenile and Justice Minister Graham West, who quit because he was sick of modern politics (someone honest for a change).

Interestingly, that same audit that netted McCleay also recorded over 200,000 porn site hits on the office computer of morals campaigner and Christian Democrat leader Reverend Fred Nile. But the hits on Fred’s computer were apparently for “research�.

What moral resolve and fortitude the good Reverend must have to force himself to watch such filth and not be corrupted by it, unlike the rest of us mere mortals‌ Now the latest pollie to draw unwanted attention is bespectacled power-blonde Virginia Judge, who now holds both the Arts and Fair Trading portfolios.

Acting in her capacity as the Minister for Photo-Opportunities-withAnyone-Famous, (and it is hard to find a press photo or TV footage of an arts event in NSW without the Minister doing a “Where’s Wally?� somewhere in the frame), Judge was spotted on a visit to the set of a Bollywood movie shooting in Sydney’s Hyde Park, dressed in a fetching turquoise sari with a bindi on her forehead. Much to the embarrassment of her minders and the Indian crew and production personnel, who were all dressed in their usual attire – the sort of fashionable threads you’d see anywhere on the streets of London,

Sydney, Mumbai, New York, or even Auckland‌ In mid September the Minister for POWAF seemed unable to “satisfactorilyâ€? answer questions from a Budget Estimates Hearing relating to a A$6000 upgrade on a flight to Beirut organised by a property developer; and questions about her “close relationshipâ€? with Kosta Nikas, a previously unrecognised playwright. Since his association with Judge, this young chap is said to have enjoyed a number of “career breaksâ€?. His latest offering, Proxy, was staged as part of a Greek Arts festival that received A$50,000 in State funding. This clearly talented writer has now attended high level meetings with arts officials in Judge’s department and has submitted a script to a playwrighting competition, said to be organised by Judge herself, carrying a prize of A$30,000.

Good luck Kosta, maaaate!

In early October the Sydney Morning Herald reported that the Minister was paid A$725.22 for a walk-on part in a movie called We Are Family that was shot here last year, and claimed that the film used “some of the state government’s A$800,000 film investment fund, which Judge said would create hundreds of jobs (and, as it turns out, a possible new career for her when Labor gets the boot)�. Judge said she donated the fee to charity and that her film experience was “wonderfully uplifting�. Crikey!

In the meantime, the NSW governContinued on page 26

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october 2010

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Views

A legal vie w When disaster strikes When the earth shakes or the rain pours there may actually be some relief already provided for, in most screen industry contracts, explains David McLaughlin.

R

ecent events in the South Island have reminded us all of how unpredictable Mother Nature (and life in general) can really be. But what does such an event mean for your obligations in the film and TV industry? Well, believe it or not, most contracts in the film and TV industry are in fact designed to take account of such unpredictable events.

When you recall a contract you’ve previously negotiated, the key things that usually stand out will be what you agreed to provide and what you agreed to be paid. Outside of this there probably aren’t going to be a lot of clauses that really stick in your mind.

However, buried among the other less striking provisions of a contract you will usually find something called a ‘Force Majeure’ clause.

These are seldom negotiated and normally sit within what are called the ‘boilerplate provisions’ of a contract, along with such things as notice requirements and governing law provisions, which no one other than the lawyers usually get too worried about.

Force Majeure is French for ‘superior force’ and, as you can probably guess from this, these types of clauses concern themselves with the kinds of occurrences that are beyond someone’s reasonable control.

Sometimes also called ‘Act of God’

clauses, they will cover how parties’ obligations under the contract may be altered if one of these types of events occurs. Although by their nature these clauses are normally very wide in terms of what they are deemed to include, you still need to look at the exact wording in every contract to understand precisely what is provided for.

Force Majeure clauses will normally list a range of things that are to be regarded as a Force Majeure event. These normally include such things as earthquakes, floods, acts of terrorism, industry strikes, riots, and acts of government (eg the government changes the law) among other such things. All of these types of events are things you will have no direct control over. A Force Majeure event will not generally extend to something that affects just you – the bank turning down your request for a loan for your film project, for example, or you catching a cold and being unable to turn up to set.

In terms of their effect, it is most common that Force Majeure clauses will provide that where such an event occurs, the parties to a contract are not deemed to be in breach if they are prevented from complying with their obligations due to the Force Majeure event.

Although some Force Majeure clauses are as simple as the exam-

ple above, in practice these do not introduce a lot of certainty into the commercial arrangement between the parties in terms of the ongoing implications of the Force Majeure event. Because of this, Force Majeure clauses sometimes also contain the ability for either party to terminate the agreement entirely if the Force Majeure event in question continues to affect things for a certain specified period of time.

However, depending on your position in the contract, this type of far reaching result is something you do need to carefully consider.

You should also consider if there are any other specific remedies you want to see apply in the event of a Force Majeure event – if there are certain time frames that may be running in the contract, for example, perhaps it needs to be specified that these will be suspended while the Force Majeure event is in effect.

This could be the case, for instance, under an Option and Purchase Agreement where you only have a certain period of time to develop and source financing for a potential project before you have to decide on whether to purchase certain rights from the owner in order to proceed with the project.

Similarly, if you are providing services to a production, suspending your services while the Force Ma-

jeure event is occurring may mean you are not being paid but are still unable to take on other work during this period. Also, if only the time frame of the contract is suspended, will this start to encroach on any future commitments you already have when it begins to run again?

Most screen industry contracts include a number of other aspects that will normally be much more commercially significant than Force Majeure clauses. Nonetheless, these types of clauses are still something you need to spend time considering because, if the unthinkable does happen, what these types of clauses provide for can have a massive effect on you.

• 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).

www.onfilm.co.nz

october 2010

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Photo: Ben Cunningham/Peter Nearhos. © NHNZ

w e i v r e t In

The natural history of Michael Stedman III The final instalment of our interview with the CEO of NHNZ and 2009’s SPADA/Onfilm Industry Champion, in which he talks about the company’s international expansion and what the NZ screen production industry needs in order to grow.

In recent times I understand you’ve spent an increasing amount of time on the road, flying hither and yon, stitching together co-production deals, establishing and maintaining relationships with other partners, and so on.

Yeah, and we’ve got a lot of other people on the road now too.

One of the things with any company is, you’ve got two choices: you either

expand and grow, or you contract. You cannot stay still. We had that realisation a few years ago. And if we were to expand, we had to start to build significant relationships offshore.

As a result of this we’re now the largest co-producer in the world with NHK of Japan, and we have had a production office in Beijing for about seven or eight years. We saw Singapore

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as an important industry hub in the region, and so two years ago we purchased a controlling interest in a company in Singapore called Beach House Pictures.

So yeah, we’re consolidating our position in Asia, because we saw Asia as offering a lot of opportunity that wasn’t available to us in Europe because we’re not European-based and Asia was pretty untapped. We now have an ability in Asia that is unmatched.

And in March we acquired a stake in Aquavision, a South African production company – that’s part of a new strategy, which is about connecting production companies that are complementary and that together can take a much bigger market share. And because we are older and a lot more sophisticated, so we can help grow those companies quite significantly. Two years after we bought the company in Singapore, for example, it had doubled its output.

Would one of the benefits of purchasing companies in other territories be that it allows you to mitigate the effects of the wildly fluctuating NZ dollar at all?

Ahh, not really, no. The wildly fluctuating NZ dollar is a drama that continues whether we buy companies offshore or not. What is certain is that a lot more of our growth will be offshore rather than in NZ, because of the nightmare that is the NZ dollar.

I know people are so tired of listening to export companies talk about the NZ dollar; they just go, “Oh that’s the way it is.” Well, it might be the way it is but it’s having a huge impact on decisions that companies like ours make.

The risk is too high, it is just too high.

You look at it today and the NZ dollar is just sitting under US$0.74, whereas six months ago it was bloody 50-something. It’s not so much where it sits as the uncertainty and the frequency and volatility of the movements.

Prickly customer: This just-released image from series Life Force shows a Thorny Devil (Moloch horridus) gobbling up ants at Alice Springs in Australia’s Northern Territory. The series, which had a working title of Weird Edens, is a multimillion-dollar co-production partnership between NHK, NHNZ, France Télévisions, Science Channel, and Animal Planet, and was launched at MIPCOM on 6 October.

And you can only hedge against that so much.

That’s right, there’s a limit to how much you can hedge. And in television hedging is pretty damn difficult anyway, for some of the sorts of shows that we make.

I think we’ve pretty much used up our allotted time. Was there anything else specifically about NHNZ that we haven’t touched on that you’d like to talk about?

Well, you know, one of the things that does delight me is that the vision of years ago has been proven correct – that the people here are making shows that are as good as anything in the world, and as a group they have survived and gone from strength to strength. That’s really gratifying.

The other thing is that over the years we’ve been early adopters in terms of technologies. We were one of the first companies in the world in our genres to start producing shows in HD. We’ve been working in HD now for well over 10 years.

So we were very early adopters there and we’ve started working in 3D now.

[In fact, as this issue was on the cusp of going to print, NHNZ announced that it had partnered with Beach House Pictures and the Media Development Authority of Singapore (MDA) to produce a 3D television series of 10 one-hour episodes for international distribution.]

Staying right at the cutting edge of technology is a risky area to be in but it’s also important. Certainly HD paid huge dividends about four or five years after we took those initial steps because (a) we developed a library of HD material and (b) we developed the expertise and so we were seen as the go-to company in the HD area. We were so far ahead of, for example, the BBC. So as a group we’ve been early adopters and pretty innovative as well.

And I think those are qualities that have helped the organisation and the company to grow.

We’re also broadening our base

Television is too important to allow politicians to play with it like some bloody toy.

from just being a documentary producer – we publish books, we sell DVDs, we’re heavily involved in providing scientific material. In other words, we are a collector of images and information, and documentary is just one outcome.

We’ve started our first work in the gaming area. So we’re constantly looking at new media for ways to grow and adapt the company, which goes back to that word I mentioned before – you know, you can’t be a one-trick pony.

The post-graduate course that NHNZ has set up with the University of Otago also strikes me as an example of that.

And that’s about future proofing as well. Because that was another issue we faced. I remember looking around this place and thinking, “Oooh, there are a lot of old farts…” And then you do start to ask yourself where the new filmmakers are coming from.

TVNZ had abandoned any sense of obligation or responsibility to training and development years earlier. It was left to a lot of these polytechnics that were just running bullshit media courses. And we needed people who were specialists in science and natural history.

Now there’s nothing spectacularly different about science and natural history, it’s all storytelling, and when you look at the films that come out of the post-graduate programme here at Otago, they’re just great films – good storytelling, good craft, good technique. The fact they’re science or natural history-based is really pretty irrelevant because the thing we’re growing is storytellers.

John has taken a slightly different path but as a company there’s a huge commitment to the development of tomorrow’s people.

And I think only companies of a certain scale can do that, because you’re not going to get an immediate return on that investment, you’re looking for a four- or five-year return. And if you’re living hand-to-mouth courtesy of TVNZ, making that sort of investment is a very, very tough call, because a lot of companies don’t know whether they’re going to make it through next year. Just focusing on survival is pretty important.

And as I mentioned earlier [see August issue], through ScreenMark the Screen Council had taken, I think, the single biggest step in terms of doing something constructive in terms of industry training and development but the then minister couldn’t see the value of it and so yet again a politician made a decision based on a short-term view. I was just appalled, totally and completely appalled, because it would have saved the country a huge amount of money.

But it is the story of this industry. The New Zealand screen production industry is the industry of missed opportunities – the rot set in with Muldoon and it’s continued ever since.

So if you were made benevolent dictator, with the ability to make sweeping changes across the NZ production industry, what would you do?

Ohh [laughs], where do you start?

I think the first thing I would do is engage with the industry in order

to develop a 10 to 15-year strategy that would be about what are we and where we want to be as a production industry.

I think it’s always going to be a mix of telling great stories to New Zealanders, but increasingly stories that the rest of the world is interested in seeing as well. We’ve got to find that balance between the two demands.

ScreenMark was an attempt to look out 10 or 15 years and establish something that had permanence, substance and was respected.

I would certainly give much greater power to NZ On Air, because I think they stand out as one of the beacons of hope.

Where TVNZ is concerned, you do one of two things: you actually sell it – not that it’s got a lot of value left – or you require it to do what it’s meant to do and fulfil its obligation as a state broadcaster. I don’t buy for one moment that a lot of types of programmes that NHNZ makes, for example, aren’t popular. We exist because they’re popular, we exist because audiences like them. And I don’t believe for one moment that NZ audiences are that different from international audiences, I think it’s a myth.

We’ve always worked on the basis of profit through excellence, and there’s a hellava lot more that could be done by the state broadcaster that really started to reflect the place that we live in. Look, I think the state

Would other NZ production companies adopting that approach help address some of the ongoing education and training issues facing the production industry here?

Well, I think if you look at a company like South Pacific Pictures, John Barnett has done a huge amount in the drama area – you know, if you look at what they do in terms of developing writers and directors and so on. I think

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Wonder boys Producer Glenn Elliot of ButoBase and director Simon Raby talk about the challenges involved in making science series Ever Wondered?

So how did Ever Wondered? come about – TVNZ called for pitches for a science show?

Glenn Elliot: Yeah, it was initially for kids, family, with a focus on 12-year-olds or something.

Simon Raby: I never got that brief; all I got was ‘early adopters’ and I thought, “What the hell is an early adopter?”

GE: You know, people with iPhones and shit!

The target audience is 12-year-olds with iPhones?

GE: No, no, no, that changed!

SR: The initial brief was the family thing and then it became more about – GE: Adults, because it moved from TVNZ6 to TVNZ7.

SR: So it shifted from being an educational thing for kids and families and more for ‘early adopters’.

GE: I think why we were able to land the show is basically the same reason a lot of shows or movies get up, which is that the title captures the imagination of the person signing it off. I think that’s a really big part of it. And that title – Ever wondered? – actually helped pose the parameters of the show in a way.

SR: Wasn’t that more of a case of “how are we going to make it for this money?” [laughs] GE: Yeah, we did wonder about that. [laughs] But when it first came up it was, like, “That’s a cool title,” but the longer we lived with it, the more we realised it actually set the parameters of what we were trying to do: ever wondered how scientists are trying to predict earthquakes; ever wondered how scientists are trying to stop greenhouse gas emissions? It was a really nice umbrella for getting into the science.

How many episodes in the series?

GE: 10 half-hours.

And what’s a half hour on TVNZ7?

SR: 22.30 plus or minus .30.

It’s pretty much on a par with the commercial channels then?

SR: Yeah, I don’t know why. The series 12

october 2010

screened at 6.10pm on Saturdays. I think they’re asking for that length so they can put it on commercial TV later if they want to.

So it’s more a magazine style show?

GE: No, no, no – well…

SR: I’d say it’s sort of a magazine show for early adopters, actually.

GE: Well, there’s an element of that; it’s like anything, it’s like a fucking car – you’ve got the front at the front and the back at the back, you know? People switching the TV on aren’t looking for some kind of exercise in existentialism, you know. It’s like your magazine, man, it has to make sense somehow.

Really? Oh… [laughter] SR: At the end of the day the brief was sufficiently vague in terms of what the target audience was that I decided to make the target audience myself. I’m a layman, I’m not a scientist, so if I could understand the show then presumably other people could as well.

GE: And not just understand it, eh Simon, but actually be drawn into it and engaged by it and be like, “You know, I learnt something. I’m a bit smarter, having watched this show.”

SR: Basically, the magazine style show is a comfortable format that television audiences are very used to. Science shows have traditionally been very BBC – quite dry, very informative but a little bit dense.

And we had to find this common ground between those two formats, if you like – something TVNZ was comfortable with and knew audiences would be able to identify with from years of having that kind of format in place, but still with enough science in there so it wasn’t completely frivolous.

So it was finding a balance between enough interesting information and it being presented in a way that was userfriendly and easy to absorb.

One of the big challenges when I was shooting in the field was that, while scientists are great people, they do have a tendency when they’re in a public zone and being asked to make a public state-

www.onfilm.co.nz

Watt & why: Rockclimber, DJ, 2009 MacDiarmid Young Scientist of the Year, and Ever Wondered host John Watt.

ment to be very cautious about the way they phrase things, so what you end up with are a lot of dry qualifications. You get a great soundbite and just as they’re about to finish it, they start qualifying it.

And by the time they finish qualifying it five minutes later, you’ve forgotten what the hell they were talking about in the first place. So my job has been to find that soundbite amongst the qualifications.

The other challenge of the show for me was that, because a lot of science these days is done on computer screens, there’s not a lot of visual process going on. What scientists think is really visual is to show you a graph on a computer, which is not really enough. So the pace of what we were doing was sometimes dictated by how much visual process we had to cover the subject. Which is a pretty blunt way of putting it and not a particularly creative way of doing it, but we were working under a very tight TVNZ7 timeframe and budget. The schedule was just crazy.

GE: Yeah, it had to be done in, like, three months, man.

Why such a tight timeframe?

SR: I think it was because TVNZ decided they were going to have ‘Spotlight on Science and Technology Month’ in August, so they had to have a show for it.

So it was aligned to some kind of international science month?

GE: No, I think it’s more like because TVNZ7 is still pretty new, they need to have a bunch of events. So Science Month is a cool idea, but it would have been great if they’d signed off the bloody series in March or something, eh Simon?

SR: Definitely a bit more lead-in time would have been really useful…

We had a great head researcher – Rachel Hennessey – who hit the ground running and within two weeks of coming on the show she had pretty much all the topics, and all the people for the topics, and we’d come up with the format. But it was all on the fly, the whole thing. At the beginning we were all looking at one another: “Can we achieve this?” This is

not renovating homes stuff, this is deep science with scientists who have spent their entire lives on these subjects. How are we going to distil 30 years of career into a three-minute soundbite? That’s, like, crazy.

GE: And we did want to do it justice. It wasn’t Pippa Wetzell fucking turning up going, “Hey! That’s wacky! Gosh, Paul, what do you make of these kooky boffins?”

SR: John Watt is our Pippa Wetzell. [laughs] GE: Yeah, from my point of view I was so fortunate that so many people put up their hand and made this show possible and John Watt, our host, was one of them. He is actually the real deal – he’s the 2009 MacDiarmid Young Scientist of the Year and he’s wonderful; he’s an outdoor Kiwi sort of bloke – SR: Yeah, who rock climbs and DJs! [laughs] We did get some notes back on the first episode about him being a bit wooden but to be fair – GE: That was the director’s fault.

