ONFILM April 2012 by mediaweb

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Itâ&#x20AC;&#x2122;s only rock & roll

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Filmmaker talks about music doco Shihad: Beautiful Machine Homegrown spaghetti western Good for Nothing Casting The Cure Stunt wires and fires

contents News and views

APRIL 2012

4 A private view Onfilm columnist Doug Coutts and cartoonist Barry Linton update readers on the latest movements within the Tosh Club.

5 Editorial page Great news – screen industry revenue is up, says editor Steven Shaw; cartoonist Andy Conlan takes a look at casting. 6

Short cuts

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

12 COVER: Photo: Crew prepare to film Shihad in concert for inclusion in the NZFC/NZ On Air funded documentary Shihad: Beautiful Machine, due for release in May. Photo: Supplied.

11 Celebrating tangata whenua cinema Eight short films and four feature films written and produced by iwi are in development through Te Paepae Ataata, the NZFC-funded Māori film development organisation.

Features

12 It’s only rock & roll Producer Laurence Alexander talks about Shihad: Beautiful Machine, a new NZFC/NZ On Air funded feature documentary that reveals the band’s real story.

14 Ready, steady, spaghetti! Onfilm spoke with writer-director Mike Wallis about Good for Nothing, a Kiwi-made homage to the Spaghetti Western genre that’s turning heads in the USA.

Casting and Stunts

16 Casting The Cure Pharmaceutical thriller The Cure was filmed in Wellington last year. Filmmaker David Gould explains how he cast lead actors Antonia Prebble and Daniel Lissing as biochemists who uncover a terrible secret. 22

Wires and fires

Acting for the best

Peter Parnham talks to the stunt professionals who risk life and limb to bring the physical trials of screen characters to life. When low budget filmmakers start their projects they often rely on goodwill from cast and crew. Actor and comedian Greg Ellis offers some ideas on how to keep the cast smiling.

Regulars

26 Across the ditch James Bondi, our ex-pat spy based in Australia, rounds up industry news from the Lucky Country. 27 A legal view Legal expert David McLaughlin explores the basics of option and purchase agreements. 28

Production listings

Volume 29, Number 4

Est 1983

Editor: Steven Shaw (editor@onfilm.co.nz), 021-905-804 Contributors: Waka Attewell, Andy Conlan Doug Coutts, Helen Martin, Peter Parnham, Philip Wakefield Ad Manager: Kelly Lucas (admanager@onfilm.co.nz) 09-366 0443 Production Manager: Fran Marshall Designer: Cherie Tagaloa New Subscriptions: www.onfilm.co.nz/subscribe Subscriptions Enquiries: subs@mediaweb.co.nz, 09-529 3000 Pre-press and Printers: PMP Print Onfilm is published 11 times a year by Mediaweb Limited, which also publishes The Data Book. Mediaweb Limited, PO Box 5544, Wellesley Street, Auckland 1141 Phone 09-529 3000, Fax 09-529 3001 Website: www.onfilm.co.nz

The contents of Onfilm are copyright and may not be reproduced without written permission. © 2012: Mediaweb Limited While Onfilm welcomes unsolicited contributions addressed to the editor, no responsibility can be accepted for their return unless accompanied by a stamped, addressed envelope. All letters addressed to Onfilm will be assumed to be intended for publication unless clearly marked “not for publication”.

Subscriptions (one year, in $NZ): NZ $78.15 incl GST, Australia $115.50, Rest of World $160. ISSN 0112-2789 (Print), 1176-8436 (Online)

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april 2012

A private view

Tiring of flimsy premises The regular reader of this column will have noticed there’s been scant mention of the by doug coutts Tosh Club in recent months. There are several reasons for this, but none will stand close scrutiny. Suffice it to say we have been busy. To recap a little, the Tosh Club was established late last century as a virtual, even theoretical, support network for freelance writers who didn’t seem to fit in with any of the other craft groups in this industry – ie, they didn’t live in Auckland, didn’t know a blonde from a gobo and/or hadn’t written three screenplays currently with a producer who couldn’t be named for obvious reasons. Over the years the Club has tended to base itself in various, less salubrious parts of the Capital, partly because rents are cheaper but mainly because there are few, if any, really salubrious parts of Wellington left that aren’t owned by a Hollywood director. And there are advantages in getting down with the common folk – you never lose sight of your roots. Although it pays never to lose sight of any of your belongings either. But one must move with the times. Over the years membership of the Tosh Club has expanded markedly (with many needing to move up several sizes) which has often necessitated the finding of new premises. And so, we’re moving again. This time, however, it’ll be

for good. Or the foreseeable future, whichever lasts longer. Over the past few months rumours have been rife, within a few select circles at least, over the future of the giant Avalon production facility. Actually, make that the past few decades – stories about TVNZ Auckland Inc. wanting to free itself from the noose of that suburban Hutt albatross colony have been circulating ever since Julian Mounter parked his P-class at Pine Harbour Marina. But it looks like it’s going to happen this time. Due diligence, something of a rarity back in the heyday, is underway and an announcement is expected any day soon. So, all that’s left to do is speculate on who the mystery buyer might be. But before we do that, I may as well come clean. There is no mystery – the Tosh Club will soon be the proud owner of the one-time finest television production facility in the Hutt Valley, and probably the Southern Hemisphere. It was an easy decision to make. Our current premises were due to be bulldozed to make way for a recumbent bicycle park (the bicycles, not the park) for the Mayor’s PA and other assistants. Plus, we uncovered a large box of unused ten-trip tickets from Wellington to Wingate. And the clincher was that every member paid their year’s subs in the same week so we were rather flush. We’ll be moving in over the next few months. The plan is to refurbish the reception area with more handrails for older members, reinstate the free wi-fi policy (it was knocked