SR: That was the director’s fault. To give him his due, I’d never met John before, he turned up on set and he’s straight into the links on his first day. So his first ep was a little bit stilted and he acknowledges that but by week three he’s kicking it, and week four it was plain sailing, and by week five he’s just about doing the whole shoot himself.

GE: And he’s doing these incredibly difficult introductions while walking towards and delivering to camera in one or two takes, man! I’ve never seen anything like it.

SR: He’s very good at holding a lot of stuff in his head.

GE: I was so lucky – Simon came on and took everything by the scruff of the neck in terms of vibe and look, you know what I mean? John came on and completely owned the hosting role and really brought something to it. Rachel did a really wonderful job in terms of all the research and dealing with scientists who do not want to talk to the media.

Continued on page 14

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Interview The thing is, when you’re trying to make a show work you cannot show any fear. And hopefully other people will think, ‘Oh well, the people in charge are confident, so it must be fine.’

Wonder boys Continued from page 12

SR: I don’t think it’s that they don’t want to talk to the media, but I think they’re naturally suspicious of a media that’s – GE: Going to spin it.

SR: – or find an angle they don’t think is appropriate. They’re kinda used to being distorted a little bit. And while distortion is a necessary part of television, because you have to distort timeframe and that sort of thing to keep it interesting, what we’re trying to do is at least be honest to the scientific principles. I think as the show has gone to air the scientific community’s attitude has warmed towards it because they’ve seen that we’ve been taking a bit of care in the way we’re presenting them and that the show is a celebration of what they’re doing.

GE: Another thing I was told when meeting with [commissioner] Philippa [Mossman] at TVNZ was that the Royal Society was partners in the project. I didn’t have any idea what that meant – I thought the Royal Society was like the show jumping people or something.

SR: [laughs] GE: So I was, “Really, the show jumping people? What the fuck?” But you know, when you’re trying to close a show you’re like, “Okay, sounds great, Philippa – perfect!” But in the end I found out what the Royal Society was, which is this scientific organisation which has been going since like 1660 with members like Isaac Newton.

I think it was a really smart move of Philippa’s, because once the Royal Society said, “Okay, we are partnering with you on this,” it really did give the whole thing some serious credibility.

The importance of that really came home when we launched the show in Wellington and one of the scientists said, “When you sent me the email I wasn’t really up for talking to you but then when you mentioned the Royal Society was partnered with you on the show, I agreed, because the Royal Society is hugely important – it has the ability to be a defining influence on my career.”

And look, picking up on Simon’s comment about the challenges for him as a director in the field dealing with the scientists, I never actually realised what a brutal business science is. As soon as a scientist publishes something – which they have to – they are absolutely putting their hands up to be torn to shreds by every single one of their peer group. I’ve never seen anything like it. Every single one of their peer group considers it their duty to challenge them.

Isn’t that much the same as making a television programme, the difference being all your peers will just bag you behind your back?

14

october 2010

GE: Yeah, but I guess we just tell them all to get fucked, whereas the scientists actually have to justify it. [laughs] I justify it on the back of the head with a wine bottle or something.

So what did the partnership with the Royal Society entail?

GE: They provided expertise, and they got to watch the episodes and critique them. The first time it came back, there was a panel of eight Royal Society members who had watched the episode and made comments.

That must have been intimidating.

SR: Yeah, it was a bit. Apparently we got quite a few of the comments filtered, so we wouldn’t be too freaked out. [laughs] As Glenn says, it’s a scientist’s job to challenge to make sure information is water tight.

GE: Yeah, and I’m quite proud of the fact that usually it would come down to four to six comments. Some of them were editorial but mostly they were like, “You forgot to put the little 2 in CO2,” or something. But by the same token, the comments you got back weren’t like you’d get back from an ordinary group of people – they were really, really good.

SR: They did start to editorialise a bit after a while; they couldn’t help themselves. Which we took as a compliment, that they cared enough about the show for their comments to become more and more detailed.

So they’d comment on things like pacing?

SR: Yeah, pacing and performances and things like that.

GE: [laughs] The best one was for the greenhouse gas episode where Simon got John, the host, to ride down Symonds St on a bike. They commented that his bicycle helmet looked a bit loose. [laughs] SR: Which is fair enough, you know – they were worried about kids being influenced and the helmet was kinda loose.

GE: The whole fucking shoot was loose, Simon, whaddaya talking about? [laughs] SR: That’s true, the shoot was rip, shit and bust – it was really fast. I was shooting episodes one, two and three backto-back while they were trying to cut. I had segments from episode five I was shooting during episode two.

What we found, of course, was we went into the show going, “Okay, this week we’re going to talk to scientist x, y and z, and then next week we’ll talk to

www.onfilm.co.nz

…” But when you actually tried to pin them down, it’s like, “Oh sorry, we’re on semester break”; “We’re doing exams that week.” We hadn’t really gone through the process of finding out what the scientists’ schedules were before we started, so we suddenly found our schedule bouncing all over the place to try and accommodate all the different people we needed to get for the show.

It was a pretty gruelling process.

And the production period was how long?

SR: It was a week shooting, a week cutting. As a single director I couldn’t maintain that schedule and provide enough input into the cut for the editors. The poor editors were coming in completely cold, sitting down with an hour-long interview with a scientist and trying to pull out the essential moments. There was no transcription time, there was no paper edit, it was just going straight into an offline…

It was pretty hardcore. So what it meant was it was essential we took on board another director, so David Hay came and rotated with me, so I could cut while he shot, because we had to be shooting the whole time basically.

We had to get the show out. We were still shooting episodes six and seven when the show went to air. We were basically only two weeks ahead, so you can see where the bum’s rush was coming from.

GE: But anyway, we must mention Terri McFarlane, our production manager – holy shit man – SR: She totally held it all together.

GE: It’s funny, eh, a couple of weeks ago I looked her in the eye and I said to her – SR: “You’re fired!” [laughs] GE: Yeah, nah – at the start of this process I was looking at the schedule with her and I was seriously thinking, “I don’t think we can do this.”

SR: Yeah, I felt that a few times.

GE: But the thing is, when you’re trying to make the thing work you cannot show any fear. You gotta be like, “Okay, this is the schedule, so you go off here and then…” And hopefully other people, even if they’re going “Holy shit, this can’t be done”, they’re also thinking, “Oh well, the people who are giving me this are confident, so it must be fine.” [laughs] And yeah, it was funny, I looked at Terri and I was, like, “You know what, mate, we’ve nearly done it and I really genuinely didn’t think it was possible.”

So thanks to everybody, really.

SR: Yeah, it’s quite a modest show, but

we feel like we’ve pulled something out of the hat in terms of the behind-thescenes rigour of the timeframe. That was the challenge. And not have scientists be angry with us, you know. When we screened episode one at the launch I was a little nervous because there were some parts of the science I had to fudge a bit due to lack of time. So I was worried the scientists were going to say, “You didn’t represent us properly at all,” which is really their main concern – being represented truthfully. But actually they were remarkably kind to us, they said it was good.

GE: Yeah, they could feel it was a show.

SR: They were either incredibly tactful and polite to me, or they actually really enjoyed it. [laughs] So what can people expect when they tune in to the show?

SR: Each week there’s a theme, which our host, John, introduces and during the course of the episode we meet a variety of scientists working in New Zealand at the bleeding edge of whatever the theme is.

And you’re right, it has an entertainment/magazine style element to it.

There were various factors that contributed to that, including schedule, budget and other requirements from TVNZ and the Royal Society.

And, you know, in my episodes there are a lot of handheld shots, which was often because of time constraints – handheld I can get an overhead shot looking down on someone working with a microscope in about five seconds flat, whereas if I put it on a grip rig it’s going to take 45 minutes. So we just had to stand on a chair and hold the camera over their head, really.

GE: But there were some wonderful things that happened because of those constraints, too. Like in one ep, there’s this sequence with a scientist spraying gas particles inside a sealed chamber that has a heated rod in the middle, and the gas is attracted to the rod and sticks there, coating it evenly. And she’d never been able to film this process.

So I’m looking at this footage in the edit suite and it’s fabulous, just these wonderful close-up shots. And I remember asking the editor, “Did we buy this footage?” – it was just so amazing – and she was like, “Oh, no, no, Simon just got a bloody magnifying glass from the $2 shop and put it over the front of the EX1 and shot it!”

• While Ever Wondered? finished its first run on TVNZ7 on 9 October, the entire series can still be viewed on TVNZ Ondemand.

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october 2010

15

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t r o p e r t s Fe

Following

Tracker at TIFF In the first instalment of his two-part story, Onfilm’s Canada-based correspondent Kerry Doole reports on the reception received by NZ-UK co-pro Tracker at the Toronto International Film Festival in September.

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he 35th annual Toronto International Film Festival (TIFF) includes world premieres of two New Zealand features, Matariki and Tracker. In terms of media exposure, both fly under the radar, but the filmmakers report an enthusiastic public response to the screenings of their respective films.

When Onfilm speaks to him in Toronto, NZ Film Commission CEO Graeme Mason describes himself as “really happy” that two Kiwi films have made the cut and been included among the 300 films screening there. “At the Film Commission we probably invest in six or seven features [each year], and on top of that there are some we don’t invest in. So to have two here is great. I’m a big fan of Toronto, and I’m incredibly thankful for their interest in and support of New Zealand films.”

New Zealand is one of 63 countries represented at the film market that runs in conjunction with TIFF. Industry attendance is pegged at a record high of 3274, according to fest sales and industry office director Stefan Wirthensohn.

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t the festival to help promote Tracker is Temuera Morrison, along with his English co-star, Ray Winstone (Sexy Beast, Nil By Mouth), director Ian Sharp (Who Dares Wins, Robin of Sherwood), and NZ producer Trevor Haysom (In My Father’s Den).

Onfilm attends the world premiere 16

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public screening in Toronto, and can confirm an enthusiastic response from the large audience in attendance. Sharp, a veteran English director, gives a lengthy introduction to the film, noting “it is a real honour to be chosen for Toronto”, and thanking Jane Schoettle, the TIFF programmer responsible, calling her “a woman of impeccable taste!”

“This had quite an extraordinary start, this project,” Sharp continues. “It is very rare to get an original screenplay these days. Sadly, they are usually adaptations of famous novels or successful musicals or plays, and people don’t want to take a risk. This was one of real difference. An original screenplay that everybody, without fail, fell in love with on first reading. It has two extraordinary actors, as you’re going to see. So my job was pretty easy.

“There is a sad tale to the script,” says Sharp. “The original writer, Nicolas van Pallandt, died at the tender age of 46, leaving a wife and three children, to whom the film is dedicated. It is an extraordinary piece of writing.

“Nic unfortunately didn’t live long enough to really explore the Ma¯ori angle of this film. For that, I want to mention Bradford Haami, who was brought in by our New Zealand co-producers.

He’s a Ma¯ori historian and a man who has about four film ideas every time you speak to him. He gave us the whole background of the Ma¯ori traditions.

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Between Nic and Brad we had a serious piece of writing.”

Sharp singles out Sally Kaplan for thanks in getting the film made. “She’s the head of the UK Premiere Fund of the UK Film Council, now defunct,” he says. “And thanks to everyone who made the film possible: UK Film Council, NZ Film Commission, our German friends from Square One, and Paramount in Australasia.”

Loud applause greets the roll of the end credits, and a sizeable chunk of the audience stays for a Q and A session, despite the late hour. (Later, Haysom describes the reaction as “very positive – I thought Tem handled himself beautifully at the Q and A, and I’m very pleased both he and Ray came for it”.)

Morrison recounts the experience of making the film in appreciative terms.

“I relished the opportunity to work with Ray and with all the stuff the cultural advisers were giving me,” he says. “Mind you, I’m still a little sore from Ray beating me up! But we had a wonderful time. And we were blessed in having our online producer there and our producer from NZ. A wonderful crew, small and intimate, and a lovely combination working with Ian and Ray. It was just one of those films that went very well. No dramas, no egos, just a wonderful time.

“And thanks very much for coming this evening,” he adds, “I really

appreciate your support.”

Ray Winstone is equally enthusiastic, singling out the New Zealand landscape for special attention.

“I’ve been lucky enough to have worked in this business and travelled to places in Australia. In a different way that is the most beautiful thing you’ll ever see, the Outback. I’ve worked around Vancouver – Canada has tremendous scenery. But New Zealand? I’ve got to tell you. You walk around a corner and it’s fantastic, and the next corner is even better. It was God’s country, it was. When we found that place with the waterfalls, Ian, you can’t help but feel spiritual in some way. It just touches you so much, that place.”

(In a later interview with Onfilm, Winstone jokes, on the strength of the stunning vistas captured onscreen in Tracker, suggesting that “the Tourist Board should have put money into the making of this film really”.)

Sharp reinforces Winstone’s comments with one of his anecdotes about filming in the South Island.

“We were going to film somewhere else – another staggering backdrop – and then one day Ray took his family out for a little helicopter ride. He said, ‘Want to come with me?’ and I said, ‘Great’, so off we went. The first place we landed, we stepped out, looked around, and I went, ‘Good job they didn’t show me this before.’ I’ll never forget – Ray said,

Off the beaten track: Antagonists Arjan (Ray Winstone) and Kereama (Temuera Morrison) in a scene from NZ-UK coproduction Tracker, one of two NZ films screening at this year’s Toronto International Film Festival.

to be part of the story. That you’re not just stopping for it. It should be telling the story. I hope the way we staged the fights did that…

“I should add that originally Tem wanted to play his part naked. I think he’s rather pleased that he decided to wear a pair of trousers. We were anyway!”

Recalling the fight scenes, “I just had to make sure to duck!” Morrison says.

“We had to memorise those moves pretty good! Ray sometimes didn’t stick to the moves. He just improvised,” he laughs.

“Tem’s a dirty bastard!” shoots back Winstone, claiming that Morrison “broke two of my ribs, he poked me in the eye, and pinched my bollocks!”

(He later admits the cracked ribs were his fault. “As he came around he was going to spin me round, but I landed on my side on a hilly bit and cracked my ribcage right here. It was a very physical job.”)

Winstone also makes a point of mentioning the stunt team, which for the record consisted of Augie Davis, Tim Wong, Matt Bennett, Bronson Steel, Andrew Cottle, John Osborne, and Steve Reinsfield.

“They were incredible. I’ve seen some that are crazy, but these ones were so on the ball. Technically they were brilliant, and god they were game.”

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‘It’s never too late,’ and later that day I went to see the producer and I showed him some shots Ray took on his mobile phone. The producer said, ‘Terrific; let’s do it,’ and three days later we were in there.”

Sharp is also full of praise for the work of his two lead actors, which he describes as “just stupendous”.

“Both these actors are tough guys, but they are the most sensitive actors I’ve ever worked with,” he says. “They are sensitive, highly intelligent, and they got to grips with the story. One of the most exciting things for a director is when actors do something you could never have thought to have told them to do.

There were a lot of those moments on this film because of their creative input.

Not least of all, the accents. And with both of them there are moments where we are as close as we possibly can be to seeing men think on screen.”

Not that the film stints on stirring fight sequences, mind you. In Tracker, Winstone plays Arjan, a transplanted Boer farmer tracking Ma¯ori fugitive Kereama (Morrison). The interplay between the two men is at the heart of the film and, as Sharp notes, their confrontations have a strong physical element.

“I think you’ve got two of the best onscreen scrappers in the world here, so we had to have the long fight,” he says.

“I always believe with action that it has

uring our interview the day after the screening, Morrison and Winstone’s obvious off-screen rapport mirrors their on-screen chemistry, as the two of them share a curry.

“Ray is such a beautiful and giving actor, and we had a lovely camaraderie,” says Morrison. “On some films it can be hard work putting up with everybody.

Not this one. We just had a great time. I relished every moment.”

The pair were well aware of each other’s work before Tracker, and the opportunity to share the screen together was “the icing on the cake”, says Winstone.

“I knew I had to get my act together ’cos this guy was coming to town,” says Morrison.

“I saw Tem in Once Were Warriors, and it was one helluva performance.

Everyone in that film was great,” Winstone says. “I’d done an equivalent film from the Northern Hemisphere [Nil

By Mouth]. They’re the same film in a way.”

As for Tracker, Winstone says he was very pleased with the audience response the previous night.

“People stayed after and no-one walked out,” he notes with satisfaction.

It was Winstone’s second time watching Tracker. During the initial viewing, he admits, “you can’t help it, but you sort of just watch what you do. This time I could just watch it as a film, and I was very pleased.

“I loved the way it was shot, the pace of it. It’s very different from what films are now. It is an old-fashioned style, like a movie on [cable channel] Turner Classic Movies. I lay in bed just about all day yesterday watching old films like To Kill a Mockingbird. It has that kind of pace,

taking your time to get to the point. You are watching people, watching life.”

For Morrison, however, the evening before was his first time and he admits to the experience being “a little scary, it leaves you a little tender. Our souls are up there on the screen, and sometimes you forget that when you’re filming, with all the hard work.”

So was Sharp correct at the screening when he said the two are really more sensitive than their often thuggish screen personas suggest?

“I think so,” says Winstone. “Probably because of the parts we’ve played people will have that perception – I’ve played wife beaters, as Tem has. I’ve played child molesters. It’s flattering if people actually think you are those characters, it kind of tells you that you played the parts well.”

“After Once Were Warriors, people would say to me, ‘Man I hated you,’” agrees Morrison. “I’d say, ‘Oh, thanks.’”

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roducer Trevor Haysom confirms the two actors’ account of a very harmonious shoot.

“There was no drama at all,” he says.

“The crew really enjoyed the shoot, thanks to it being helmed by two very experienced filmmakers – Ian Sharp and Harvey Harrison, the DOP. “I always say that Harvey and Ian are like those two old guys watching theatre in The Muppets, joking with each other.

I said ‘I could do a sitcom with you guys.’ They’ve known each other for a long time.

“And Ray is such a nice guy and very easy to work with. Very charming.”

Haysom says more festival entries will be sought for Tracker. “There were a lot of British distributors at the screening, but I haven’t heard anything from the sales agent [London-based Independent] in the past couple of days. I’ve heard there are 300 films here, so it’s very crowded. It continues to be a tough market.”