on the head last year after some unauthorised person managed to read the ramblings of one of the bosses) and buy back the tower block to use as office space and accommodation for the members. That’ll mean kicking out Maritime Rescue, which is a good thing. They hog all the best car parks and leave lights on all through the night. As for the rest of the place, we’ll leave it empty, in case any production company manages to get a prop past an unwary network executive. Stranger things have happened. And of course, there are the other potential buyers to consider – they may still want to make use of Avalon. The Hutt City Council for instance – they were dead keen to take the complex, line the studios with plastic and retire the two storage lakes at Te Marua. Several camera rental outfits were also interested in Avalon as a stor-

age facility as it’s estimated that the largest studio is just big enough to stack all the chairs and cables you need for a Red camera crew. TVNZ Archives had a bid in too – they wanted to fit the entire production side of the complex out as dormitory space to provide a home for not only old TV and film but for the people who had made it as well. We’re unlikely to hear from either of the production companies out on the Miramar peninsula. As always they have plans to expand but it seems unlikely to happen in the Hutt Valley. Reports are that they’ve just bought the entire South Island for staff parking. At the end of the day, the Tosh Club is open to approaches from anyone wanting to rent space at Tosh Central. It’s all up for grabs, apart from the bar – that’s ours.

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Views

Andy Conlanâ&#x20AC;&#x2122;s view

Edâ&#x20AC;&#x2122;s note S

Mojo rising

ome good news for the NZ screen industry was released last month. The annual Statistics NZ Screen Industry Survey figures show gross revenue for 2011 rose to nearly $3 billion, a four percent rise on 2010. The survey includes revenue from TV broadcasting, feature film, TV and TVC production, as well as film and video exhibition and distribution. Film New Zealand, the agency responsible for promoting NZ as a hub for international screen business, said the figures are an indicator of the strength of the New Zealand industry and pointed out that 180 screen businesses recorded more than $1 million in revenue â&#x20AC;&#x201C; an increase of 18 businesses over 2010 figures. Film NZ chief Gisella Carr says the new total revenue figure is a testament to everyone in the screen industry. â&#x20AC;&#x153;We could never have imagined the scale of these figures a generation ago. It is a testament to our screen entrepreneurs who are converting creative projects into economic headlines.â&#x20AC;? International revenue showed the first increase since 2008, up more than 17 percent to $387 million, a figure Statistics New Zealand attributed to a 30 percent rise in revenue from North America. â&#x20AC;&#x153;We are holding our own internationally,â&#x20AC;? says Carr. â&#x20AC;&#x153;The level of revenue is increasing from year to year â&#x20AC;&#x201C; despite a global recession and despite the fact that much of the screen industry runs on a project basis with breaks between activities. We are now starting to see trends over time, and what is emerging is a picture of consistent growth and sustainability.â&#x20AC;? The survey showed around a quarter of all screen industry revenue this year ($707 million) comes from feature film creation, up 15 percent, although just 35 films were completed in 2011 â&#x20AC;&#x201C; and over 2500 television productions were completed in 2011. Hopefully, the trickle-down effect from these figures also means that thereâ&#x20AC;&#x2122;s plenty of ongoing work out there for our skilled screen professionals. It doesnâ&#x20AC;&#x2122;t necessarily shift the starting blocks for new creative projects any closer to the finish line â&#x20AC;&#x201C; our filmmakers are still largely self-funded or hoping to land the support of the NZFC or

NZ On Air â&#x20AC;&#x201C; but these figures should give all screen professionals in NZ, makers of film and TV alike, the confidence to see their ideas through. Steven Shaw

New York premieres for NZ shorts

Z short films 43,000 Ft and Whakatiki are to have their world premieres at this monthâ&#x20AC;&#x2122;s Tribeca Film Festival in New York. Whakatiki, written by Bernadette Murphy, directed by Louise Leitch and produced by Melissa Dodds, tells the story of Kiri, an overweight Maori woman, who takes a trip with family and friends to the Whakatiki River where she spent many summers as a girl. The place awakens powerful memories for Kiri and as tensions mount, she draws on her spiritual connection to the river to rise up and reconnect with her true self. 43,000 Ft, written by Matthew Harris, directed by Campbell Hooper and produced by Heather Lee and Amber Easby, is a mix of live action and animation that follows a tough day

in the life of a statistician who is the victim of a freak accident, sucked out of a plane when an emergency door fails midflight. Calculating that he has exactly three minutes and 48 seconds before impact he reflects on his past, formulates a plan for hitting the ground, and rehearses what he will say to the media if he survives. 43,000 Ft was funded through the NZFC Premiere Shorts scheme and produced through production company Special Problems. Executive Producers are Robert Sarkies and Vicky Pope from Big Shorts. Whakatiki, starring Mabelle Dennison and Jim Moriarty, was funded through the Independent Filmmakers Fund, a partnership between Creative New Zealand and the NZFC.

Whakatiki was also supported by Fuji Film and Xtreme Forwarding. Post production funding was provided by the NZFC, with an additional small grant sponsored by Netflix provided through Women in Film Los Angeles â&#x20AC;&#x201C; Film Finishing Fund. Whakatiki and 43,000 Ft were selected from more than 2800 submissions and will compete with another 58 films from 25 countries and territories. The Tribeca Film Festival (TFF), established in 2003 by a group of New York filmmakers that includes Robert De Niro, is a highlight on the international film festival circuit. The NZFC is supporting both film-making teams to attend Tribeca Film Festival, which runs April 18 to 29, 2012. www.tribecafilm.com

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april 2012

Short cuts

By Philip Wakefield

Whirimako Black as Paraiti in Medicine Woman. Image: South Pacific Pictures/Medicinal Films.