(At print time, a month after our talk in Toronto, Haysom reports that Independent is considering both UK and US offers.)

Tracker had two presales – one to Transmission/Paramount, which will distribute the film in Australasia in the first quarter of 2011, and the other to Germany’s Square One Entertainment.

Putting the project together was a complex task, Haysom says.

“There were a lot of partners involved, so it took a while to set up. And it was on the cusp of everything starting to close down. With the UK Film Council closing down, we were very lucky to get in. There was a very short period of time between us getting the official letter from the UKFC and the announcement that they were reducing their budgets by 30 percent.

“We were very lucky I think. It’s not a British film really.”

Haysom had an earlier co-production experience with In My Father’s Den, and he’s now putting one together in Canada. “They work as long as it’s a

natural fit. You have to be careful you don’t get into trickiness just for the sake of it being a co-production.”

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ZFC CEO Graeme Mason sees Tracker as an example of the way co-pros can work in NZ’s favour.

“The NZFC has money in it,” he explains. “We invest in and develop films that aren’t handled by our sales and distribution company, and Tracker is one of those.

“In fact, a substantial amount of the money, approaching half, comes from New Zealand Inc, if you like – either from the NZFC or tax grants.

“So yes, Tracker is an interesting example of an NZ-UK co-pro; one where you have a British director and co-producer, a New Zealand scriptwriter and co-producer, and one of the two leads is a Kiwi.

“In a weird way that works fantastically for us, because obviously it is all set in New Zealand. Part of my role, and that of the New Zealand Film Commission, is the promotion of New Zealand as a locale. The film shows the incredible locations, the experience and the work our crews can do, plus it gave work to a New Zealand-based writer, producer and cast. It’s great for us.”

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he only review of Tracker to surface during TIFF was in the film trade ScreenDaily. Wrote critic Allan Hunter, “Natural enemies mature into unlikely allies in Tracker, a handsomely mounted adventure set in the New Zealand of the early 20th century. The natural beauty of the islands is one of the film’s strongest assets, along with the seasoned professionalism of stars Ray Winstone and Temuera Morrison whose solid performances help to compensate for Nicolas van Pallandt’s intermittently clunky script and pedestrian direction from industry veteran Ian Sharp.

“There are echoes of classics like The Defiant Ones and Hell in the Pacific in Tracker.

“Lacking sufficient strong elements to encourage intense interest from international theatrical distributors, the sincere, old-fashioned Tracker might find a warmer welcome further down the line in ancillary markets… Harvey Harrison does a fine job of filling the screen with the rugged majesty of New Zealand, making the country feel like an extra character in the tale. The film may have its flaws but it will certainly leave audiences wanting to visit the locations.”

“You always hope for a positive review all round, but you rarely get it,” is Haysom’s philosophical response to the notice.

“I’m glad that Ray and Tem got recognised for their performances.

It was quite a wonderful duo, and a great bit of casting. That does push the film along.”

• Next issue: in conversation with Matariki director/co-writer Michael Bennett and producer Fiona Copland, and more from the NZFC’s Graeme Mason.

www.onfilm.co.nz

october 2010

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Photo: Kirsty Griffin

w e i v r e t In

Before, during &

After the Waterfall The first instalment of a two-part interview with writer-director Simone Horrocks about making her feature film debut, After the Waterfall, which is released nationwide on 4 November.

So how did you come across the source novel, The Paraffin Child by Stephen Blanchard, and what recommended it to you as something to adapt into a feature film?

I came across the novel in London.

I’d made a short film that had won a prize in Berlin and I was working with another writer on a feature that didn’t in the end happen. But because she was doing the writing I had time on my hands and I felt like I should have another project in development. So I was scanning.

I thought it might be easier to look for a property that already existed, like a play or a book – for a first time director I think anything that already has a little bit of weight attached to it makes things easier. And I saw a review of the book in Time Out – it was actually the review that made me want to make the film. I was very pleased when I read the book because it lived up to my expectation and was a very haunting story.

But it was the review that made me want to make the film, because it described a mystery – the mysterious disappearance of a little girl and the subsequent disintegration of this man’s life – but it said that the mystery was never solved and that sometimes a mystery remains a mystery and an absence remains an absence that we have to live with as best we can.

I thought that was a really brave idea for a story, because I pretty much only read thrillers and crime novels and I couldn’t imagine how you could pose 18

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that mystery and not solve it without alienating the audience. But the book was very good; I found it haunting and it got under my skin.

So how did you secure the rights?

I rang the publisher and they gave me the name of the author’s agent. So I rang the author’s agent and mentioned the book, which was currently being well reviewed, and the agent didn’t know who I was talking about [laughs] – Stephen just wasn’t a very big name on their list. But then when he heard why I was interested he gave me Stephen’s home phone number, so I just rang him up, then went round to his house in South London.

Stephen had just given up his job as a postman to write fulltime and was intrigued by the idea of a film. He didn’t really want to be too involved but was interested in what the process might be and told me that if it went ahead, he didn’t want me to just make a film of the book, he wanted me to surprise him in some way. So that was a very nice challenge and very good for me, because it meant that I had his blessing to also make something of my own, which inevitably you have to do.

I invited him to a screening of my short films, and I made it clear to him that I wasn’t someone with a lot of money but that I would take my time and I would be committed. A lot of authors get their books optioned and then they just sit on a shelf somewhere, so getting more money for the option

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isn’t necessarily always a good thing.

I don’t think either of us dreamed it would take this long though – it took us 10 years. But then again, I have been told that six years is an average length of time for an original idea to hit the big screen, so it’s not too bad.

Speaking of Stephen, I’ve actually just had a very nice experience of taking the film to a film festival in the Netherlands that particularly celebrates films based on novels. When I heard we were in competition and they’d invited me as a guest, I told them that the author of the book hadn’t seen the film and I wasn’t sure whether he’d ever get to see it on the big screen with me, because we don’t have distribution in England and we may never have, and it’s a small film so we don’t have the money to fly him over here. So they brought him over to the festival and I saw him again for the first time in 10 years, and it was amazing watching the film with him.

I understand that when viewing it the first time he said he was distracted by memories of the book, but on the second viewing he was gripped and moved. What about you – are you able to watch it as a film at all, or do you find it impossible to separate it from the process of making it?

As the director, by the time the film gets to the audience you’ve seen it literally hundreds of times – hundreds.

So you’ve done your grieving, you’ve made your peace with what it is, you’ve

grown accustomed to its flaws, and you’re beginning the process of letting it go. So I feel very comfortable watching it now.

Of course, there are always things you wish you’d done better, but overall I’m very proud of it. And I get so much pleasure out of seeing it with an audience, because in the 10 years of development I was told so many times that this film didn’t have an audience.

So every time I’m in a cinema with an audience…! They always say to me, “Do you want to stay and watch or go and have a drink?” – assuming I’ve seen it a million times and don’t want to watch it again. But sadly for me it is just such a pleasure to be in a room with an audience who are responding really passionately to film. That’s fun for me.

And evidence that the naysayers were wrong.

The thing is, you never know. I mean, you do spend 10 years telling people there is an audience but no one ever really knows. [laughs] In the current [September] issue we’ve got a quote from producer Glenn Elliot about how making a TV show is like being in a fight that you don’t find out if you’ve won or lost for three months.

I imagine that making a feature film is like that, but much more so… [laughs] You have no idea. The whole process is so instinctive and so mysterious. You just never know.

At the Waterfall: At work on location are (l-r) lead Antony Starr, Sam Evans (standby props), Craig O’Reilly (boom operator), Duncan Patterson (clapperload), Murray Milne (2nd unit camera), Todd Neville (grip), Simone Horrocks (w-d), and Guy Strachan (script supervisor).

How did you find the adaptation process?

Well, I have written original feature film scripts, they just haven’t been produced. I think every project has its challenges and every project is different, and I don’t think I could say – clear cut – whether adaptation is easier or not.

One of the things I love about filmmaking is that it’s collaborative. I particularly love the fact that you can’t do it on your own and I guess the fun thing about having an underlying work is you’re already collaborating.

That’s something I enjoy a lot and my two new projects are both adaptations, although they’re very different from After the Waterfall.

You cast Antony Starr as the lead some years ago – how did that come about?

[Producer] Trevor [Haysom] first introduced me to Antony in 2004 I think. Trevor and I started working together in 2003 and he was finishing In My Father’s Den with Brad McGann.

We were talking about possible leads, and while there’s a huge amount of acting talent in New Zealand, it tails off once you move into a slightly older age bracket, because there isn’t that much work here and a lot of people simply have to give up. We needed someone who was mid-30s up, which is around the age that it starts to thin out – in fact most of the cast are mid-30s or older.

Anyway, Trevor came out of the cutting room one day and said, “You know, [In My Father’s Den lead] Matthew Mcfadyen’s great but there’s one guy with a smaller part and every time he comes on screen he just draws you to him. Maybe we should meet him?”

So we did, and this was before Outrageous Fortune – Antony was relatively unknown at the time. He actually turned up to the meeting on a skateboard because he was too broke to afford a car. [laughs] He was really interested in the part, he was intrigued, and the relationship developed from there.

I think these things are all about trust and people finding their own personal connections and the lovely thing was we did have time to do that, that was an upside to it taking as long as it did to get it financed. So we’d swap drafts and meet up, and in the meantime his career took off, which was a fantastic thing for us because by the time we started shooting, not only was his level of craft through the roof but he was also just really ready to do something different, to show audiences another side of his talent.

In the end I think it became a passion project for him as well, and he really threw himself into it and raised the bar for everyone.

I can honestly say I really feel the success of the film has a lot to do with Antony and his commitment to it.

In interviewing Antony he said that you’re extremely collaborative – to a fault, sometimes. [laughs] Yeah, I think it drove him a bit nuts sometimes.

So you think he might have liked a bit more firm direction on occasion?

I kind of feel that when things are going well you don’t need to say anything; it’s when things aren’t going well that you do. But I guess when things are going well the director needs to remember to tell the actors that things are going well. Perhaps that’s something I forgot to do. [laughs] I got the impression he felt that during the development process there were times you took too much heed of some of the feedback you were getting.

I think the relationship you have with anyone you work with is all about trust and I think there were times that Antony wasn’t sure that I was being strong enough or knew what I wanted.

I think the truth of it is that from my point of view I always knew what I wanted; I had my anchor and I knew what the non-negotiable aspects of the project were. But having said that, getting the money to make a first film, let alone a risky first film, is really hard and unless you’re really lucky you’re going to have some dark times, you’re going to have periods of time when you go down the wrong road, when basically desperation forces you to do things that you know are going to screw things up. And I’ve definitely gone down some wrong roads and had some of those moments. You know when it’s happening…

I had a particularly bad year in development. We first went for finance in 2006 and got turned down and I had a very tough year after that – the message was that the door was still open but it was very confusing. We’d been developed to a point and then turned down, and having the door still open means you’re often driven to do quite desperate things to get people excited again.

At the end of that year I just pulled the plug on the project – I said to Trevor, “That’s it – if it really has to be changed this much, then I should write a completely different story.” Because there’s only so far you can go down the wrong road before you start to lose what it was that interested you in the project in the first place.

I think you do learn from those wrong roads, though – in the process of production and further down the track, sometimes things would come up and I would know straight away, “No, this is wrong,” because I’d already been there.

So better to go down those wrong roads in development than on set or in the cutting room.

And yet, it’s always still a process of discovery, right through until the end.

You don’t always know if it’ll work, and you will fail at times. I said to the actors, “You have to give yourselves permission to fail,” because I felt like unless we took some risks with this story, then it would fail. The only way to make it work was to take risks and to know that sometimes things wouldn’t work. I’m not afraid of that process but I do recognise that it requires immense courage from everyone involved.

So what was non-negotiable for you about the project, without giving anything crucial away to potential audience members?

Well, I think the way the film’s been publicised and the way I’ve already talked about it already means that people probably know that the mystery is never solved, which is the point of the film.

Even when the audience knows that beforehand, though, I still think they need to make a leap of faith. I had audience members at the festival in the Netherlands who stayed on until the end to talk to us, and one woman put her hand up and said, “I’m a parent and I came to this film reluctantly – a friend of mine brought me but I was very worried about whether I’d cope, and concerned that at the end of the film I wouldn’t feel satisfied.”

But she went on to compliment me on the film and say she felt satisfied and somehow felt a burden had been lifted in a sense.

I don’t think it’s about facing fears, but I do think it’s about investigating healing, investigating resilience and exploring how we live with unfinished business and how we forgive the unforgivable. And they’re tough issues in life, especially as you get older I think.

We’re all of us carrying baggage and you don’t see many films that really address guilt and unresolved regrets.

Most films are about wish fulfilment, they’re about solving those problems and giving us momentary relief. But there’s another kind of relief that comes from knowing that these things are human and that it is possible to survive tough situations.

Director of photography Jac Fitzgerald has said in one of her interviews that it’s about how the human soul has the capacity to heal itself. So there is a different kind of resolution, a different kind of release in my film that’s not plot driven; it’s character-based.

So can I take the implication that you were pushed to provide a more obvious catharsis?

Really, in the end, I don’t think any of the problems we had getting financing were to do with the script, I think they were to do with that leap of faith that’s necessary between someone loving your idea and writing you a cheque – for what inevitably is going to be millions of dollars – for a first-time director and a project that was labelled at all the markets we attended as “execution dependent”.

People were saying, “We love it,

we think it’s great, we want to see it, we’re just not sure we want to be the ones putting the money on the table.”

I think in the end, I have to say I’m really thankful to the New Zealand Film Commission for taking that leap of faith, which they surely did – this is a 100% NZ financed film.

But as I say, there was always a lot of interest and we got some very positive feedback on the script, but sometimes in that process of trying to find the final courage to put the money on the table you get put through a few hoops… It just takes the time it takes I suppose.

Somebody said to me it’s like getting a band to work – it’s a sort of magic where you have to get all the right people at the right time, the right manager – it’s not just the script, there are a lot of things that all have to fall into place.

So when did things finally fall into place?

For me, personally, when Marilyn Milgrom came to the Film Commission. [laughs] At that point the project was in hiatus and we got a call saying there was still interest in the project and in the team and did we want to meet? I said to Trevor, “No way, I’ve just got to move on” – it felt to me that it wasn’t going anywhere. But we did meet with Marilyn and within 20 minutes I knew I could work with her.

My feeling is that triangles are a very good basis for films – Trevor and I have a really good working relationship but there’s something about that extra person making up the triangle that clicks. And it’s no reflection on anyone else we worked with, it’s just you need a certain energy at a certain point in development and that’s the thing that pushes it forward.

So that’s when everything changed for me, that was the before and after moment.

So that was in late 2007 then. I guess it must have been useful to have a fresh pair of eyes at that point too, given the way the development process can exhaust people?

It can not only exhaust you, it can pretty much kill your project…

I don’t know what to say about development – people talk about “development hell” and I always said, in the old days before I had development money and I was writing spec scripts for nothing, that if I ever got development funding I would never complain, ever.

And I pretty much never did because, well, what do you think it’s going to be like? You’ve got to work with people, there’s a lot of money involved so you have to be prepared to listen or go make it completely independently.

Which some people do and I admire them hugely, but that isn’t how I want to make films.

• The final part of the interview with Horrocks will be published in the November issue, focusing on the production and post phases.

www.onfilm.co.nz

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Lighting

Grist to Mills A yarn with Brett Mills, gaffer and owner-operator of Queenstown-based Local Action Film Equipment Hire.

So how’s the lighting side of the business at the moment?

Well, there hasn’t been much work that’s involved much lighting down here recently, probably because we haven’t had many jobs involving ‘talent’ – you know, faces. It hasn’t been too bad, it’s been all right, but most of it involves shooting scenics.

And that’s primarily TVCs? Yeah.

Still doing a roaring trade in car ads?

Nah, that died ages ago. See, some years ago we had three Australian car ads – Ford, Toyota and Holden – that were shot right after each other on the same stretch of road and same sets of corners, because all the Aussie advertising outfits decided that it was all about cornering, you know – the fun of driving and corner, corner, corner – so they had to come over here for a windy road.

The Toyota one was shot last and went to air first, and the Aussie techos just chucked all their toys out of the cot, going, “Why are you going to New Zealand to shoot all those car commercials when we’ve got no fucking work?” So blahblahblah, and there

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hasn’t been an Aussie car commercial shot here since then.

But whatever – when a cat only has one mouse hole, the cat soon starves, as they say. At that time they were flogging our landscape flat out but then after Lord Of The Rings came along, people lost interest in landscape around here for quite a long time, so we struggled to get by on whatever we could. And all the car commercials started having bloody European cities as backdrops, and involved being chased by other cars and bulls and stuff like that – scenery was just yesterday’s news.

Though landscape seems to come back in when times are tough and people start harking back to the old romantic ideals, so scenery seems to be on the rise again.

But you know, basically we’re standing around waiting for the exchange rate to drop.

just don’t come.

When the exchange rate is around 50 cents [against the US$], they just fucking come flat out, man, it’s all on.

They always say, “Don’t believe what anybody else tells ya, your scenery is the best there is.” It’s just got to be cost-effective.

Yeah, you and everybody else.

The thing is, though, because of what we do have here, when they really want what we’ve got, they just budget for it – if it’s going to cost that much, that’s what it’s going to cost. When we don’t have what they want, then they

So it’s been pretty touch and go then?

Oh yeah, yeah, yeah, for the past three or four years it’s been bloody dire, but that’s really just the exchange rate.

One of the things they all say about

www.onfilm.co.nz

When was the last time you had your lights on a job?

Oh, I had a reasonable sized job last week, so it has picked up a bit.

That was a TVC? Yeah, that’s the only thing we get to do really. Oh, we did that Your Big Break Film Competition thing, and we did a Bollywood movie called I Hate Love Stories at the beginning of the year, which was a good bit of work. It’s been all right and we’re making a living again, which is quite good.

down here around Queenstown is you can look in any direction and shoot, that’s what’s so fantastic. Bob Gordon, who’s now a famous landscape DOP, says he got his reputation from coming down to shoot here. Everybody went, “Oh, it’s amazing, look at those backgrounds – you’re amazing!” and he goes, “I just had to point the camera and shoot!” [laughs] What was the last NZ drama you did?

Oh, that was Tracker – they shot all their weather cover in the North Island and shot all the exteriors down here…

With dramas in general, part of the problem with being in the film industry in the South Island of New Zealand is all the overseas production companies land their canoes in Auckland, wade ashore and try and find out what’s going on. Then all the snake charmers up there get hold of them and by the time they get down here we’ve been marginalised off the jobs as often as not.

With things having been lean for a while, what does that do to your ability to constantly upgrade your inventory – you go into a holding pattern?

Land of the setting sun: A recent TVC shoot in Queenstown serviced

by Local Action Film Equipment Hire. Promoting Coca Cola Japan’s Sokenbicha soft drink, it featured (in Mills’ words) the “kinda famous” model An Watanabe (daughter of actor Ken Watanabe); the NZ production company was Film Construction.

Yeah, a bit of a holding pattern. We do try to keep up with the latest gear whenever we can, so any money I get I do try and stay on top of the lighting side. But we don’t need to buy too much gear at the moment because things aren’t changing that much, and I’ve got a solid enough inventory, really, that I’m meeting the expectations of the market.

I do have the latest and greatest light, which is the 18k ARRIMAX. Xytech has a couple up in Auckland, but I’ve got the only one down here.

it’s got an amazing throw – you can light a car from two miles away – and it’s very, very efficient.

It’s an interesting sort of light – when you look at it, it doesn’t seem that bright, but when you turn around and see what it’s illuminating, it’s like “ahhh!” It has an interesting quality.

For shooting in bush, and things like that, that’s the light you want. Every light that comes out, it’s always promoted as being “like the sun”, but this is definitely the most sun-like that’s been produced yet.

What’s the 18k ARRIMAX’s claim to fame?

ARRI developed a system for a PAR lamp that has no lenses on it. It’s called the brightest light on earth and

When did it come out?

Oh, about two or three years ago but it hasn’t been copied yet. It’s probably still got a patent so there’s probably still a 10-15 year window before it

can be copied. They’re bringing out smaller 1800W lights based on the same system now, and I installed a couple of them the other day.

They were made that size for the American market because in the US you can only pull so much power out of a house – because their outlets are 110v, you can only pull a maximum of 20 amps out of there, even less, whereas in NZ you can pull two-anda-half kilowatts out of a house without too many problems. So they made these special lamps that will allow them to pull 1800W out of a house in the States.

Anyway, that’s a great little light, really efficient.

My main growth area in Queenstown at the moment, though, is camera.

MOTION

The big thing I’m leasing on every job is the camera. We’ve got the new ARRI Alexa, which are in hot demand – there’s an enormous shortage of them worldwide and we managed to procure one, which is pretty cool. I feel it’s a real coup to have an Alexa in Queenstown; as far as I know there are none on order in Auckland.

So the camera company I’ve got with Ian Turtill [Queenstown Camera Company] is doing really well – we’ve got a fantastic inventory of camera gear and we’re adding to it all the time. It’s a fiercely independent boutique camera company. Which means we can tell you to get fucked. [laughs] Continued on page 26

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october 2010

21

Lighting

Big rigs Jim Keating provides a (ahem) once-over-lightly introduction to Panalux.

W

ith branches in Wellington, Queensland and Sydney, the company formerly known as Panavision Lighting has been supplying major motion picture lighting to the Australasian film industry since 1999.

During this period it’s serviced The Lion, the Witch and the Wardrobe, The Water Horse, 10,000BC, King Kong, Avatar, and Wolverine in New Zealand, while across the ditch Panalux’s credit roll includes the second and third Matrix movies, Mission Impossible 2, Superman, and Australia.

The company also supplies to a large number of Aussie television series, such as Packed To The Rafters, Home & Away, Sea Patrol, and Underbelly. Indeed, it’s even equipped to cater for small stills photography shoots.

That range is a good thing because, as we’re all well aware, those big international gigs have been markedly absent on both sides of Tasman for a while now.

“Obviously it’s been very quiet in New Zealand recently,” notes operations manager Jim Keating. “The last big jobs we did in NZ were Avatar and Wolvervine, for which we also did some of the Australian work.

“We had been going to do Kingdom Come straight after that, but unfortunately that fell on its face…

“And the last big production we worked on in Australia was Voyage of the Dawn Treader on the Gold Coast last year.

“Normally when we’d get into summer – between November and

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october 2010

www.onfilm.co.nz

February – we’d get a lot of overseas stuff come in and there just hasn’t been any of that this year.”

What’s he put the drought of work in Oz down to? While a lack of studio space is often pointed to as a leading culprit in NZ, that’s clearly not the case in Australia, where large studios have been standing idle for some time.

“The global financial crisis first hit in 2008, and the Australian industry is still feeling the effects of that. It’s that, coupled with the strong Australian dollar.” (When we spoke in October, the Aussie was nearly neck-and-neck with the greenback, so the prospects of relief courtesy of the exchange rate seem remote for the foreseeable future.)

One hoped-for bright spot on the horizon is The Hobbit, which Keating and colleagues are itching to tender for should a greenlight for a New Zealand shoot be granted.

A project of that scale would give the company the opportunity to employ its capability for designing and fabricating custom items for specialised jobs, an example of which is pictured left.

Taken during part of the 2005 Stealth shoot in the Blue Mountains’ Megalong Valley, it shows a 70 metre crane packing a lighting rig that consists of eight 30k panels for a total of 240 1k globes, each of which was individually controlled via dimmers.

Now that’s what you’d rightly call a big rig…

Lighting

Flash Gordon A quick chat with Gordon Smith, gaffer and director of Flashlight Film Services.

The general consensus seems to be that 2010 has been the year that global economic meltdown has finally hit the NZ industry – is that your experience?

It’s been a very quiet year, particularly the winter. But right now it’s going off. Busy, busy, busy. Long may it continue!

We’ve just had a Strongbow ad for Australia and we’re just about to start work on a bank job – no one’s talking about who the client for that is, but that’s for 15 or 16 days.

In a number of areas in the industry there seems to be a trend of shrinking budgets while expectations remain constant – is that evident in the lighting game?

Definitely. The general feeling is that

budgets have shrunk, but agencies/ clients still expect the same quality.

Also, there are more people providing services in all areas, with more equipment available, so there is pressure on suppliers to deliver better deals. Perhaps we should be watching the wine industry – fast growth and fierce competition has provided some big surprises for many new players…

What’s your view on the uptake of HD versus 35mm?

In my experience HD is gaining ground, and the cameras are getting better. There’s obviously a big push to use HD, even though film is often still the better option – at least visually!

Certainly I think we often light more for HD, whereas film can cope with more extreme lighting variations.

What do you most enjoy about your job?

The great people I work with and the frequent sense of yet again pulling off the near-impossible!

What do you least enjoy?

The killer hours – and I’m used to it!

What’s the most important piece of lighting gear that you can’t do without and why?

I think it’s probably my Inclinometer/ compass, backed up by Sun Seeker, the very handy iPhone app – what the sun’s doing so often determines the shooting day.

Photo: Brin Compton

Flashlight Film Services has been going for 21 years. What’s been the key to the company’s longevity?

I guess first thing is we’ve always delivered. We’re dependable, with very good Arri gear.

We’re also always re-investing in our inventory. You need to in order to stay current with new technology.

Working on Pacific Renaissance’s Xena: Warrior Princess during the midto-late ’90s was really significant for us, because it helped us (and several other companies) to expand, and also got us up to speed about what we needed to provide to meet the expectations of productions coming in from the US and Europe.

Light-hearted moment: On a recent shoot for McDonald’s USA via Curious NZ (DOP John Toon) are (l-r) Flashlight Film Services’ best boy Karl Saunders with lighting assistants Jody Sutherland and Sam Marshall.

Then again, my partner Claire says the most important piece of gear “is always the next light you want to buy!”…

Who’s the best best boy you’ve ever worked with, and why?

I’ve worked with a fair number of very good best boys.

But I reckon it’s Karl Saunders, who has survived me for 15 years.

He started with us straight out of school and has learnt my style. In many ways he’s adapted it and made it better, to the point where he’s now become an excellent gaffer in his own right.

Special mention to Brin Compton – he’s the bomb, and can find a way to rig anything and to make the broken live again!

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october 2010

23

Lighting

Brightening prospects A2Z Technology’s Rex Milton and David Epstein reckon things are picking up.

A

2Z Technologies specialises in supplying professional audio and video products – and related accessories – and its range includes cameras, studio and field equipment, tripods, microphones, bags, cases, cables, monitors, test and measuring equipment, and – yes – lighting systems.

So how’s business?

“We had a slump over the winter,” acknowledges manager Rex Milton.

While this isn’t an unexpected seasonal downturn, he reckons it’s been worse in 2010 than in previous years and agrees it’s partly been a matter of the global economic downturn finally catching up with us.

“We’ve certainly seen some tough times for some of our clients,” says

broadcast products manager David Epstein. “Some of whom have been working only two or three day a week, with the occasional burst where they are flat out for 10 days on the trot. So it’s been a bit up and down.

“But it seems to be turning the corner now, though, and people are feeling more positive. That’s not just due to the fine weather – people are actually working now. There’s more buoyancy in the industry at the moment.”

Contributing to the company’s recent lean period has been a significant shift in the marketplace, Epstein notes.

“We’ve seen a decrease in the sales of shoulder-mount cameras and bigger cameras,” he says. “The Sony EX1 and EX3, and now the Canon D5 and

New to

Queenstown Camera Company

D7 have really changed the way things are being done. There are now a tremendous number of people capturing pictures on $5000 and $10,000 rigs that are readily available and producing some sensational pictures. You used to have to rent one of the more expensive cameras, or buy one if you really had a lot of work on, but it’s not like that at all any more.

“Having said that, we’ve just had what’s been a record month for camera sales – the industry has really picked up.”

“Yes, the past couple of months have been ballistic really,” Milton reports happily. “We’ve done a couple of good promos with the likes of Canon and so on, and been able to put together a number of kits for people.”

Has the increasing popularity of these small, relatively inexpensive HD cameras had an impact on the lighting side of the business?

“Oh yes,” says Epstein. “There’s certainly been an increase in demand for mostly portable field/ location lighting in the past couple of months – we’ve sold a lot of lights.

“The Lowel DV Creator Kit is proving particularly popular. It carries three different lights to achieve three different lighting effects, so it’s quite a versatile

lighting kit for location work, and indeed small studio or office work.

“The next size kit up is the DV Creator 44, which has the same lights plus one more – the Rifa 44 light. And the next one up from that is the DV Creator 55, which has a Rifa 55 instead of the 44.

That’s a very popular kit for one-manband operations, which is where we see the marketplace going. In the good old days you had a soundie and lighting and a camera guy – no longer. Now the guy with the camera is also the lighting man and the journalist and the soundie.”

“The advantage of these Lowel kits is that they pack down into the one case,” adds Milton, “so someone can easily carry their camera in one hand and their lighting kit in the other.”

The popularity of the Canon cameras in particular is also seeing a rise in the use of on-camera lights.

“If you’re a little short of light and want to get some detail into someone’s face, on-camera lights are very handy,” says Epstein. “One of the most popular brands we sell is the SWIT. They are selfpowered with an internal battery and you can charge them off a USB port, so anyone with a laptop to download their footage with can also power up their light. And being LED they’re very low in power-draw…”

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Lighting Across the ditch

Grist to Mills

Continued from page 8

Continued from page 21

ment’s A$25 million of incentives on offer to overseas productions seem to have no takers, with overseas production down due to the high exchange rate between the Oz and US dollars. I recently visited Fox Studios in Sydney, where the huge sound stages were dark and empty. Much like the Ministerial benches of NSW Labor, as pollies try to duck howls from the disgruntled populace and the Opposition demanding an early election.

E

x-Midnight Oil singer Peter Garrett is now also the ex-Federal Arts Minister, having been replaced in the portfolio in the new Labor/ Greens/Independent Federal Government by Simon Crean, a veteran and yet another Labor ex-leader.

While some wonder what the new Minister will be like, the industry is assured by Geoff Brown, supremo of producers’ organisation SPAA, that “Simon Crean offers a fresh start and the opportunity for renewal”.

He should know. Sydney-based Brown has had enough lunches in Canberra to have his finger right on the pulse.

O

ne late September morning, reel Sydney people noted over their lattes a Sydney Morning Herald report that Sir Peter Jackson had “raged like an orc” over an alleged dispute with Australian “bully boy” union MEAA, which was supporting NZ Actors’ Equity in its attempt to get equal treatment for Kiwi actors on Jackson’s two Hobbit movies, along with all the

26

october 2010

actors’ unions and guilds in the USA, Canada and Great Britain.

Sir Pete also reportedly threatened to take the production to Eastern Europe. As we know all too well over here, an offshore production like The Hobbit can disappear in the wink of a US producer’s eye if another country has a better exchange rate and can offer better incentives. But surely the demands of a handful of local actors are unlikely to make a difference to the cost of shooting the movie?

One comment from Phillipa Boyens, Oscar winning co-writer of the Lord Of The Rings trilogy, left us somewhat baffled.

She claimed in a radio interview that other countries were trying to “steal” the film, including Australia, which at time of writing is apparently “making a huge play for this production”.

So there’s a chance that Sir Pete would film The Hobbit here, where he’d have to employ actors on the same sort of “bully boy” contracts the Kiwi actors are trying to get. Helloooo???

We’ve lost many an offshore production here in Oz but obviously a lot of Kiwis are finding it difficult to wrap their heads around that possibility, especially for a project so close to their hearts, and as a result emotions are running high.

Hopefully the situation will be resolved by the time you’re reading this column, with The Hobbit remaining in Godzone. Whichever way it goes though, cobbers, you’ve got to remember there’s a reason it’s called the film business...

www.onfilm.co.nz

I was under the impression that running a camera rental company at the moment can be a bit hairy, with the advent of RED and now the Canon 5D and 7Ds becoming more popular?

I think you’ll find the 5D and 7Ds are a flash in the pan. They’re all right for lots of reasons – I mean they’re great for being able to get the same kind of footage as the RED with that little body but by the time you accessorise it to the point where professionals are comfortable using it, so the focus can actually pull focus and all that, you’re back to the same size camera.

We’ve got the 7D and it’s great for getting into places you wouldn’t normally be able to get into – you know, it looks like you’re shooting stills but you’re really shooting a movie – they’re great for grabbing a clip here or a clip there. And some commercials have four or five of them – they just keep swapping cards and carry on shooting. But agencies aren’t so fond of the camera because they can’t really see what’s going on, so they don’t have as much control – you can get one monitor off the camera but it’s hard to get additional ones off.

But anyway, the ARRI Alexa we’ve bought is ARRI’s answer to the RED – they had to do something for their survival and this is what they’ve come up with. I reckon it’s probably going to put the RED to bed.

Really? That’s a bold prediction.

Well, the RED’s all right for something that’s assembled in Singapore

by a company that used to make sunglasses. [laughs] They’ve definitely invented the wheel in their own way…

When I went to the Cine Gear Expo in LA in June, among all the industry professionals there I didn’t meet anyone who had a kind word to say about the RED; they weren’t saying anything bad about it but they weren’t saying anything good, either.

I wouldn’t be surprised if the Alexa brings on a bit of a backlash – all these DOPs who have learnt their craft have all of a sudden had to learn to deal with all these new kids on the block, all these computer geeks who speak the lingo. I remember being on a job in the early days of the RED where an editor was saying to the DOP, “Get out of the way and let me shoot it, I know what I want!” No respect. DOPs have had to bite their tongues for a bit.

The other thing is that the DOP and director have no creative control with the RED – no matter how you shoot the footage, the agency can always change it later to whatever they want. With the ARRI Alexa, on the other hand, you have to select a colour temperature and, once you have, that’s the way it looks and that’s the way it stays, which gives DOPs a little more creative control.

And I think the ARRI’s a lot more user-friendly in many ways, so I’m picking – and hoping – that the second mouse gets the cheese. It’ll be interesting, that one…

SWIT

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S-2010

The natural history of Michael Stedman III Continued from page 11

broadcaster could learn a lot from Ma¯ori Television; I think Ma¯ori Television is just a phenomenal success because it’s got energy, it knows where it’s going.

I think the only way this industry can grow and continue to strengthen is by cooperation. And the state broadcaster is not separate from that.

Look, it’s a life of fucking disappointment when it comes to this industry’s missed opportunities – I’ve been around it a long time and seen the monumental fuck ups that have taken place, all the result of idiots.

Idiots!

This is one of the few industries in this country where there needs to be a bi-partisan approach. Because it is too important an industry for it to be otherwise.

Here’s something that was really quite pleasing. On the second year of the post-graduate course – which is four years ago now – we were having drinks for the 12 students, as we always do, in our wee cafe and Peter Hayden walked in. And three of those students walked up to him and said, “We’re here because of you.” And these were students who were doing the course, but two of them had PhDs and the other had a Masters.

And they were there because of Wild Track – the kids’ programme that Peter Hayden had fronted had sparked their interest in the natural world.

It’s in those little moments in life that you realise that television can be and is important. It does shape people’s lives and it can play an important role. And I would argue to any group of politicians that it is too important to allow it to be played with like some bloody toy. The TVNZ Charter, for instance, what a piece of complete nonsense – the product of the Teletubby! [laughs] It’s important enough, I would have hoped – though it’ll never happen because politicians don’t necessarily work in the interests of the greater good – that each of the parties would stick somebody around a table and say, “Let’s engage with the industry and develop a 10-or 15-year vision. And once we’ve agreed that, let’s just leave them alone – apart from monitoring – and let them get on with it. Give them some certainty.”

Because that’s the thing this industry has lacked.

I’ve been through all the “Television New Zealand is going to be sold.” “No, it’s not going to be sold.”

“Yes, it is going to be sold.” All of that uncertainty. Every time there’s a new minister, you know, TVNZ has to second guess what their agenda

might be. It’s this constant state of nervous anticipation.

The industry is often treated, like most other policy areas, as an ideological football.

Oh yeah, and here’s a big thing. If you say to a group of people, “Are you sick of the rubbish you get on television?” “Yes!” “Well, I’m going to fix it!” “Oh, good on ya!” Everybody thinks television should be better than it is, so when you get a politician who says they’re going to make it better, everyone says “good on ya!” Now that’s all you need to say, you don’t need to actually do anything after that, you know. Or you end up with a Charter: “Oh, a great thing to do!”

What a piece of horseshit!