Temuera Morrison, co-starring in Mt Zion. Image: Supplied.

Singing star Stan Walker stars in Mt Zion. Image: Supplied.

Autumn shoots stop and start

2012 starts with box office burst

ilming ends this month on two NZ Film Commission-funded features, in which NZ On Air has a $400,000 stake, while production is underway of the first NZ movie to win Madman Entertainment bankrolling at script stage. Medicine Woman, which is nearing the end of a sixweek shoot in Te Urewera and Auckland, is a colonial drama about a Maori healer that South Pacific Pictures is producing under the banner of Medicinal Films. Mexican director Dana Rotberg spent four years developing her adaptation of Witi Ihimaera’s novella, which stars Whirimako Black, Rachel House and Antonia Prebble. It has NZOA funding of $199,999 and will screen on TV One after its 2013 theatrical run. NZOA also is contributing nearly as much – $199,500 – towards Mt Zion, a Small Axe Films production that Quinton Hita, of Kura Productions, is producing, and which Sony Pictures will distribute next year ahead of its Maori TV broadcast. It marks the acting debut of Sony Music artist Stan Walker, as a young musician whose ambition to tour with Bob Marley in 1979 clashes with his whanau’s traditional values. Temuera Morrison and Miriama Smith co-star in the first feature to be written and directed by Tearepa Kahi, who made the award-winning short Taua. Filming started in Pukekohe on March 12, while production of another debut feature from distinguished short filmmakers has just got

under way in Wellington and on the Kapiti Coast. Mark Albiston and Louis Sutherland (The Six Dollar Fifty Man, Run) are making Shopping for Snowtown producers Anna McLeish and Sarah Shaw of Warp Films Australia. About a teenage thief who must choose between his own blood and a family of shoplifters, it stars Jacek Koman (The Hunter) and is being financed by the NZ Film Commission with support from Fulcrum Media Finance. It is the first NZ feature Australasian distributor Madman Entertainment has committed to at script stage. “This is a significant milestone for Madman,” says managing director Paul Wiegard. “It was a simple decision to get involved ... The film has a universal story, subtly told and surrounded by exceptional talent that we want to work with.” Medicine Woman, Mt Zion and Shopping cap a busy autumn for local features that began with the first unofficial feature film co-production between NZ and Denmark, The Weight of Elephants. A co-venture between the Film Commission and the Danish Film Institute and Film i Väst, it was filmed in Southland with support from the Invercargill City Council, Invercargill Licensing Trust and Southern Institute of Technology. Leanne Saunders is producing for Severe Features and Katja Adomeit for Zentropa Entertainments5, with Transmission Films set to distribute to NZ and Australia.

ox office was up about 10% year-on-year for the three months ending March 28. “The rather wet summer we have had over the majority of the country and the release of some quality major titles around the end of 2011 really kick-started the year for the industry,” says Motion Picture Distributors Association president Peter Garner. He cites December’s Mission Impossible – Ghost Protocol, Alvin & the Chipmunks: Chipwrecked, The Adventures of Tintin and The Iron Lady, and January’s Sherlock Holmes: A Game of Shadows, War Horse, Hugo, Tinker Tailor Soldier Spy, Sione’s 2: Unfinished Business and The Descendants. “The first quarter of 2011 was, of course, impacted by the tragic events of the Christchurch earthquakes, which saw the majority of screens shut for several weeks, with many being totally destroyed. “Approximately half of the original screens have reopened, which has clearly assisted the improved national box office take overall.” NZ’s resurgence was far less than that of the US, which was up 18% year-on-year (albeit with a slightly different release slate), but well above Australia’s 4%. Garner says this reflects not only the quality, but also the lift in quantum of product over the first quarter. “The standout performances of The Hunger Games and The Best Exotic Marigold Hotel just last weekend [March 22-25] underpin the fact that audiences of all ages are continuing to enjoy the movie going experience as one of their preferred forms of entertainment.” The Hunger Games notched up the year’s highest opening weekend – $1.625 million, which was $340,000 more than Tintin’s – while The Best Exotic Marigold Hotel had the fifth highest opening weekend take ($678,473). Games also had the highest opening week tally, with $2.064 million, and Marigold the fourth ($1.034 million). As of March 28, the accumulated box office stood at nearly $42.1 million compared to just above $38.2 million for the first quarter of 2011; for the corresponding period in 2010, it was nudging $48.5 million. “The Easter school holiday is packed with a broad range of films which should deliver an excellent choice and range for moviegoers,” says Garner, “from the young families attracted to Dr Seuss’s The Lorax and The Pirates! Band Of Misfits to the teen/adult fare of films such as American Pie: Reunion, The Avengers, Battleship, Titanic in 3D and The Lucky One. “3D continues to be popular with audiences and the industry looks to be in good shape overall.” This mirrors what’s happening internationally, with foreign box office being Hollywood’s salvation in 2011, when US business was down 4% but international was up 7%, to $US22.4 billion, with China now the second-biggest offshore market after Japan.