So there’s tampering with it, and there’s a promise to sort out “those people at the state broadcaster”, but there’s nothing ever done of any substance, because the people doing the tinkering don’t know anything about the industry, nor do they really bother to really engage with their constituents; they’re merely doing it because it will get attention and get ink.

Any closing remarks – would you like to thank the Academy and so on?

Well, I was absolutely stoked to get the award from the academy, from SPADA, not having been an active member of SPADA ever, and having at times in the past been slightly critical of the organisation because they don’t know where Dunedin is. [laughs] I remember once getting an invitation to go to Christchurch to meet the then-president of SPADA and, fuck, steam came out my ears.

Because at the time there was nothing happening in Christchurch and everything was happening in Dunedin!

I thought, “You fucker – let Christchurch come to Dunedin!”

So I was really quite chuffed to get the champion award. And then somebody said, “Oh, it’s a lifetime achievement award as well.” “Oh fuck off – that’s the one you get before you retire?”

But no, it’s interesting, you get a lot of recognition internationally – that’s for NHNZ as well – but the homegrown acknowledgement means so much more. It’s really genuinely very special.

So I was, well, to say I was a bit tearful would be overstating it, but I was really quite touched. Because down here you just do your thing, and I spend more time in China than I do in any other part of New Zealand.

Which is weird, isn’t it…

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n Productio Listings How to get your production listed Because all listing information is voluntarily supplied by the production companies concerned, these pages are indicative of production activity rather than being an exhaustive record.

Film

Lydia Stott cast Aunanda Naaido, Alison Titulaer, Ajay Vasisht, Leela Patel, Ben Mitchell, Rajeev Varma, Tarun Mohanbhai, Vidya Venugopalan, Bhavnesh Soni, Jenny Li, Lisa Robinson, Dwayne Cameron, D. Mark Harrison, Sophia Elisabeth, William Wallace, Amit Odhedar, Jazeel Mistry

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20min short prod co Treetop Productions prod/dir/ writer Raquel Sims prods Richard Whiteside, Julieanne Stephens, Amanda Berryman DP Matt Sharp 1ADs Jules Lovelock, Luke Ruscoe, Bruno DuBois 2AD Felicity Hamill prod mgr Amanda Berryman prod asst Laurence Fauatea runners Marty Chung, Tayla Davies, Keiran Vane ed Nikki Parlane cam op Ben Forman f/pullers Graham Smout, Bryson Rooney c/loaders Graham Smout, Alex Lee gaffer Lee Scott grip William Mathews asst grip Andrés Bocage lx assts Daniela Conforte, Bret Saunders, Royce Goddard snd Dan Urlich boom op Tim Blake music snd Lauren King data mgr Symon Choveaux unit mgr Eugene Becconsall set dress/props Mike Mercer, Melanie Hull props Julieanne Stephens cont Heidi Jeynes, Marian Angeles w/robe Bonne Kemp m/up Jasmine Amohau, Renei Bailey, Lucy Gargiulo, Kerry Taylor hair Dayna Morris, Sandra Stevenson @Zambezi music Mama Tilly, Rose Blake, Catherine Norton pub Richard Whiteside prod stills Greig Sims pub stills Sarah Julianne medical advs Sharon Graham, Dr Vincent Wong casting Raquel Sims, Beth Brash cast Jessica Manins, Vincent Wong, Rose Blake, Richard Whiteside, Elliot Travers, James Trevena-Brown, Barbara Woods, Elaine Butler

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prod co One Car Films writer/dir Linda Niccol prod Glenis Giles cinematgrphr David Paul prod mgr Sophie Cherry script ed Athina Tsoulis cont Pam Hislop 1AD Judith Wayers cast coach Miranda Harcourt art dir John Girdlestone art asst Rehua Wilson m/ up Frankie Karena w/robe consult Amanda Neale clothing for Rose Wallace Rose Clothing f/pullers Graham McFarlane, Andreas Mahn c/loader Martin Lang gaffer Adrian Hebron (Wookie) key grip Melissa Ririnui lx assts Lee Scott, David Brownjohn snd Benoit Hardonniere boom op Etienne Vaudray loc Jules Lovelock unit Josanne Tane catering Yolanda Smythe accounts Sam Ryan prod runner Andy Campion stills Paddy Riley lx truck Portsmouth grip gear Film Tec NZ cam Camera Works ed Neil Mayo asst assembly Aaron Dixon & Tama Hape post prod Rubber Monkey cast Rose McIver, Jed Brophy, Miranda Harcourt, Melissa Hunter, Laura Ginty

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Feature prod co D S Productions prod/dir/writer Dale Stewart exec prods Dale Stewart, Graeme Gilby prod Jacqui Gilbert DP Mathew Harte 1st cam asst Roko Babich 2nd cam asst Dale Stewart 1st ad Candice Crow boom op Chanel Simpson prod mgr Jacqui Gilbert prod assts Jono Bevin, John Gilbert, Joseph Gilbert gaffer Mathew Harte gaffer asst Roko Babich adv John Gilbert m/up Sarah Taylor, Zoe Boyle, Anna Brock, Simone Faets ed Dale Stewart ed assts Ben Fowler, Chris Tarpey colourist Allan George cmpsr/ mus Gabrielle Gilbert snd/foley/snd post prods Nadav Tabak, Alex Ward loc Spookers cast Te Kaea Beri, Richard Lambeth, Nikki Christensen, Russell Wills, Debbie Foster, Omar Al-Sobky, Tim Hammersley, Tonci Pivac, Campbell Cooley, Mike O’Sullivan, Jacqui Gilbert, Tim Schijf, Jennifer Lopsi, Dale Stewart, Andires Mentz, Chad Mills, Gareth Paget, Andy Sophocleous, Breigh Fouhy, Andrea Bates, Alex Way, David Coggington, Amy Malloy, Eppie Bowler, Mike Tilton, Chantal Renee Samuela, David McCartney, Dan Coddington, David Austin, Jimmy James, Sean O’Connor, Jonathan Gilbert, Rachel King, Gabriel Henry

CURRY MUNCHERS

Feature prod co Mahayana Films prod Rajendran Naidu dir Cristobal Araus Lobos s/play dev Anand Naidu s/play writer/sup Padma Akula DP Karl Schodt snd Ande Schurr mus Allen Jensson grip Anton Leach tech dir/post prod Media Networks Corporation exec prod Shanta Naidu line prod Gaurav Gupta asso prod Paul Marshall marketing mgr Graham Rogers 1AD Jordan Mauger 2AD Rowan Sharp loc mgr Eddy Fifield unit mgr Steven Baker prod assts Rowan Sharp, Amit Sharma, Sophiya Elisabeth, Rosemary Abel grip asst Corei gaffer Matt Johns b/boy Ken Stratton b/girl Aleisha Frazer f/puller Matthew Gerrand cam asst Priscilla Northe snd mixers Ben Vanderpoel, Nikora Edwards boom op Chanel Simpson m/up Powder Puff Inc w/robe Laura Schneemann, Sarah Koopu prod des Robin Charles art dir Haley Williams art assts Angela Gray, Courtney Sanft art dept runner Josh Finnigan runners Ashley Pitman, Christopher Pretty,

28

october 2010

CNZ funded short writer/dir Shahir Daud prods Andrew Brettell, Shivali Gulab prod mgr Gabe Page DP Andrew Stroud 1AD Jules Lovelock art dirs Josh Barraud, Kate Logan vfx sup Phil McLaren (NZFX) f/ puller Andy Chappelle RED data wrangler Raj Patel cam asst Luke Frater key grip Murray Love grip asst Brett Saunders gaffers Chris Murphy, Dave Anderson lx assts Matt Henley, Mark Dunick, Sam Sheppard snd rec Joel Anscombe-Smith cont Pete Wellington w/robe Pip Stevenson m/up Cath Maguire stunts sup Ricky Dey photo Mel Phillips actor’s coach/chaperone Abby Marment unit mgr Ross Graydon prod assts Dan Lynch, Morgan Stevenson ed Jeff Hurrell (Martin Square Prods) comp Brett Johanson 3D animators Lernwil Ang, Jeremy Raven, David Alve colourist Darwin N Go cast Riley Brophy, Theo Taylor, Augusta Wills, Jamie Burns, Neha Bhatia, Jaiden Khushal

GIRL MEETS BOY

Feature prod co SPP (09 839 0999) prods John Barnett, Paul Davis dir Roseanne Liang writers Roseanne Liang, Angeline Loo line prod Janet McIver head acct Michelle Daley acct Ruben Ferguson post prod Images and Sound ed Eric de Beus asst ed Hamid Slaimankel pub Tamar Münch cast Michelle Ang, Matt Whelan, Kenneth Tsang, Pei Pei Cheng, Simon London, Katlyn Wong, Celeste Wong, Janet Tan, Josh Thomson, Todd Emerson, Gareth Yuan, Mike Ginn, Johnny Barker

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

HOT ROB

Self-funded action comedy short dir Andy Campion DP Marty Lang vfx ed Caleb Carr 1AD Johnny Eagle gaffer David Brownjohn cam asst Philip Kehm steadycam op Glen Maw snd Miguel Ruiz boom op Alex Lee scrpt sup Sophie Cherry m/up Renei Bailey grip Jared O Neale unit Charlette Potts cast Hayden Weal, Rowan Bettjeman, Aroha White, David Brownjohn, Faalii Alaimoana, James Simpson, Daley Tapa, Florence McFarlane, James Blake

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

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Innes, Jodie Hillock, Renee Lyons, Sam Berkley, Julian Wilson, Anna Davies

Mike Hallett, Dion Barton, Sonia Mills, Rob Addy, Jenny Shalfoon, Louise Joel, Linda Hutchison

MATARIKI

SHANTYTOWN HOLOGRAM

Feature NZFC 16mm prod co Filmwork prod Fiona Copland dir/writer Michael Bennett co writer Gavin Strawhan line prod Janet McIver prod acct Susie Butler prod coord Lisa Finlay prod sec Sylvia Guerra prod run Laura Thavat, Kara Warren 1AD Carey Carter 2AD Lauren Shaw 3AD Emma Maurice prod des Miro Harre art coord Jacinta Gibson art dir Grace Mok set dec Emily Harris prps/byr Lee Johnston set drssr Nigel Tweed s/prps Simon Garrett art asst Domini Calder art run Renee Kofoed DP Alun Bollinger f/ puller Kirsten Green c/loaders Dusty Millar, Duncan Patterson cam asst Meg Perrot cost des Jane Holland asst des Lucy McLay cost asst Briar Vivian cost stby Emma Harre, Jenny Rushton extr coords Camille Keenan, Yvonne Bennett key grip Kevin Donovan grip assts Jim Rowe, Todd Nevill gaffer Grant McKinnon b/boys Paul Eversden, Brian Laird genny ops Christian Dunn, Stephen Joyce lx assts Russel Lloyd, Jody Sutherland loc mgr Jacob MacIntyre loc asst Damion Nathan m/up sup Susie Glass hair/m/ up Natalie Perks ed John Gilbert post sup Charles Knight asst ed Mark Hawthorne safety Karl Koller script sup Kathleen Thomas snd rec Richard Flynn boom op Eoin Cox stunts Mark Harris unit mgr Wayne Hooper unit asst Grant Moffit vfx sup Maile Daugherty pub Sue May actng adv Stephanie Wilkin cast Jason Wu, Susana Tang, Sara Wiseman, Iaheto Ah Hi, Jarod Rawiri, Alix Bushnell, Edwin Wright, Michael Whalley, Mark Ruka, Mabel Burt, Vela Manusaute

MEATHEAD

35mm NZFC funded short prod co Eyeworks Film prods Desray Armstrong, Chelsea Winstanley consult prod Robin Scholes exec prod Big Shorts dir/writer Sam Holst 1AD Seamus Cooney 3ADs Bonnie Frires, Floyd Moratti cont Kath Thomas strybd art Glen Christie DP Andy Commis f/puller Jason Cooper White c/ loaders Kent Belcher, Gray Turner s/cam Grant Adams stills Louise Hyatt behind the scenes Chris Walker grip Anton Leach gaffer Sean Loftin lx/grip asst Corey Moana snd rec Ben vanderpoel boom op Adnan Taumoepeau prod des Sinclair Lonsdale stby props Billy Mizer art asst Jesse Magrath cost des Emma Skudder m/up Debbie Tremayne unit Rua Howe safety Sam Cometti, SceneSafe prod asst Dena Kennedy prod runner TemaKwan Fenton-Coyne rushes runner Suze Srpek cam equip Panavision NZ stock Fujifilm NZ ed Peter Sciberras snd des Max Scott, Nick Buckton, Matt Scott casting Reel World Casting cast Jesse James, Greg Smith, William Hemming, Mick Innes, Stephen Ure, Jesse Magrath

POLES APART

16mm short prod co The Film School dir Jan Kleinhiens writer Hayden Armstrong prod John Reid exec prod Tommy Honey asso prod Alison Langdon DP Anjali Mehta prod mgr Sophie Gregory prod des Larissa McMillan prod coord Sophie Gergory prod assts Fraser Howse, Olga Durban prod runner Emma Dougherty 1AD Luke Ruscoe 2AD Lila Reibel loc mgr Shane Catherall, Lance Uluilelata cam op Shane Catherall cam asst Tom McHattie grip Daniela Conforte gaffer Hayden Armstrong b/boy Royce Goddard snd rec Roland Taylor boom op Nils Macfarlane cont Marian Angeles props Alex Tuapola w/ robe Casey Baldwin unit Symon Choveaux making of Sharan Subbaraaj cast Nathan Green, Alison Walls, Stacey Dalziel, Kam Turner, Sarah Lineham, Daisy Henderson, Jay Neilson, Kent Lambert, Blythe Pistole, Rick Norton

PROPOSAL

25min prod co 3dLive prod Ronel Schodt dir/ stereogrphr Abhishek Kala DP Karl Schodt tech dir Wayne Johnstone stereo consult Dr Roy Davies vfx sup Abhishek Kala

RED ALERT

15mins DV prod co Hera Pictures writers/prods/ dirs BD Partridge, BJ Partridge AD Gareth Smith DP Daniel Habedank m/up Vikki Cottingham snd/stills Stallone Vaiaoga-Ioasa doco Andrew Kalshoven asst prod Michael Swift snd Trish Armstrong stills Graham Parker ed Jamie Shields song Gretchen Althoff builder Ray Lawson catering Arna Swift, Christina Swift w/ robe Emer O’Boyle composer Brigid Bisley music Waitakere City Orchestra cast Jason Greenwood, Paula Ferguson, Mark Webley, Simon Hislop, Jane Watt, Linda Tonkin, Jess Wylder, Lucy M Sanders, Jennette Rees, Sally Pugh, Jane Thomas, Lisa Dixon, Debbie Hay, Melanie Rosen, Vikki Cottingham, Mike Phillips, Geoffrey Bardsley, B-J Partridge, Ami Taylor,

12min prod co 3DLive dir Mike Firth prod Ronel Schodt holographic DP Karl Schodt ed/compositor Wayne Johnstone scrpt Bridget Ellis Pegler m/up Danielle Orme gaffer Matt Johns

TAKU RAKAU E

12min short 35mm prod co StanStrong Ltd prod Merata Mita dir/writer Kararaina Rangihau prod mgr Chelsea Winstanley prod asst Shannon Biddle prod runners Dena Kennedy, Dave Anderson 1AD Pita Turei 2AD Kath Akuhata Brown prod des Okiwi Logan Shipgood construct Bonnie Taiatini, Haruru Ripia props Jimmy Kouratorus DP Grant McKinnon asst DP Mike Johnathan gaffer Mike Toki b/boy Logan Phillips grip Jim Rowe grip asst Andy Troughton loc mgr Steve Frires m/up artist Jasmine Amohau snd rec Aaron Davis add snd Ethan Davis cont Kath Thomas f/puller Kent Belcher c/loader Meg Perrot cam asst Amber Smith stills Cinzia Jonathan cam equip METRO film lx equip Volcano Lighting unit/ safety Tweedie Waititi catering Te Kohanga Reo o Waikaremoana ed Dena Curtis snd des/ foley artist Dick Reade music Justin Kereama karearea footage Hikoi NZ film stock Fuji film processing Film Lab Ltd telecine transfer Digi Post snd des studio Reade Audio curious film prod Matt Noonan flame op Nigel Mortimer title des Richard Shaw subtitles Luke Haigh cast Menu Ripia, Te Ratauhina Tumarae, Te Urewera Tekurapa, Kiripounamu Tekurapa, Kirikatokia Rangihau, Riria Rangihau, Whakarito Rangihau, Parehuia Eparaima, Pato Ripia, Raymond Tipu, Tarewa Rota, Charlie Lambert, Ivan Turipa

THE DEVIL’S ROCK

Feature WWII Horror prod co The Devil’s Rock dir Paul Campion prod Leanne Saunders writers 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 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 stdby 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 gfx des Pete Wellington illustr Les Edwards title 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 sup Davina Lamont m/up art Deb Watson Dara Wakely m/up asst Hayley Ness on set m/up/ fx/ prosth sup Sean Foot on set prosth techs Dordi Moen, Jade Jollie weta wkshp prosth sup Richard Taylor weta wkshp spec prosth m/up art Sean Foot weta wkshp prosth tech Jason Docherty, Frances Hawker weta wksp sculpt Gary Hunt weta wkshp prosth painter Sourisak Chanpaseuth, Dordi Moen weta wkshp 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 sup Frank Reuter, Jake Lee matte paint Max Dennison 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 Mark Matchett, Kevin Armstrong, Avele “Val” Moreli stills Gareth Moon add stills Matt Mueller, Roger Wong EPK Mike Roseingrave EPK add Jed Soane, Mark Tantrum ed Jeff Hurrell ed trainee Wes Thorpe snd des James West, Lloyd Young snd des trainee Jordan Muzio comp Andrea Posse ed facility Martin Square lab facility Laurence Alexander, Rubber Monkey cam Rubber Monkey Rocket Rentals lx Gunmetal insurnc Crombie Lockwood int sales NZFilm distrib Vendetta thx to Portsmouth, L’Affare, HELL & Film Wellington Nicci Lock cast Craig Hall, Matt Sunderland, Gina

Varela, Karl Drinkwater, Luke Hawker, Jess Smith, Nick Dunbar, Hayden Green, Jonathan King

THE FALL GUYS

Feature prod co Certain Scenes Productions writer/ dir Scott Boswell prod Rhys Cain co prod Derryn Beath 1AD Daniel Beeching 3AD Jae Walford art dir Domini Calder DP Phillip Jackson snd David Byrne cost Caroline Mitchell prod mgr Caroline Mitchell cont Glenn Horan prod assts Anita James, Jayson Simpson, Rhonda Corbett, Susanne Kemp, Jo Crowle stills Derryn Beath, Gina Jessop m/up Idette Braan, Glenys John, Kate Caughlin cam asst Jacob Slovak lx assts Nic Candy, Phil Hines key grip Daniel Camp casting Tim Schijf, Fraser Ross unit Louise Boswell stunts Ike Hamon cast Ryan O’Kane, Dane Dawson, Kyle Pryor, Paul Glover, Zoe Cramond, Amy Louise Waller, Snowy Housley, David Viskovich, Crystal Vickers, Anna Smith, Mike Lowe, Geoff Ong, Anson Yang, Richard Lambeth, Darryl Archer, Matt MacDougall

THE FLAT

16mm short prod co The Film School dir Emma Dougherty writer Jan Kleinhiens prod John Reid exec prod Tommy Honey asso prod Alison Langdon DP Daniela Conforte prod mgr Luke Ruscoe prod des Larissa McMillan prod coord Sophie Gregory prod assts Fraser Howse, Lila Reibel prod runner Casey Baldwin 1AD Sophie Gregory 2AD Chris O’Riley loc mgr Shane Catherall, Marian Angeles cam op Royce Goddard cam asst Anjali Mehta grip Alex Tuapola gaffer Robert Fitzgerald b/boy Sharan Subbaraaj snd rec Hayden Armstrong boom op Shane Catherall cont Jan Kleinhiens props Tom McHattie w/ robe Olga Durban unit Nils Macfarlane making of Symon Choveaux cast Robert Tripe, Martine Michelle, Theo Taylor, James Blake, Augustin Caravello, Stella Reid, Chris Dawson, Renee Sheridan, Claire Kirby, Kayla Britton, Sarah McGreechan

UNCLAIMED LUGGAGE

15min short prod co Kiwa Media exec prod Rhonda Kite prod Karla Rodgers dir Ramon Te Wake writer Whiti Hereaka prod mgr Nadine Lee 1AD Marama Killen continuity Elizabeth McGilnn prod runners Jo Ah Kuoi, Stacey Taylor DP/op Adrian Greshoff cam asst Samarah Wilson b/boy James Dudley snd rec Deb Frame prod des Joe Hitchcock m/up Jane Petersen-Foret cater Rita Kite ed Malcolm Clarke cast Elizabeth Hawthorne, Rex Holwerder, Bruce Hopkins

YOUNG PREY

16mm short prod co The Film School dir Nils Macfarlane writer Sophie Gregory prod John Reid exec prod Tommy Honey asso prod Alison Langdon DP Sharan Subbaraaj prod mgr Luke Ruscoe prod des Larissa McMillan prod coord Sophie Gergory prod assts Fraser Howse, Marian Angeles prod runner Alex Tuapola 1AD Lance Uluielata 2AD Tom McHattie loc mgrs Shane Catherall, Sophie Gregory cam op Robert Fitzgerald cam asst Royce Goddard grip Jan Kleinhiens gaffer Shane Catherall b/boy Daniela Conforte snd rec Fraser Howse boom op Lance O’Riley cont Emma Dougherty props Lila Reibel w/ robe Anjali Mehta unit Casey Baldwin making of Roland Taylor cast Dra McKay, Hudson Mills, Petra Donnison, Steven Ray, Kara Danielle, Johnny Eagle, Pavel Kvatch, Vere Hamson Tindale, Kassie McLuskie

IN RELEASE BLUE MERMAID

19min short digital prod co Remnant Films writer/ dir Kelly Lyndon co prods Graeme Cash, Kelly Lyndon 1AD Gareth Dowdell DP Ayrton Winitana cam asst Tracie D’Ath gaffers Roko Babich, Mathew Harte lx assts Ihakara Wilson, Sean Loftin snd Callum Lister boom op Dave Skinner art dir Anna Brock asst art dir Shannon Winn art asst Fletcher Selaries spfx m/up Magdalena O’Connor m/up Abbie Gardiner, Kristina Friend hair Amelia Motuliki hair asst Angela Hodgson w/robe Crystel Tottenham stunts Andy Sophocleous cont Ben Cooney, Chantal Favier, Caitlyn Drinkwater, Debbie Pope anim Al Serrano unit mgr Jesse Crombie caterers Trish Conrad Catering stills Christina Campbell ed Nicholas Newton cams NZ Camera Hire cast Scott Dugdale, Gwendoline Taylor, Jesse Miller, Nicholas Newton

ICE

Feature prod cos Power UK & Screentime NZ exec prods Philly de Lacey, Justin Bodle, Ewa Radwanska dir Nick Copus scrnply Tim Prager, Dominic Morgan, Matthew Harvey, Ray Harding based on a book by James Follett prod Ric Pellizzeri line prod Judith Trye DP Richard Bluck prod des Tim Ferrier art dir Miro Harre set dec Milton Candish 1AD Simon Ambridge 2AD Eamon O’Sullivan 3AD Hannah McKenzie prod mgr Annie Dodman prod coord Rebekah Kelly asst prod coords Emma Coory, Andrew Marshall, Karla Wallace prod sec Sarah-Jane Vercoe prod acct Barbara Coston set dress Kirsty Van De Geer on set dress Gareth Mills swng dress Seamus Butt prop mst Petelo Vaihu prop

byr Paul Dulieu strybrd Gareth Jenson cam op Dana Little f/pullers Angus Ward, George Hennah c/loadr Garth Michael red cam sup Gareth Daley vid splt op Dean Thomas cam asst Alex Glucina snd rec Chris Hiles boom Sam Spicer cost des Pauline Bowkett cost sup Brett Garton m/up sup Davinia Lamont key m/ up art Tracey Reeby m/up art Michele Barber cont mgr Bryan Gravatt ld hnd Rainy Healy scnic art Danny Strachan key grip Jay Munro gaffer Greg Nalder loc mgrs Phil Aitken, David Walker sfx Richard Schuler sfx armr Gunner Ashford stunt coord/2 unit dir Lawrence Woodward post prod Toybox ed Margot Francis vfx Sauce 2 unit DP Andrew Stroud UK cast Gary Davy NZ cast Terri De’Arth Aus cast Ann Fay epk prod Steve King epk dp Richard Parsonson pub Lisa Cruse stills Matt Klitscher cast Richard Roxburgh, Frances O’Connor, Claire Forlani, Ben Cross, Simon Callow, Patrick Bergin, Stephen Moyer, Sam Neill, Nathaniel Lees, Brooke Williams, Erin Mullally, Gareth Reeves, Werner Daehn, Jaime Passier-Armstrong, John Leigh, Mark Wright, Daniel Sing, David Woodley

RUSSIAN SNARK

80min feature prod co Godzone Snark Productions prod Liz DiFiore dir/writer Stephen Sinclair 1ADs Tony Forster, Annie Frear 2AD Katja Studer 3ADs Mina Jafari, Reuben King prod mgrs Alex Campbell, Angela da Silva prod coord Angela da Silva prod sec Sarah Vercoe prod acct Angela Hicks prod assts Kayleigh Sheekey, Elle Clarke, Pascal Perrin, Soraya Pearl Jolly, Rachel Choy, Sarah Jones, Wendy McCracken prod runners Michael Grainger, Rory Howard, Donna McCarthy, Natalie Frigault, David Capstick, Kelly Lyndon, Mark Wigglesworth, Fletcher Selaries, Kermath Davies, Michael Tunbridge, Belinda Hart, Juliette Williams audio Ande Shurr boom ops Matt Daniel, Jeremy Lawry prod des Lyn Bergquist, James Solomon set dec Adria Morgan stdby props Piripi Taratoa art assts Richard Cooke, Michael Williams art runners Pieta Heynon, Dominique Calder DP Steve Latty cam assts Kent Belcher, Rajiv Raj, Alex MacDonald, Martino Frongia, Matt Hart, Nick Hayward, Alex Campbell vid splts Zohra Trinder, Pepe Ramos cont Kat Phyn, Awanui Simich-Pene, Nikki Castle gaffer James “Splash” Lainchbury lx assts Lance Daley, Felipe MorenoLaidlaw key grips Kevin Donovan, Chris Rawiri, Jim Rowe grip assts Lincoln Phillips, Winnie Harris cost des Cathy Pope cost consult Deirdre McKessar add cost des Sox Teng stdby w/robe Amber Rhodes, Andrea Matysik w/robe asst Daniel Voyton sfx m/ up Hayley Marlow m/up Samantha Cairnes-Morrison m/up assts Yolander Bartham, Luana Millar, Kym Stevenson, Elizabeth Canales-Ron safety/marine coords Scene Safe, Rob Gibson, Marty Clist, Richard Reynolds stunt coord Tim Wong boat wranglers Curtis Akitt, Sam Cometti unit mgr Paul James unit assts Hamish Mason, Amy Russo, Michael Wylan caterers Platters Catering stills Geoff Short, Olga Panassenko, Nick Monks, Sasha Stejko, Liz DiFiore casting Christina Asher loc Rebecca de Beer Lamont, Petrina D’Rozario loc assts Mark Wigglesworth, Jane Bucknell post prod Images and Sound ed Wayne Cook, Paul Maxwell post prod ed assts Nick Hopkins, Gary Young post prod sup Grant Baker epk cam ops Nick Hopkins, Liz DiFiore, David Munro, Hamish ColemanRoss cams Niche Cameras

THE INSATIABLE MOON

Feature drama prod cos Holy Bucket Productions, Blue Hippo Media exec prods Tim Sanders, David Ball prods Mike Riddell, Pip Piper, Rob Taylor asso prods Tom Burstyn, Anton Steel dir Rosemary Riddell writer Mike Riddell DP Tom Burstyn line prod Maile Daugherty prod acct Naomi Bowden prod assts Jen Wood, Richelle Jackson 1AD Fraser Ross 2AD Steve Khrone 3ADs Henry Jian, Deborah Pope ed Paul Maxwell ed assts Kerri Roggio, Ygnacio Cervio strybd Gair Cook prod des Brent Hargreaves art assts Sarah Beale, Lizzie McGowan B cam dir Anton Steel B cam DP Dave Cawley f/puller Sean Loftin cam asst Lisa Moore cost des Chantelle Gerrard w/robe assts Wendy Bradford, Genista Jurgens, Alex Roberson, Lihn Pham grip Todd Nevill gaffer JD Freedman b/ boy Paul Abbot 3 elec Paul Waystaff snd Craig Perry boom op Sam McDonald, Simon Morrow script sup Zohra Trinder catering Les Yule catering asst Polly Riddell loc mgr Troy Stanton-Kerr m/up sup Vanessa Hurley m/up asst Skye Clark p/grphr Violaine Barrois asst p/grphr Steve Powell unit Jonothan Parkes, Robbie Parkes epk/doco dir Magdalene Laas epk/ doco cam Angela Gray, Lisa Moore data mgr Sam Genders runners Jarrod Nitschke, Jonathan Newton, Lydia Stott, Stephanie Brauer pub Gareth Higgins post prod Images & Sound mgr Maile Daugherty sup Stephanie Chung snd post prod Steve Finnigan vid Paul Lear cmpsr Neville Copland cast Rawiri Paratene, Sara Wiseman, Ian Mune, Greg Johnson, Don Linden, Ray Woolf, Mick Innes, Bruce Phillips, Grant McFarland, Rob McCully, Sophie Hakaraia, Sarah Valentine, Jimmy Vraniqi, Elliot Yule, Lee Tuson, John Leigh, Andrea Kelland, Laurel Devenie, Matthew Chamberlain, Phil Peleton, Teresa Woodham, Vicky Yiannoutsos, Tim Beveridge, Sophie Fromont, Alice Fromont, Callum Stembridge, Sarah James, Johnny Angel, Sarah Somerville, Andrew Beattie

Shooting The Insatiable Moon, which was released theatrically on 7 October.

THE RUNNER

10min prod co 316 Productions prods David McCartney, Allan George exec prod/dir Ben O’Hanlon writer Jarret Filmer DP Allan George prod mgr Emily O’Hanlon 1AD Omar Al-sobky cast dir David McCartney art dir Isaiah Vaega lx assts Johnathon Huston, Mathew Harte m/up Kerri Thomassen grip Kerem Blumberg runner Jason Daniels stunt coord Craig Dunn stunt rigger Noodles stunt dbl Adrien McGaw ed Ben Fowler compsr Peter Laussen audio Kieran Clarke vfx art Paul Jones colourists Allan George, Ben Fowler art Leslie Chih cast Patrick Morrison, David McCartney, Samuel Thomas, Lathan Lockwood, Isaiah Vaega, Duane Haugie, Andrew Jenkins, Allan George

Television

ASIA DOWN UNDER

40x29min prod co Asia Vision prod Chris Wright asso prod Glenna Casalme prod mgr Jenna Steel reporters Bharat Jamnadas, Milda Emza, Kadambari Gladding rsrch Geraldine Ramirez cam ops Dave Flynn, Simon Ellis, Jan Polak, Vaughan Scott ed Jeff Avery audio post Auckland Audio

ATTITUDE - 6

40x30min disability focused doco series prod co Attitude Pictures prod Robyn Scott-Vincent dirs Emma Calveley, Ramon Te Wake, Nicola Salmond, Richard Riddiford, Megan Jones line prod Robyn Barker prod acct Jane Cotter prod assts Sue Wales-Earl prod trainee Daniel Wrinch music coord Kristy Munro rsrch Emma Calveley, Tanya Black, Dan Buckingham, Curtis Palmer cam Greg Parker snd Wendy Adams gfx Brandspank ed Attitude Pictures online ed Simon Hyland snd TVNZ, Simon Weir reporters Curtis Palmer, Tanya Black, Dan Buckingham, Kristy Munro

AUTAIA

pre PRODUCTION PARADISE CAFÉ 2

13x30min children’s drama prod cos Gibson Group (NZ), Initial (Endemol UK) prods Dave Gibson, Christopher Pilkington line prod Chris Tyson asst to Dave Gibson Anna Middleton scrpt ed Karen Curtis writers Andrew Gunn, David Brechin Smith, Briar Grace Smith, Chris Ellis, Sarah Nathan, Deborah Wilton, Edwin McRae, Kate McDermott, Ben Marshall, Joss King dir Danny Mulheron prod mgr Jo Hiles prod coord Kristen Rowe prod sec Sally Cunningham prod asst Lucie Camp prod rnnr Andy Campion accts Kathy Regnault prod des Kevin Leonard Jones art dir Nick Riera onset art dir Josh Barraud art dept asst Heyden Hughes props buyer Nicole Spackman s/by props Taylor Wikohika model maker Ivan Rooda art dept rnnr Campbell Waugh const mgr Russell Stoupe leadng hnd Sandy Wilmar 1AD Robin Wilson 2AD Jacqui Pryor 3AD Bruno Du Bois DP Simon Baufield f/puller Roger Feenstra vid asst Tammy Williams TVNZ snr cam op Richard Lander TVNZ cam op Jane Vaughan TVNZ add cam op Andrew Wiggins TVNZ cam asst Tim Butters, Nathaniel Brunt cast dir Rachel Bullock xtras coord NZ Nathan Meister xtras coord Raro Serena Cowan cast tutor Sharon Milton caterng Billie Lusk cont Sandra Dryden cost des Gillie Coxill cost sup Chris Pickard cost s/by Elizabeth Watson cost asst/run Emma Lodge sewer Sarah Muir, Cathy Harris offc mgr Roger Leslie grip Oli Harris safety offc Neal Luka loc/unit mgr Raro Maurice Newport gaff Giles Coburn b/boy Jamie Couper gene op/electrn Ants Farrell TVNZ lx dir Roger Wallan TVNZ lx Byron Sparrow key m/up/hair des Hil Cook m/up artist Angela Duncan ed Ben Powdrell cgi sup John Strang fac mgr Rex Potier gg online ed Adam Sondej freight coord Sarah Bicknell snd rec Don Paulin boom op Sam Spicer stunt coord Rodney Cook unit mgr Gabe Page n/works TVNZ, BBC (UK) cast Pax Baldwin, Holly Bodimeade, Lara Custance, Georgia Fabish, Nua Finau, Miranda Harcourt, John Wraight

IN PRODUCTION AKO

prod Jeni-Leigh Walker rsrchr Pania Papa, Puka Maeau pres Pania Papa snr prod mgr Sandra Richmond

ANIMAL ACADEMY

13x30min series for and about people who are passionate about animals prod co Whitebait TV pres Sarah Ulmer, Jeremy Maguire, Geoff Mehrtens writer/res Margaret Gordon prod mgr Nikki Edwards dirs Bill de Friez, Robin Shingleton, MaryJo Tohill, Scott Hindman, Louise Leitch, Dan Henry, Alan Henderson, Margaret Gordon audio post prod Dave Cooper online ed Leanne Munro prod Veronica McCarthy exec prod Janine Morrell n/work exec Philippa Mossman

ANTARCTIC WHALE EXPEDITION

HD doco prod co NHNZ (www.nhnz.tv) exec prod Judith Curran dir/prod/snd op Max Quinn prod mgr Nikki Stirling

30x26 min Māori language, youth careers show prod co Maori TV exec prod Carol Hirschfeld prod Mechele Harron pres Tupoutama Paki dir Robynleigh Emery, Paora Ratahi prod co Anahera Parata prod mgr Trudy Steele snr prod mgr Sandra Richmond

BACK & BEYOND

6x60min HD doco prod co NHNZ for A&E TV Networks exec prod Judith Curran series prod Janice Finn prod mgr Robyn Pearson rsrch Kelly Meade, Amy Kagelmacher, Erin Browne field dir Chris Kugelman DP Alex Hubert cam asst Supriya Vasanth pst dir Craig Gaudion, Kelly Meade, ed Cameron Crawford, Marilyn Copland vid post prod Stu Moffatt, Frank Lodge snd pst prod TBC

BEYOND THE DARKLANDS 4

6x60mins prod co Screentime exec prod Philly de Lacey dirs Mary Durham, Rita Attwood, Peter Bell, Eugene Carnachan, Bryn Evans prods Mary Durham, Peter Bell, John Keir prod mgr Kates Moses cam op Chris Matthews, Gavin Stroud, Daniel Apiata, Scott Behrnes eds John Kirk, Alex Behse, Roger Yeaxlee online ed Keith Mclean