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Short cuts

Rural shows go Hi-Def

yundai Country Calendar is taking a #8 wire approach to filming its second season in HD. “In post-production, we can’t yet justify a move to 5.1 surround-sound to match our HD pictures,” producer Julian O’Brien says. “But we’ve invested money on adding extra sound effects to match the quality that people can see.” O’Brien says there has been “a lot of positive feedback” on the series, which is in its 47th year, going HD. “The majority of our viewers probably still don’t notice the difference, but many do – and because we aim to be a top-rating show with broad appeal we absolutely have to stay in front of the curve, in terms of

technology. “If the big-rating American shows are in HD, we have to match them, or our audience will slowly slip away.” O’Brien praises the contribution of the show’s five longstanding cameramen: Peter Young (Christchurch), Steve Fisher (Hamilton), Richard Williams (Hawke’s Bay), Jeff Aldridge (Queenstown) and Barrington West (Wellington). “Our first season of shooting and broadcasting in HD went very well, mainly thanks to the bravery of our regular freelance cameramen who fronted up to buying HD-capable cameras, and, just as importantly, new lenses. “These are expensive and all our

guys had already had a good set of SD lenses for many years – they’re not really the sort of thing you’d expect to replace. “Most of these cameramen are still doing work for other productions and clients who continue to work in SD and don’t need the extra capability, so it was a big investment that probably won’t pay off for them, in a strict commercial sense, for many years – but they were all determined to do it so they could continue to work for Country Calendar.” Meanwhile, another high country series that’s been shot in HD for TV One, South Pacific Pictures’ High Country Rescue, is still to be scheduled but is likely to air this year.

Queenstown camerman Jeff Aldridge shoots the Haysrun drove in 2011 for Country Calendar. Photo: Norman Sinclair.

Choice time to launch ChoiceTV?

ew Zealand’s newest free-to-air channel, ChoiceTV, launches April 28 on Freeview HD amid a TV advertising boom – but will that assure it a future? According to the Advertising Standards Authority, advertisers spent $618 million on TV airtime in 2011, or $11 million more than in 2010. But any new channel that depends on advertising will find it tough to survive, reckons MGCOM’s Martin Gillman. “Freeview will start to come into its own as analogue signals get switched off and ChoiceTV looks like it will get a decent share of voice in the world of Freeview. But whether it will achieve sufficient scale to attract the attention of advertisers is another thing.” An initiative of its majority shareholder, Top Shelf Productions, ChoiceTV is banking on a mix of pay TV and commercial radio strategies, along with a content rich website, to help it to gain a Freeview foothold. Primetime will be from 7.30-10.30pm, with the channel rotating essentially

the same eight-hour block three times a day. Each weeknight will be built around a sponsored lifestyle genre – travel, food, property and design, great outdoors, home and garden – with dramas, comedies and movies occupying weekend slots. ChoiceTV general manager Alex Breingan, who’s from a pay TV and commercial radio background, estimates 80% of the schedule will be new content, ranging from fresh seasons of series that previously aired on other channels, like Better Homes and Gardens, to newcomers like Web Therapy, Lowdown and Celebrity Juice. “There are a lot of shows out there that have been unseen in this market for whatever reason,” says Breingan. “We’re working closely with distributors to find good content. We don’t want to be a channel for re-runs or terrible shows – it’s all about quality control.” Most of the programming will be sourced internationally, although Top Shelf is looking to make original productions and there have been talks with one

producer about a commission that’s likely to be on air before year’s end, Breingan says. Otherwise, library content will be limited to programmes that still have a shelf life, like Top Shelf’s What’s In Our Food?, which TV3 no longer wants to play because of presenter Petra Bagust’s switch to TVNZ. At presstime, more than half of the nights had been sold to sponsors and Breingan reported the channel was being “well received” by agencies and direct clients. “I understand Choice is going to try and get new-to-TV advertisers on board,” John Dee, of JDee Media, says. “This is probably better than targeting existing advertisers who are already spoilt for choice and by and large not increasing their TV budgets to cater for additional channels. “The advertising market I’m picking to remain soft for the foreseeable future, which is a challenge for the niche players as they are the first to be dropped off schedules.”

Martin Gillman points out most advertisers still view MediaWorks as a one TV channel option, despite TV3’s sister channel having a 3-5% share. “On its own, Four would probably not exist,” he says. “TVNZ struggle to monetise Heartland and U, which are off the radar for many advertisers because they are small and not really must-see TV. It’s the same for Prime, which actually has quite a decent programme schedule but advertisers don’t need to use it. Would Prime exist without Sky’s parentage? Quite possibly not! “The most attractive thing about TV advertising in New Zealand is that it is well priced and scale is easily achievable by using just one or two networks. “As long as that remains the case, standalone, small free-to-air channels will always struggle. Things will change, but not overnight. “ChoiceTV will also need to have deep pockets to market itself effectively and get noticed by both viewers and advertisers.”

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Short cuts

By Philip Wakefield

More format deals for NZ drama

outh Pacific Pictures is negotiating US and UK format deals for The Almighty Johnsons on the eve of the second seasonâ&#x20AC;&#x2122;s DVD release. It goes on sale next month, along with season four of Go Girls, which has already scored a format sale to the US. â&#x20AC;&#x153;We arenâ&#x20AC;&#x2122;t able to release further info re the Almighty Johnsons format sales at this stage,â&#x20AC;? says SPP publicity chief Tamar Munch. â&#x20AC;&#x153;Both are in the works but itâ&#x20AC;&#x2122;s still very early days.â&#x20AC;? SPP sold the US and UK format rights for its most popular drama series, Outrageous Fortune. But while the original ran for six seasons here, both Honest (UK) and Scoundrels (US) werenâ&#x20AC;&#x2122;t renewed for a second. Johnsons also is selling as a series. Itâ&#x20AC;&#x2122;s aired free-to-air across the Tasman and has screened on Foxtelâ&#x20AC;&#x2122;s Sci Fi Channel as well as the SyFy channel in the UK. The latest sale is to Globosat in Brazil. Go Girls has sold both to Australiaâ&#x20AC;&#x2122;s Network 10 (which is soon to air season four) and Foxtel as well as Finland, Belgium, Netherlands, Bulgaria, Bosnia, Macedonia, Spain, Ukraine and Estonia. Both Go Girls and The Almighty Johnsons have been steady sellers on DVD. â&#x20AC;&#x153;The sales of previous Go Girls seasons have been consistent,â&#x20AC;? Munch says. â&#x20AC;&#x153;Roadshow Entertainment, who distribute the title for South Pacific Pictures, are predicting similar sales for the release of season four. â&#x20AC;&#x153;The Almighty Johnsons Season 2 is forecast to sell in similar numbers to season one.â&#x20AC;? Images: Supplied. However, both fall well short of Outrageous Fortuneâ&#x20AC;&#x2122;s DVD sales. â&#x20AC;&#x153;As with the television broadcast, Outrageous Fortune was one out of the box,â&#x20AC;? says Munch, â&#x20AC;&#x153;and to compare other titles to its success, be they from New Zealand or elsewhere in the world, is not comparing apples with apples.â&#x20AC;? The season four release of Go Girls will include extras Amyâ&#x20AC;&#x2122;s Diaries and a commentary on episode seven; extras for Johnsons S2 were still being confirmed at presstime but probable are cast interviews, deleted scenes and a commentary.