BOIL UP

30x26mins studio panel sports show exec prod Carol Hirschfeld prod Te Arahi Maipi dir Mahanga Pihama prod mgr Kym Morgan prod asst Kahukore Bell snr prod mgr Sandra Richmond

THE BOX SEAT

48x60min prod co Trackside exec prod Mandy Toogood prods Matt Smith dirs Jamie Annan, Glen Bourne, Brendan Burns, Marty Henderson host Brendan Popplewell prod asst Nichola Johnson eds Elena Ash, Shane Devitt, Iain Logan, Rhyce Barker

BRING YOUR BOOTS OZ

13x26min factual/entertainment prod co Notable Pictures prod Julia Parnell dirs Dane Giraud, Ihakara Wilson pres Glen Osborne rsrchr Steve Hale writers Dane Giraud, Ihakara Wilson cam op Mathew Knight snd op Gabriel Muller ed Lisa Greenfield prod mgr Anne O’Brien

CLINICAL YEARS

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

COUNTRY CALENDAR

26x30min rural NZ lifestyles prod co TVNZ prod unit mgr Tina McLaren prods Julian O’Brien, Frank Torley prod mgr Robyn Best dir/res/reps Jerome Cvitanovich, Vivienne Jeffs, Carol Archie, Kerryanne Evans, Katherine Edmond, Dan Henry

FIRE WARFARE

prod co Greenstone Pictures ho prod Andrea Lamb prod Sophie Dungate dir Reuben Pillsbury prod mgr Kylie Henderson prod asst Catriona Macky Magdalena Laas

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october 2010

29

n Productio Listings FIRST CALL

52x180min prod co Trackside exec prod Mandy Toogood prod Roger Moore dirs Jamie Annan, Glen Bourne, Brendan Burns host Karyn Fenton-Ellis panellists Des Coppins, Stu Laing, Brett Davison prod asst Nichola Johnson eds Shane Devitt, Elena Ash, Rhyce Barker, Iain Logan

GO GIRLS 3

13x60min drama/comedy series prod co SPP (09 839 0999) exec prods John Barnett, Rachel Lang, Gavin Strawhan prods Chris Bailey, Britta Johnstone writers Gavin Strawhan, Rachel Lang, Kate McDermott strylners Jodie Molloy, Laura Hill line prod Sharron Jackson prod mgr Linda Fenwick script sups Aria Harrison, Kat Phyn, Lisa Cook dirs Peter Burger, Angela Bloomfield, John Laing, Josh Frizzell prod coord Michelle Leaity asst prod coord Quentin Fullerton-Smith script/extra coord Sarah Banasiak runner Lance McMinn acct Susie Butler asst acct Elisha Calvert prod des Gary Mackay art dept coord Cathy Adams art dirs Paul Murphy, Emily Harris s/ by props Owen Ashton, Craig Wilson art dept assts AJ Thompson, Aria Hirzel Horn set dec Angeline Loo set dec asst Rose Worley gfx Savannah Macintosh construct man Chris Halligan 1ADs Rod Smith, Sarah Miln, Mark Harlen 2ADs Fraser Ross, Emma Wright, Katrien Lemmens, Teuila Field 3AD Esther Clewlow DP DJ Stipsen A cam op Dave Cameron f/pulls Bradley Willemse, Sam Mathews cam asst Fiona Janet Young cam trnee Sam Fraser snd rec Richard Flynn boom op Matt Cuirc snd asst Adnan Taumoepeau cast dir Christina Asher catering Rock Salt comp Jonathan Bree cost des Sarah Voon cost coord Lucy McLay cost buy Jasmine Edgar cost dress Cecile Bridgeford cost s/by Sophie Mills, Amber Rhodes, Ciara Dickens s/by assts Shona Lee, Natalie Keane eds Mark Taylor, Jochen Fitzherbert, Lisa Hough asst ed Julian Karehana gaffer John Bell b/boy Chris McAllister gen op Christian Dunn lx asst Ewan Hall key grip Jeremy Osborn grip asst Andy South grip trnee Corey Moana loc mgrs Jacob McIntyre, Charlotte Gardner loc coord Eddy Fifield loc asst Nina Bartlett loc intern Anna Boyack m/up des Dannelle Satherley key m/up art Deb Clarke m/ up/hair arts Shannon Sinton, Matt Huckstep m/up trainee Kendal Ferguson post prod sup Grant Baker post prod coord Melanie Langlotz images eng Alan Kidd snd post prod Steve Finnigan pub Tamar Munch pub asst Lucy Ewen safety Lifeguard & Safety stunt coord Mark Harris unit mgr Ben Dun unit asst Josh Dun swing drive cap Ben Dun cast Jay Ryan, Anna Hutchison, Alix Bushnell, Bronwyn Turei, Esther Stephens, Matt Whelan, Tania Nolan

I KNOW A SHEILA LIKE THAT

6x30min docos prod co Velvet Stone Media prod Lara Northcroft dirs Kirsty Armstrong, Tim Worrell, Jillian White, Chelsea Winstanley, Ramon Te Wake prod mgr Nicola Smith cam ops Richard Curtis, Mike Jonathan, Maringi Houkamau snd ops Tere Tapsell, Frank Phipps, Hedell Raerino ed Lea McLean Te Reo Mäori Ratu Tibble rsrch Eugene Carnachan

InbeTWEEN

prod co Greenstone Pictures ho prod Andrea Lamb prod Sarah Kinniburgh rsrchr Kathryn McMillan prod mgr Alix Wilson prod asst Simon Faets dirs Megan Jones, Lee Baker fund TVNZ

I SURVIVED 3

16x60min HD doco prod co NHNZ (03 479 9799) for A&E TV Networks exec in charge of prod Michael Stedman series prod Alan Hall prod mgr Dayle Spavins rsrch Marina De Lima, Alissa Collins Latensa, Bridget Baylin, Stephanie Antosca, Jacqui Morice Crawford field dir Sally Howell DP Kris Denton prod coord Dwayne Fowler post dir Bill Morris, Jacqui Morice Crawford, Mark Orton eds Christopher Tegg, Owen Ferrier-Kerr, Geoff Conway vid post prod Stu Moffatt, Frank Lodge snd post prod Stacey Hertnon, Errol Samuelson

I SURVIVED... BEYOND AND BACK

6x60min HD doco prod co NHNZ for A&E TV Networks exec prod Judith Curran series prod Janice Finn prod mgr Robyn Pearson rsrch Kelly Meade, Amy Kagelmacher, Erin Browne field dir Chris Kugelman DP Alex Hubert cam asst Supriya Vasanth, Adam Sayre post dir Craig Gaudion, Jennifer Crone, Kelly Meade ed Cameron Crawford, Adam Baines, Marilyn Copland, Karen Jackson vid post prod Stu Moffatt, Frank Lodge snd post prod Errol Samuelson, Stacey Hertnon

INDIGENOUS INSIGHT

30mins indigenous current affairs prod co Mäori TV prod coord Ripeka Timutimu pres Lynette Amoroa exec prod Te Anga Nathan prod Kelvin MacDonald

KAITIAKI 3

13x26min doco series prod co Kiwa Media prod Rhonda Kite

KETE ARONUI 8

GOOD MORNING 2010

prod co TVNZ Prod Unit prod unit mgr Tina McLaren prod Sally-Anne Kerr line up prod Erina Ellis script eds Melanie Phipps, Liz Smith dirs Jim Curry, Alan Henderson, Mark Owers dir asst Christina Dolman prod mgr Dawn Aronie prod asst Alice O’Donoghue spcl projs Marcus Hamilton rsrchr Andrew Wood, Georgia Stephens, Simon Ragoonanan, Lucy Johnston, Sally Page, Nadine Millar rsrchr asst Ana Mules adv prod Amber Smith adv prod mgr Pippa Keiller adv dir Rachael Hennessey adv prod asst Julia Lynch

GRASS ROOTS RUGBY – TE WHUTUPAORO-A-ROHE

50min weekly provincial rugby prod co Mäori TV exec prod Eruera Morgan prod Graham Veitch Television

HAA

30min youth prod co Mäori TV exec prod Eruera Morgan prod Wiremu Te Kiri asso prod/prod mgr Teremoana Rapley dir Kataraina White pres Amanda Jay Ashton, Nawaia Watene, Junior Paparoa rsrchr Adam Burrell stylist Rachelle Christian m/u art Kelly Isherwood sen prod mgr Sandra Richmond

HIGH COUNTRY RESCUE

8x30min factual/entertainment prod co SPP (09 839 0999) exec prods John Barnett, Tim Sanders ho fact prog Sam Blackley prod dir Derek Stuart cam snd op Tony Barnes post prod dir Brigid Reilly post sups Grant Baker, Jane Anderson offline ed Vaughan Bayer prod acct Lee-Ann Hasson legal & commercial affairs Jessica Wiseman pub Tamar Munch

HOMAI TE PAKIPAKI

ryday NZers 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

20x90min Heats, 2x90min Semi-finals, 1x2hr Grand Final. Live, interactive, karaoke series showcasing eve-

13x26min doco series prod co Kiwa Media prod Rhonda Kite

MARINA BAY SANDS

1x60min HD doco prod co NHNZ (www.nhnz.tv) co prod NGCI exec prod John Hyde prod Jocelyn Little dir Donovan Chan prod mgrs Suzanne Lloyd, Janine Campbell ed Joel Tan

MEGASTRUCTURES: DUBAI RACECOURSE

60min HD doco prod co NHNZ (03 479 9799) commissioned by NGCI exec prod John Hyde prod/dir Mike O’Neill, Giles Pike prod mgr Suzanne Lloyd loc mgr Mark Orton cam Giles Pike ed Doug Dillaman mus Leyton post prod Stacey Hertnon, Stu Moffatt, Frank Lodge

MEGASTRUCTURE: Singapore’s Vegas

1x60 HD doco prod co NHNZ (03 479 9799) co prod NGC exec prod John Hyde prod Jocelyn Little, Janine Campbell dir Donovan Chan prod mgr Suzanne Lloyd, Michelle Tan ed Joel Tan post prod Stacey Hertnon, Stu Moffatt, Frank Lodge

MEGASTRUCTURE: World’s First High Performance Building

1x60min doco prod co NHNZ (www.nhnz.tv) co prod NGC Int’l Channel exec prod Andrew Waterworth prod Jayashree Panjabi prod mgr Suzanne Lloyd prod coord Nikki Stirling cam Curtis Rodda China liaison Lauren Wang gfx Donald Ferns, David Batson, Kei Kasai ed Nicola Smith music Alex Stoloff writer Gary Parker

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october 2010

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MEN IN BLACK

3x60min docos prod co Gibson Group prod Alex Clark exec prod Gary Scott dir Dan Henry prod mgr Wayne Biggs rsrch Sarah Boddy DP David Paul snd Chris Hiles, Hammond Peek ed Paul Sutorious n/wrk exec Jude Callen n/wrk TVNZ

MINORITY VOICES

10x22min docos brdcst TVNZ prod co ButoBase exec prod Glenn Elliot n/wrk exec Jude Callen prod/dir Julia Parnell writer/dir Dane Giraud asso prod/rsrch Rebecca Singh prod mgr Natalie Tozer prod coord Anahera Parata eds Tim Grocott loc snd Cameron Lenart

NATIVE AFFAIRS

60min weekly current affairs prod co Mäori TV gm Te Anga Nathan exec prod Colin McRae prod Wena Harawira prod coord Sharmaine Moke dirs asst Pene Bush snr reporters Annabelle Lee-Harris, Makere Edwards reporter Iulia Leilua rsrch Kelvin McDonald pres Julian Wilcox

NEIGHBOURS AT WAR

prod co Greenstone Pictures ho prod Andrea Lamb asst prod Kathryn McMillan rsrchr Katrina Inkster prod mgr Rebecca Plaistow prod asst Rochelle Leef fund TVNZ

NEW YEAR’S EVE SPECIAL

1x90mins TV special prod co TVNZ – Avalon Resources prod unit mgr Deb Cope prod Debra Kelleher pres Jason Gunn writer Andrew Gunn dir Mark Owers prod mgr Ali Black rsrch Erina Molloy field dir Lisa Burd

NGA IWI WHAKAPONO

prod co Mäori TV prod Toi Iti rsrch/pres Ruia Aperahama rsrchr Tipare Toi snr prod mgr Sandra Richmond

NGA TAONGA WHITIAHUIA

26x26min NZ Film Archive show prod co Mäori TV exec prod Carol Hirschfeld prod Michele Bristow pres Lawrence Wharerau dirs James Ratahi, Ira Heyder prod mgr Trudy Steele snr prod mgr Sandra Richmond

NGATI NRL 9

13x30min reality brdcast MTS prod co ButoBase exec prod Glenn Elliott n/wrk exec Reikura Kahi prod Julia Parnell asso prod/dir Nicki Carston prod mgr Natalie Tozer prod/te reo coord Anahera Parata comp dir Dane Giraud writer Julia Parnell cam ops Myles Desenberg, James Costello eds Harry Snell, Yan Chengye, Brian Sarfatty te reo cons Scott Morrison nar Te Arahi Maipi snd post prod Cameron Lenart

PACIFIC BEAT ST

39x23min youth series for TV3 prod co Drum Productions prods Julie Smith, Stan Wolfgramm dirs Stan Wolfgramm, Carolyn Sylvester, Mike Bhana, Sam Cowley-Lupo, Koryn Dunstan rsrch Jane Dowell cam ops Nick Winter, Faanati Mamea prod mgr Jan Stensness ed Gary Young art dept Vea Mafileo, Sheldon Edwards snd post Jason Fox pres Koryn Dunstan, Khalia Strong, Michael Koloi, Sam Cowley-Lupo

POLICE TEN 7

36x30min prod co Screentime exec prod/prod Philly de Lacey dirs Rita Attwood, Les Dawson prod SarahLuise Hornblow asso prod/rsrch Katherine Birchall prod coord Olivia Lynd gfx Marcus Brill pres Graham Bell offline eds Jim Hudson, Rahera Herewini online ed Keith Mclean

Max Currie, Kirsty McKenzie, Alistair Boroughs, Caley Martin med adv Sally Geary, Sarah Nevitt script eds Lynette Crawford-Williams, Karen Curtis script eds asst Nina Vlahovic prod coord Mariya Nakova prod sec Rori Leonard 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 Sarah Murphy, Francis Koon 3AD Cat Henshall prod runner Aaron Levi dir assts Kathe Calis, Sarah Brinsdon, Laurel Urban, Rachel Blair tech prod George Platt tech mgr Malcolm C Saunders vis mix Fran Hodgson lx assts Nick Hakaraia loc DP Drew Sturge loc gaffer Drew Wright cam ops Sheree Swale, Nigel Roberts, Rayner Cook, Nick Hayward snd rec Greg Moon boom op Andrew Revell 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 Genelle Eaglen, Logan Childs gfx coord Alex Kriechbaum cost des Nicola Newman asst cost des Rebecca Jennings cost stbys Katie Jones, Joss Henry, Gloria Samuela cost asst Rowena Smith hair/m/up sup Tracey Nelson m/up Rebecca Elliott, Sophie Beddoes, Toni Anne Arbon offline ed Anna Marshall-Inman asst ed/digitiser Matthew Allison online eds Steven Mountjoy, Mariano Segedin, Kevin Henderson, Adam Page, Sean Rooney snd mix Neil Newcombe snd eds Margaret Newcombe, Ora Simpson cast dirs Andrea Kelland post prod sup Sara Knight pub Rachael Keereweer pub asst Kate Jones dialogue coach Shirley Duke, Linda Cartwright asst chaperone Rachel Forman comp Graham Bollard p/grphr Jae Frew caterer Rock Salt cast Michael Galvin, Amanda Billing, Alison Quigan, Faye Smythe, Robbie Magasiva, Benjamin Mitchell, Peter Mochrie, Lee Donoghue, Kimberley Crossman, Kiel McNaughton, Harry McNaughton, Sarah Thomson, Beth Allen, Sally Martin, Matt Minto, Anna Jullienne, Jacqueline Nairn

SPRING LOADED

6x30min prod co Trackside exec prod Mandy Toogood prod Tim Aldridge dir Glen Broomhall host Brendan Popplewell panel Lance O’Sullivan, Alf Matthews

TAO

30x26min Mäori language, youth careers show prod co Mäori TV exec prod Carol Hirschfeld prod Pirihira Holling pres Manawa Wright dir Peter Lee prod asst Riria Morgan Nutric Noella Taiapa prod mgr Trudy Steele snr prod mgr Sandra Richmond

TAUTOHETOHE

15x52mins Inter-iwi debate series prod co Mäori TV exec prod Eruera Morgan dir/prod Te Rangitawaea rsrchr Hineani Melbourne prod mgr Trudy Steele Reedy prod coord/res Aroha Rawson snr prod mgr Sandra Richmond

TE KAEA

30min weekday, 20min weekend Mäori language news prod co Mäori TV gm Te Anga Nathan hod Wena Harawira exec prod Lynette Amoroa asso prod Kororia Taumaunu assign eds Aroha Treacher, Taiha Molyneaux dir assts Anne Abraham, Pene Bush studio dir Mark Robinson reporters Semi Holland, Rereata Makiha, Dean Nathan, Tamati Tiananga, Rewa Harriman, Mere McLean, Rahia Timutimu, Rau Kapa, Numia Ponika-Rangi, Kereama Wright, Mataia Keepa, Jasmyn Pearson prod mgr Sharmaine Moke dept asst Ripeka Timutimu subtitles Eva Mahara, Tepara Koti, rsrchr/pres Stephanie Martin pres Piripi Taylor, Amomai Pihama

TE KAUTA 2

prod co TVNZ Prod Unit TVNZ prod unit mgr Tina McLaren prod/dir Ron Pledger prod mgr Dawn Bowater pres rsrch Chris Nichol mus dir Peter Averi

15x52min Inter-iwi debate series prod co Mäori TV exec prod Eruera Morgan dir/prod Te Rangitawaea Reedy snr prod mgr Sandra Richmond prod mgr Leichelle Tanoa prod coord Breviss Wolfgramm rsrchr Anahera Vercoe-Rangi