TV3 â&#x20AC;&#x2DC;Killsâ&#x20AC;&#x2122; SoHo release

he DVD/Blu-ray release of SoHoâ&#x20AC;&#x2122;s The Killing was postponed last month after TV3 objected to it going on sale ahead of its free-to-air broadcast. The network owns the murder mystery through its output deal with 20th Television, which distributes Fox Television Studiosâ&#x20AC;&#x2122; productions. Under the terms of the contract, Sky TV can opt to buy one series a year to screen first on a premium channel. However, that caveat does not extend to 20th Century Fox Home Entertainment (through Universal Pictures NZ) being able to release The

Killing after its SoHo season, but ahead of its network TV broadcast. Both MediaWorks and TVNZ are jumpy about TV shows being released ahead of broadcast on DVD â&#x20AC;&#x201C; even if theyâ&#x20AC;&#x2122;ve been sitting on the shelf for years. Two of the most egregious recent examples are MediaWorksâ&#x20AC;&#x2122; Breaking Bad, which has just started its third season on Four two years after going to air in the US, and TV Oneâ&#x20AC;&#x2122;s Emma, which the BBC screened three years ago, but has only just come out this month on DVD because TV One held it back for a late-night slot until February.

Sioneâ&#x20AC;&#x2122;s 2 tops Kiwi DVD bonanza

raft of movies and TV series made with NZ talent will be released next month on DVD and Blu-ray. Leading the charge on the back of this monthâ&#x20AC;&#x2122;s Rest for the Wicked will be Sioneâ&#x20AC;&#x2122;s 2: Unfinished Business, which South Pacific Pictures is releasing through Sony Pictures Home Entertainment (which also handled the original and last yearâ&#x20AC;&#x2122;s My Wedding and Other Secrets). Sioneâ&#x20AC;&#x2122;s 2 will be the first SPP production to win a Blu-ray release, but there are no plans to reissue Sioneâ&#x20AC;&#x2122;s Wedding in the HD format, or on a double-pack with its sequel. Although Sioneâ&#x20AC;&#x2122;s 2 grossed roughly half of the originalâ&#x20AC;&#x2122;s $4 million take, it was still popular enough to become the countryâ&#x20AC;&#x2122;s ninth-highest grossing, locally funded production. Extras on the DVD/Blu-ray arenâ&#x20AC;&#x2122;t as comprehensive as the originalâ&#x20AC;&#x2122;s, which was packed to the gunwales as an incentive to buy the disc after its widespread piracy, but will include behind-the-scenes content, an audio commentary, music videos (â&#x20AC;&#x153;I Promiseâ&#x20AC;?, â&#x20AC;&#x153;This Is Loveâ&#x20AC;?) and a click-thru song track list. Hopefully, the movie will be in its correct aspect ratio after Sioneâ&#x20AC;&#x2122;s Wedding was released cropped from 2.35:1 to 1.78:1. Said director Chris Graham at the time: â&#x20AC;&#x153;I honestly still donâ&#x20AC;&#x2122;t know why it was done that way, and the remaining sad irony is that the only â&#x20AC;&#x2DC;trueâ&#x20AC;&#x2122; version of the transfer was the pirated copies.â&#x20AC;? Also new on disc next month will be two other South Pacific Picturesâ&#x20AC;&#x2122; productions â&#x20AC;&#x201C; the latest seasons of Go Girls and The Almighty Johnsons, along with The Politically Incorrect Guide to Grown Ups. And from offshore, both on DVD and Blu-ray, comes the eco-thriller, The Hunter, starring Sam Neill; The Muppets, with Bret McKenzieâ&#x20AC;&#x2122;s Oscar-winning song, â&#x20AC;&#x153;Man or Muppetâ&#x20AC;?; and season four of True Blood; while out on Anzac Day is The Adventures of Tintin: Secret of the Unicorn. Also new this month are Melancholia, The Iron Lady and season two of Treme. Of note next month are Hugo, Tinker Tailor Soldier Spy, Donâ&#x20AC;&#x2122;t Be Afraid of the Dark, The Bang Bang Club, The First Grader, The Solitude of Prime Numbers, El Bulli: Cooking in Progress, Who Is Harry Nilsson (and Why is Everybody Talkinâ&#x20AC;&#x2122; About Him)? and, for the first time on Blu-ray, Three Colours Trilogy: Red, White, Blue and The Killing Fields.

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april 2012

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By Philip Wakefield

Quickflix looking for local flicks

he Australian comthat we’re in a race but pany behind Quickflix, I don’t know who with. I New Zealand’s first prejust know we have to do mium video-on-demand it as fast as we can.” streaming service, is keen H e ’ s b et t i n g o n to add Kiwi content. not only UFB to make Chief executive Chris Quickflix viable in this Taylor says he will be talkmarket, but also a new ing to NZ producers about range of smart TVs that streaming their product will include Quickflix on the “device agnostic” among their applicaplatform. tions, including the latQuickflix chief executive “I want to add a New est models from Sony, Chris Taylor. Photo: Supplied. Zealand flavour to it. Panasonic and SamThere’s no reason why we sung. (Panasonic also wouldn’t do TV as well as movies.” is negotiating NZ content deals for its own Quickflix is being hailed as the first unique app.) significant subscription IPTV competition “We couldn’t have done this two to three to Sky, even though it lacks sports rights years ago,” Taylor acknowledges. “These deand can’t offer programming from one of its vices, be they Blu-ray players, game consoles shareholders, HBO – because Sky acquired or smart TVs, have really become economic internet rights to HBO product when it [to buy] in the last 12 months.” launched SoHo. Even so, as commentators have pointed “In theory, I could sell it direct to Google out, Quickflix’s library, despite having key Plus subscribers,” says Sky’s chief executive suppliers like Warner Bros, NBC Universal, John Fellet. “As the internet starts to develop, Sony Pictures and the BBC, lacks the depth UFB [Ultra Fast Broadband] will give us the of US iTunes or Netflix. flexibility to do that.” But Taylor argues this is just the start Quickflix launched its Australian stream- of “moving into the brave new world” of IPing service in October and Taylor, who had delivered video. been appointed CEO three months earlier, “We’re at the beginning of a very long was keen to be first to exploit the same opjourney. New Zealanders have been crying portunity on this side of the Tasman. out for a proposition like this and we want to “The day I started, I took the approach have a bloody good crack at it.”

Short cuts

Visiting filmmaker impresses at Canon workshops

ey people from New Zealand’s film and photoCinematographer graphic industries enjoyed a Philip Bloom. Photo: Supplied. unique meeting with renowned British filmmaker and Canon enthusiast, Philip Bloom, at a series of Canon C300 workshops held in Auckland and Wellington last month. Bloom has been telling stories through film for the past 23 years. Starting off in television news, he progressed into documentaries, becoming a freelance cinematographer over five years ago, not only shooting but directing. His love of storytelling has led him to become a vocal advocate of low budget digital filmmaking worldwide through his work and enormously popular website. He has used Canon DSLRs, including the 5DMKII, on numerous projects including the recent Lucasfilm feature film Red Tails. Held in Auckland and Wellington, the Canon C300 workshops provided guests with the opportunity to meet Bloom, ask questions, and try out the new Canon C300 – a Digital Video Camcorder for high-resolution motion picture production – a product that Bloom has produced films on. Rochelle Mora, brand manager – imaging at Canon New Zealand says, “It was such a great opportunity to bring some of New Zealand’s top cinematographers and photographers together with Philip to hear about his experiences travelling the world filming magnificent stories. The new Canon C300 certainly lived up to the expectations of the eager New Zealand industry and almost stole the show.” The C300, launched in Hollywood in November last year, is Canon’s first professional digital cinematography system that spans the lens, digital video camcorder and digital SLR camera product categories.

www.onfilm.co.nz

april 2012

Short cuts

By Philip Wakefield

The world tunes into Songs

aori TV’s Songs from the Inside has struck the right note with critics and is proving popular online. The 13-part series, about four musicians who teach prisoners how to compose songs, is rating better than its time slot predecessor, with the premiere averaging 1.3% of household shoppers, 1.2% of women aged 25-54, 1.1% of women18-49, and 1.0% of 25-54 year-olds. The second episode largely retained this support, dipping slightly among household shoppers but marginally improving with women 18-49 and 25-54. MTS is happy with not only Songs’ free-to-air ratings but also its online viewership, where it’s clocked up 4000 views on the channel’s website. “It’s attracting lots of interest from viewers overseas, especially Australia, who are watching the episodes online,” MTS publicist Lauren Mentjox says. The Dominion Post called it “that rare and wonderful

thing – a television series that goes to the heart of the real lives of a group in society that many of us would rather not think about.” The Listener said it “looks set to be a persuasive argument against the ‘throw away the key and let them rot’ brigade. Happily, it’s also entertaining TV.” The NZ Herald thought it “one of those rare TV shows that’s actually doing some good … If you were describing it to a teenager you could say that it was The X Factor crossed with America’s Toughest Prisons. It has elements of both, but I also reckon it’s also a little bit Mucking In, it’s just that the makeover happening here isn’t of the garden variety.” Meanwhile, MTS will use its wall-to-wall Anzac Day coverage to launch the drama series Atamira. It aims to blend theatre skills and traditions with television technology and reach and will open with a telemovie dramatisation of Paolo Rotondo and Rob Mokaraka’s play

Strange Resting Places. The rest of the series comprises Albert Belz’s Awhi Tapu, Briar Grace-Smith’s Purapurawhetu and When Sun and Moon Collide, Riwia Brown’s Irirangi Bay and Hone Kouka’s The Prophet.