SCU – SERIOUS CRASH UNIT

TE PAE HIHIRI

PRAISE BE

prod co Greenstone Pictures ho prod Andrea Lamb prod Sarah Kinniburgh, Tash Christie prod mgr Kylie Henderson prod asst Simon Faets fund TVNZ

SHORTLAND STREET

5x30min weekly prod co SPP exec prods John Barnett, Simon Bennett prod Steven Zanoski line prod Tim Hansen dirs Geoff Cawthorn, Wayne Tourell, Jonathan Alver, Katherine McRae, Richard Barr script prod Paul Sonne s/liner/story ed Paul Hagan s/liners

30x26min studio panel sports show prod co Mäori TV exec prod Eruera Morgan prod Te Arahi Maipi dir Mahanga Pihama prod mgr Kym Morgan prod ass Kahukore Bell snr prod mgr Sandra Richmond

TE TEPU

30min weekly Mäori language current affairs prod co Mäori TV exec prod Te Anga Nathan studio dir Jason Rameka prod/pres Waihoroi Shortlanmd prod co Ripeka Timutimu

THE ALMIGHTY JOHNSONS

10x60min drama/comedy series prod co SPP exec prods John Barnett, Chris Bailey, James Griffin, Rachel Lang prod Simon Bennett line prod Tina Archibald writers James Griffin, Rachel Lang, Tim Balme, Maxine Fleming script ed James Griffin dirs Mark Beesley, Murray Keane prod mgr Jo Tagg prod coord Natalia Perese prod sec Jayna Kesha runner Ant Davies acct Lee-Ann Hasson asst acct Sheree Silver 1ADs Shane Warren, Gene Keelan 2ADs Kylie McCaw, Sarah Rose 3AD Kate Hargreaves script sups Lisa Cook, Gabrielle Lynch loc mgr Benny Tatton loc asst Rick Waite unit mgr Dominic Stones unit asst Amy Russo DP Marty Smith cam op Oliver Jones A cam asst Anna Steedman B cam asst Alyssa Kath cam asst Jacob Slovak gaffer Antony Waterhouse b/boy Trent Rapana gen op Reuben Morrison lx asst George Huhu key grip Conrad Hoskins asst grip Jonathan Bixley snd rec Myk Farmer boom op Eoin Cox snd asst Steven Harris prod des Clayton Ercolano art dept coord Lia Neilson art dirs Liz Thompson-Nevitt, Matt Cornelius set dress Christiaan Ercolano prop s/bys Sam Evans, Olly Southwell art dept assts Anna Rowsell, Shanti Sibbing cost des Katrina Hodge cost co Rewa Lewis cost buy Sally-Ann Mullin cost dress Petra Verweij cost s/bys Ylona McGinity, Hannah Woods m/up des Kevin Dufty m/up arts Jacqui Leung, Jo Fountain, Amy McLennan cast dir Annabel Lomas safety Lifeguard & Safety/Karl Koller stunts Mark Harris post prod sup Grant Baker snd post sup Steve Finnigan eds Bryan Shaw, Nicola Smith, Eric de Beus asst ed Anu Webster vfx Peter McCully/Albedo VFX catering Rock Salt pub Tamar Munch pub asst Lucy Ewen stills Jae Frew, Caren Hastings, Matt Klitscher cast Emmett Skilton, Tim Balme, Dean O’Gorman, Jared Turner, Roz Turnbull, Ben Barrington, Keisha Castle-Hughes, Hayden Frost, Fern Sutherland, Alison Bruce, Rachel Nash, Michelle Langstone, Eve Gordon

THE COURT REPORT

15x30min TVNZ7 prod co Gibson Group exec prod Gary Scott prod Sofia Wenborn pres Greg King ed Raewyn Humphries n/wrk Philippa Mossman prod co Gibson Group

THE DETECTIVES

3x60min doco prod co Gibson Group prod Alex Clark exec prod Gary Scott dir Dan Henry prod mgr Wayne Biggs rsrchr Sarah Boddy DP David Paul snd Chris Hiles, Hammond Peek ed Paul Sutorious n/wrk exec Jude Callen n/wrk TVNZ

THE ERIN SIMPSON SHOW 30min weekday youth show prod co Whitebait-TV pres Erin Simpson cmdy duo Will Alexander, Dan Costello reporters Jane De Jong, Kimberley Crossman, Katy Thomas, Issac Ross, Chang Hung prod asst Tim Moreton dir asst Jenny Murray post dir Maryanne Twentyman dir Rob McLaughlin prod mgr Sharyn Mattison asso prod Kate Roberts prod Emma Gribble exec prod Janine Morrell-Gunn n/work exec Kathryn Graham

THE MISSING 2

8x60min prod co Screentime exec prod Philly de Lacey dirs Peter Bell, Tom Reilly, Ross Peebles, Mary Durham, Rupert MacKenzie prod Carolyn Harper prod mgr Kate Moses cam ops Chris Matthews, Gavin Stroud eds Roger Yeaxlee, Alex Behse, Margaret Kelly, Lisa Hough online ed Keith McLean

TO MAKE A DOCTOR

1x60min doco prod co PRN films prods/dir Paul Trotman cam Stephen Downes snd Brian Shennan, Ian Masterton, Andrew McMurdo

TOI WHAKAARI

exec prod Matai Smith prod Jade Robson dir Jason Remaka snr prod mgr Sandra Richmond

TRIBAL HUNT

4x60min HD doco prod co NHNZ (03 479 9799) co prod NGCI exec prod John Hyde series prod Nicola Hammond cam Giles Pike rsrchr Marcus Turner, Peter Holmes prod mgr Kavita Chopra host Hayden Turner post dir Sina Walker ed Cameron Crawford

VENOM LAB

3x60min HD doco prod co NHNZ (www.nhnz.tv) co prod NG Wild exec prod John Hyde sup prod Leo Faber prod asso Gavin Walburgh field dir Max Quinn

rsrch Adam Barnett prod mgr Suzanne Lloyd prod coord Nikki Stirling cam Bo Dreisig undrwtr cam asst Chris Sammut dive eng Jaap Barendrecht pres Jamie Seymour undrwtr cam Richard Fitzpatrick

VOLUNTEER POWER

prod co TVNZ Prod Unit prod unit mgr Tina McLaren prod Julia Leonard prod mgr/res Jan-Marie Nicolai pres Jim Mora pres Julia Bloore

WAIRUA

13x26min Spiritual ideals show prod co Mäori TV exec prod Carol Hirschfeld prod/dir Ngatapa Black pres Mere Black prod coord Mark Ihaia prod mgr Trudy Steele snr prod mgr Sandra Richmond

WHAT NOW

120min weekly live kids show prod co Whitebait-TV pres Charlie Panapa, Gem Knight, Tumehe Rongonui eds Michelle Bradford, Leanne Munro, Geoff Reid audio post Whitebait Facilities, Vahid Qualls props Warren Best, Simon Wells w/robe Wilma Van Hellemond stylist Lee Hogsden field coord Catie Windelburn gfx des Harold Kho, Yosef Selim, Aaron Dekker rsrch Rebecca Browning writer Andrew Gunn dirs asst Ella Cook prod asst Joshua Pollard post prod dir Bronwyn Williams prod mgr Sharyn Mattison dirs Kerry Du Pont, Bronwyn Williams creative prod Jason Gunn asso prod Josh Wolfe prod Reuben Davidson exec prod Janine Morrell-Gunn n/work exec Kathryn Graham

POST PRODUCTION BLOODLINES

1x90mins prod co Screentime exec prod Philly de Lacey prod John Keir dir Peter Burger line prod Bridget Bourke prod coord Jo Finlay DP Simon Riera snd Mike Hopkins ed Paul Maxwell cast Mark Mitchinson, Nathalie Boltt, Craig Hall, Will Hall

On the set of South Pacific Pictures’ series The Almighty Johnsons.

fin, Rachel Lang, Chris Bailey prod John Laing co prod Carmen J Leonard co creators James Griffin, Rachel Lang writers James Griffin, Rachel Lang, Tim Balme, Maxine Fleming, Fiona Samuel, Jan Prettejohns script ed Rachel Lang prod acct Lee-Ann Hasson post prod sup Grant Baker snd post sup Steve Finnigan eds Allanah Milne, Bryan Shaw comp Joel Haines pub Tamar Münch pub asst Lucy Ewen cast Robyn Malcolm, Antony Starr, Siobhan Marshall, Antonia Prebble, Kirk Torrance, Frank Whitten, Tammy Davis, Nicole Whippy, Craig Hall, Shane Cortese

PARADISE CAFE SERIES 2

13x30min children’s drama prod co Gibson Group prod Dave Gibson dir Danny Mulheron line prod Chris Tyson vfx sup John Strang ed Ben Powdrell post sup Heather Cottam n/wrk exec Tina McLaren n/ wrk TVNZ, CBBC

1x60min HD doco prod co NHNZ for NGCI exec prod John Hyde prod/dir Mike Bennett prod mgr Suzanne Lloyd rsrch Anya Durling ed Katie Hinsen script ed Nigel Zega

LIFE FORCE

SECRETS OF THE GHOST ARMY

(Mutant Planet for Discovery) 6x60min HD doco prod co NHNZ (03 479 9799) co prod NHK Discovery (Science and APL) France 5 exec prod Andrew Waterworth (NHNZ) Shin Murata (NHK) series prod Judith Curran sup prod Peter Hayden ep prod/dir Satoshi Okabe, Masahiro Hayakawa, Brant Backlund, Rory McGuinness rsrch Nigel Dunstone, Sarah Cowhey cam Mike Single, Rory McGuinness, Peter Nearhos, Andrew Penniket, Scott Mouat, Lindsey Davidson, Brady Doak, Peter Thompson snd Bryce Grunden, Mervyn Aitchison, Daniel Wardrop, Adrian Kubala dir Rod Morris eds Cameron Crawford, Adam Baines, Ceilia Offwood, Jason Horner, Gary Sims mus Trevor Coleman narr Anthony Call script ed Steve Zorn cgi Weta Productions cgi fx sup Kylie Robinson Don Ferns asst prod mgr Dayle Spavins prod mgr Glenda Norris snd mix Errol Samuelson, Stacey Hertnon vid post Stu Moffat, Frank Lodge

MARAE DIY 7

7x30mins prod co Screentime exec prods Philly de Lacey, John Keir prod Lornelle Henry dirs Greg Mayor, Rahera Herewini, Hori Aihene, Whetu Fala, Matt Sumich prod mgr Richard Mills prod coord Anna vonTunzelmann, Neil James eds Rahera Herewini, Tara Durrant presntrs Te Ori Paki, David Clayton-Greene, Monty Ritai, Aroha Hathaway

MY WEDDING AND OTHER SECRETS

Feature prod co SPP (09 839 0999) prods John Barnett, Paul Davis dir Roseanne Liang writers Roseanne Liang, Angeline Loo line prod Janet McIver head acct Michelle Daley acct Ruben Ferguson post prod Images and Sound ed Eric de Beus asst ed Hamid Slaimankel pub Tamar Münch cast Michelle Ang, Matt Whelan, Kenneth Tsang, Pei Pei Cheng, Simon London, Katlyn Wong, Celeste Wong, Janet Tan, Josh Thomson, Todd Emerson, Gareth Yuan, Mike Ginn, Johnny Barker

OUTRAGEOUS FORTUNE

18x60min drama/comedy prod co SPP (09 839 0999) exec prods Simon Bennett, John Barnett, James Grif-

1x60min HD doco prod co NHNZ co pro NGCI, WNET exec prod Andrew Waterworth prod/dir Steve Talley China prod Lauren Wang, Felix Feng cam Scott Preston snd Brent Nazaroff asst prod/rsrchr Katie Brockie ed Glen Molesworth mus Bruno Barrett-Garnier prod mgr Suzanne Lloyd vid Stu Moffatt, Frank Lodge snd Errol Samuelson

SUPER CITY

TANGAROA WITH PIO

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 music Reo Dunn, Woodcut 2∏ D, Pop Design prod acct Lee Ann Hasson prod mgr Richard Morrell prod asst Lettica Shelford n/wrk execs Reikura Kahi

XENO

1x60min doco prod co PRN prods/dirs Malcolm Hall, Paul Trotman cam Stephen Dowwnes, Michael McLeod ed Josie Haines

IN RELEASE

SAVING GRACE

1x90min doco prod co Ora Digital, StanStrong prods Merata Mita, Cliff Curtis, Chelsea Winstanley dir Merata Mita pres Cliff Curtis prod mgr Desray Armstrong prod asst Tweddie Waititi rsrch Merata Mita te reo Mäori Hone Kaa fund Te Māngai Pāho, NZOA, Maori TV brdcst Mäori TV

ECO ARK

Rachel House, Nikki Siulepa, Fiona Edgar, Yvette Parsons, Fred Bishop, Edith Poor

6x23min prod co Super Fumes pro Carthew Neal exec pro Carthew Neal, Madeleine Sami consult pro Paul Horan writers Madeleine Sami, Thomas Sainsbury dir Taika Waititi line pro Leanne Saunders prod coord Chelsea Francis runner Gilly Luxton casual prod Hayley Cunningham stills Louise Hyatt prod acc Diane Illingworth 1AD Hamish Gough, Quentin Whitwell, Richard Matthews casual 1AD Katie Tate 3AD/unit Roberto Nascimento, Patricia Phelan, Richard (Ricky) James Silvester dir asst Prue Clarke loc mgrs Martin Hale, Richard Mills cas loc Andy Brown DP Jake Bryant cas DP Rewa Harre cam op Johnny Renata cam asst Ciaran Riddell cam intern Chesney McDonald snd rec Colleen Brennan, Craig O’Reilly boom op Nikora Edwards, Adnan Taumoepeau, Sam Good cas boom op Sean O’Reilly m/up des Dianne Ensor m/up art loc Anna Dewitt, Miranda Ramen m/up asst Abigail (Abby) Poynter cos des Larissa Lofley w/robe asst Hannah-Lee Turner, Lucia Farron-Diamantis art dir Dion Boothby art dpt asst Lisa Dunn cas art asst Haley Williams, Pritika Lal, Ethan Montgonery-Williams ed Cushla Dillion ed asst Dione Chard, Beau Rebel safety Scene Safe, Thunderbird Saftey post fac Toybox - Olin Turrall, Trinette Norton ntwrk exec Rachel Jean lawyer Matt Emery thanks South Seas Film School, Unitec & AUT for intrn Anna Cecelia Rowe, Aziz Al-Sa’afin, Bec Sproule, Brooke Jackson, Chris Stratton, Corinne Ash, Elizabeth Maddison, Enny Benzonelli, Facundo Canaves, Gemma Duncann, Genevieve Driver, Gracie Emberson, Henric Matthiesen, James Watson, Jorge Alfaro, Josh Finnigan, Kristy Wallace, Lennie Galloway, Lisa Moore, Lisa Fothergill, Lydia Stott, Nikita Wist, Philip Copley, Rosie Abel, Tammy Brenstrum, Willem Crowhurst cast Madeleine Sami, Rose McIver, Jessica Joy-Wood, Calvin Tuteao, Mick Innes, Gillian Baxter,

THIS IS NOT MY LIFE

13x60min drama prod co GRST exec prods Gavin Strawhan, Rachel Lang, Steven O’Meagher, Tim White prod Tim Sanders asso prod Polly Fryer line prod Liz DiFiore dirs Robert Sarkies, Peter Salmon writers Gavin Strawhan, Rachel Lang, Peter Cox prod coord Lisa Findlay asst prod coord Roisin Scully prod secs Sarah-Jane Vercoe, Zohra Trinder prod asst Sarah Banasiak prod runners Kimberly Hogan, Andy Brown acct Fa Suluvave acct assts Rachel Campbell, Stephanie Robinson post prod acct Kathy Corbett 1ADs Sarah Miln, Mark Harlen 2ADs Fiona Macmillan, Kate Hargreaves 3AD Esther Clewlow prod/ cost des Tracey Collins art dept coord Kirsty Van de Greer art dirs Davin Voot, Patrick Walker set drssr/ byr Anita Dempsey set dec Milton Candish art dept runner Tom Willis painter Marcus Winton prp/mkr Rhys Owen stby prp Sinclair Lonsdale art assts Ollie Southwall, Owen Ashton med adv Monnina Doran gfx des Lisa Rushworth DPs Andy Commis, Tom Burstyn cam op Grant Adams 1ACs Kirsten Green, Jason Cooper-White, Peter Cunningham, Johnny Yarell data wrang Kent Belcher 2AC Dusty Millar cast Neill Rea cast asst Bryan Coll chaprns Lana Davies, Sandy Cook caterers Luscious Catering constr Two Construct asst cost des Sian Evans cost byr Emma Aubin asst cost byr Lily Janes cost stby Kate Laver, Pip O’Brien asst cost stby Kat Fatu, Amanda Jelicich-Kane cost runner Anna Boyd cost assts Amber Rhodes, Miranda Penny mach Janine Harvey, Rosemary Gough pttrn cttr Marion Olsen key grip Kevin Donovan b/boy grips Jim Rowe, Chris Rawiri gaffer Grant McKinnon gaffer b/boy Brian Laird lx asst Jodie Sutherland, Russell Lloyd gene op Steve Joyce loc Robin Murphy loc asst Rick Waite, Kinder Te Moana loc PA Hendrick Gavelle, Tafela Matefo unit mgr Paul Fleming unit asst Dominic Stones, Mike Turner swng drvr coord Corey Blackgrove m/up/hair sup Vanessa Hurley key hair/m/up Stefan Knight hair/m/up Hannah Wilson eds Paul Maxwell, Jochen Fitzherbert ed asst Nicki Dreyer post prod Images & Sound post prod sup Grant Baker post prod coord Gwen McDonnell safety sups Willy Heatly, Danny Tenheuval, Nick Fryer, Shane Armitage, Damian Molloy, Jeff Hales script sups Kath Thomas, Jackie Sullivan snd rec Dave Hurley boom op Sam Spicer snd asst Alice Davies sfx coord Jason Durey sfx tech Mike Cahill still p/grphers Kirsty Griffin, Matt Klitscher stnts coord Paul Shapcott vfx Albedo vfx sup Peter McCully vfx coord Maile Daugherty snr compositer Dan Packer insrt coord Stephanie Robinson insrt DP Cristobal Lobos cmpsr Don McGlashan

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october 2010

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