Rating a mention NZOA’s latest documentary commissions hike its 2011/12 funding of the genre to $12 million – the biggest recipients of last month’s batch were: The Prophets (Scottie Productions, $211,524), a seven-part Maori TV series charting how Maori responded to Christianity; The Forgotten General (Kingfisher Films, $179,971), a Platinum Fund project for Prime about an overlooked World War I hero; The Year of the Elephant (Lippy Pictures, $109,948), a TV One commission about the rehabilitation of a circus elephant; and Year of the Dragon (Firehorse, $109,948), an Inside NZ doco about the role of traditional Chinese astrology in modern NZ … Having their world premieres this month in the TriBeca Film Festival in New York (April 18-19) are Kiwi shorts 43,000 Feet and Whakatiki – they were chosen from more than 2800 submissions and will compete with 50 other films from 25 countries and territories …

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n its first three weeks, Annie Goldson’s highly acclaimed documentary Brother Number One grossed $66,236 and in its third week, on 21 screens, made its weekly top 20 debut in 19th place … Following its April 14 NZ TV premiere of Tracker, the Rialto Channel will be free to all Sky subscribers from April 21-25, when it will screen for the first time The Company Men, Candyman: The David Klein Story and Mozart’s Sister … South Pacific Pictures started shooting season two of TV One’s Nothing Trivial on April 1, two days after wrapping the six-part comedy Golden for TV3 (Murray Keane is directing the first block of three episodes) … The first of the 20th anniversary Shortland Street episodes, which will screen next month on TV2, were shot in the last week of March … See what it’s like to be a Kiwi navigating Hollywood when Sky’s Comedy Central premieres the stand-up special, It’s Rhys Darby Night, on May 2 …

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Celebrating tangata whenua cinema Eight short films and four feature films written and produced by iwi are in development through Te Paepae Ataata, the NZFC-funded Ma¯ori film development organisation.

en years ago the late Ma¯ori filmmaker Barry Barclay lamented the lack of films written, directed or produced by Ma¯ori. Citing only five Ma¯ori movies made by Ma¯ori up until then – Nga¯ti (1987), Mauri (1988),Te Rua (1991), Once Were Warriors (1994) and Te Tangata Whai Rawa o Weneti – The Ma¯ori Merchant of Venice (2002) – he questioned the dominant mainstream film industry and coined the phrase “fourth cinema” to popularise indigenous cinema. Ever the agent of change, Barclay teamed up with fellow filmmaker, the late Merata Mita, and writer/producer Tainui Stephens, to brainstorm ideas for Ma¯ori film development. Five years later in 2008, Te Paepae Ataata, the Ma¯ori film development organisation funded by the New Zealand Film Commission, was born. Sadly Barclay died in 2008 and Mita died in 2010, but not without seeing the first fruits of their labour. A mix of successful Ma¯ori filmmakers and writers were appointed to Te Paepae Ataata’s board: Ainsley Gardiner, Tainui Stephens, Rawiri Paratene, Kath Akuhata Brown and Larry Parr and Tearepa Kahi. And each year the New Zealand Film Commission and Nga Aho Whakaari elect a representative to sit on the Paepae. This year eight short films written and produced by iwi are being developed for an anthology-type feature film. There are also four Ma¯ori feature films in development: Pa Boys by Himiona Grace, The Prophet by Curtis Bristowe, Soldier Boy by Rafer Rautjoki, and Whiria by Christina

Milligan, Rawiri Paratene and Pat Hohepa. Himiona Grace secretly wrote his feature film script Pa Boys for years without telling anyone. “I didn’t want anyone saying it was stink so I wanted to make sure it was good,” he says. Pa Boys was one of four Ma¯ori scripts shortlisted from 36 applications to Te Paepae Ataata for development. “It’s about a Ma¯ori reggae band touring NZ and heading to Cape Reinga,” says Himiona. “The three main characters are based on Ma¯ori men I knew growing up who were positive role models. I wanted to move away from the film stereotypes Tainui Stephens. Curtis Bristowe. of Ma¯ori men who are angry or misunderstood.” many ways, but they must be vessels of contact for iwi and will manage the Another emerging Ma¯ori film maker, Curtis Bristowe, wanted to of learning and incorporate our lan- core production team. Creative producer Peter Burger break similar stereotypes about Ma¯ori guage and culture,” says Curtis. It’s a theme Te Paepae Ataata is (Nga¯i Tahu, Rangitane) will work men, including himself. At 6 ft 3” and weighing over 100 kgs, Curtis relied keen to explore with iwi – helping closely with filmmakers, supporting on his physique, not intellect, to do them script their different tribal the directors and writers in all aspects work like nightclub security because, legends of Maui in te reo Ma¯ori for of the creative from script to visual “that’s what people thought I should film. The project includes Nga¯ ti treatment. He will also oversee the Mutunga, Nga¯ti Awa, Nga¯ti Rang- bigger picture, how every individual be doing”. “When I grew up in Kaiti, Gis- itihi, Nga¯ti Porou, Nga¯i Ta¯manuhiri, short film might be uniquely told but borne, most of the Ma¯ori men at that Nga¯ti Apa, Nga¯ti Raukawa, Ngapuhi, still woven together into a seamless time were labourers,” says Curtis. “I Tuhoe, Muaupoko, Ngati Manuhiri feature film. Burger is tipped to direct the final short film to pull all the had writing potential but that wasn’t and Moriori. concluding elements together. Producers Maramena Roderick nurtured or valued.” Tainui Stephens says it’s a subA recent return to university set and Peter Burger have been brought him back on a pathway to writing, on board by Te Paepae Ataata to stantial body of Ma¯ori film work that and his Ma¯ori language film script The produce the overall tangata whenua he hopes Barclay and Mita would Prophet, about Ma¯ori leader Te Kooti cinema project which is called Waha- approve of. “I think the first thing they’d say Arikirangi Te Turuki’s birth, arrest, roa. The first short will be filmed in would be ‘Hurry up’. The second imprisonment and escape from exile September 2012. Producer Maramena Roderick (Te thing, I hope, would be ‘E tika ana in the 1860s. Arawa, Nga¯puhi) will be the first point nga¯ mahi’.” “Ma¯ori stories can be written in

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april 2012

Images: Supplied.

Itâ&#x20AC;&#x2122;s only Rock &

Roll

Shihad: Beautiful Machine is a new feature length documentary that takes a peek behind the stage curtain to reveal the bandâ&#x20AC;&#x2122;s real story. Onfilm spoke with producer Laurence Alexander about the project.

heyâ&#x20AC;&#x2122;re New Zealandâ&#x20AC;&#x2122;s biggest rock band. Shihad have been together for over 20 years, surviving tragedy, addiction and relationship crises along the way. From the bandâ&#x20AC;&#x2122;s humble beginnings in 1988 Wellington, as long haired teens, the four members â&#x20AC;&#x201C; Jon Toogood, Tom Larkin, Karl Kippenberger and Phil Knight â&#x20AC;&#x201C; followed their rock and roll dream. In 1993 they recorded their debut album Churn in Auckland under producer Jaz Coleman (of Killing Joke) and subsequently developed a following in NZ, Germany and Australia. They eventually attempted to crack the USA, where they underwent an ill-advised post-911 name change to â&#x20AC;&#x153;Pacifierâ&#x20AC;? and embarked on a

disastrous American tour. Most bands would have downed tools and walked after that, but Shihad returned down under and after taking some time out they picked up the pieces again. Theyâ&#x20AC;&#x2122;re still rocking and still have a huge, loyal, and often sweaty fan base. The story of the bandâ&#x20AC;&#x2122;s struggle, resolve and determination to survive is revealed in Shihad: Beautiful Machine, a feature length production funded by the NZ Film Commission and NZ On Air. Itâ&#x20AC;&#x2122;s directed by Sam Peacocke (known for his awardwinning short film Manurewa) and produced by Laurence Alexander and Grant Roa (known for his acting roles in films including Whale Rider

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april 2012

www.onfilm.co.nz

and Separation City), with co-producer David White. The film came about through a brainstorming session, according to Alexander, whoâ&#x20AC;&#x2122;s based at Rubber Monkey in Wellington. â&#x20AC;&#x153;We talked about how a documentary would get the ball rolling for us,â&#x20AC;? he says, â&#x20AC;&#x153; I mean, we were pretty new in the production sense so it felt right to do something that was a little more controllable â&#x20AC;&#x201C; or that we thought would be more controllable. The Shihad story was pretty instant for me.â&#x20AC;? Initially they looked at various opportunities with different bands, not just with Shihad. â&#x20AC;&#x153;But because I had an awareness of the band for a long

time, I knew a bit of the history and it just spiked something for me. From that point on it was a bit of a done deal. It was a matter of convincing the other guys that it was the one to pursue. But it didnâ&#x20AC;&#x2122;t take long. And once we did a little fact-finding it seemed like a really interesting story.â&#x20AC;? Alexander explains that Rubber Monkeyâ&#x20AC;&#x2122;s business model is a bit of a hybrid. One part camera and equipment rental, the company was set up by Trade Me millionaire Nigel Stanford and works as a supplier on feature films both here and in Australia; their first fully fledged production was Second Hand Wedding with director/producer Paul Murphy. â&#x20AC;&#x153;Rubber Monkey has expanded,â&#x20AC;? says Alexander, â&#x20AC;&#x153;we have a postproduction facility here as well as a camera rental and software company. Rubber Monkey was formed out of a desire to make films, to create our own stuff and thatâ&#x20AC;&#x2122;s what weâ&#x20AC;&#x2122;ve been doing. This is the second one out of the bag for us. â&#x20AC;&#x153;With Second Hand Wedding we were keen and Paul Murphy was eager,â&#x20AC;? says Alexander, â&#x20AC;&#x153;we were pretty well organised going into that so it just happened and before we knew it we were making a film. With Shihad a lot more thought has gone into it. We were pre-funded from the Film Commission whereas Second Hand Wedding was shot with private finance and we later went to the Film Commission for post-production finance. But we worked with the Film Commission from the start on this; we presented it to them as a fully funded feature.â&#x20AC;? NZ On Air also contributed to funding. â&#x20AC;&#x153;When we started down that funding road, we were thinking about what scale this would be. Iâ&#x20AC;&#x2122;d been talking with a couple of other producers and we thought it best to look for two funding partners. Thatâ&#x20AC;&#x2122;s

Cover story

the way it often works here, between NZ On Air and the Film Commission. Obviously NZ On Air has a good past relationship with Shihad – they said they were really keen and that if the Film Commission gave their support, we’d get NZ On Air support as well. It felt pretty straightforward.” After a false start with a director (“He didn’t quite see eye to eye with the producers and wanted to make a different film”) they brought Sam Peacocke on board to helm the project. “He’s so aware of the human condition,” says Alexander. “It was fantastic to watch him embrace that – straight away he was talking to the parents, the families, the girlfriends – all those things we’d wanted the film to be. From the first rushes we knew that this guy totally got it, that he could go the distance and deliver a different kind of film.” More “good luck” came when they enlisted Cushla Dillon as editor. “They formed a really good team; she had such a great sense of the story as well. She was able to weave the deeper thread of the loyalty these guys have shown each other. How do you survive 23 years if you can’t get along? It really comes down to that, being able to survive together at close proximity for that long.” Alexander says they wanted to avoid making “just a rock doco” and that it would be terrible if people went in and just saw the obvious

film. “The fans don’t care about that sort of thing and the band doesn’t care for that,” he says. “It’s more about this journey and the people involved. None of us were approaching this from a fan point of view, it’s a movie about people striving for a dream. Everyone has family and relationships, and life is about choices. People are always lured in different directions, but which road do you take?” Throughout Shihad’s 20-plus year history, a camera was always there in some shape or form. “We were really lucky that a friend of the band was an amateur filmmaker,” says Alexander. “They’d captured some amazing moments and he kept it all in a box under his bed. It really added such a huge level of realism, you don’t just hear a story but you feel like you’re there on that journey with them. When we negotiated to use the footage we were pretty excited, we knew it would take the film to another level, and it really does.” The archival footage supplements black and white concert footage and interviews with family, friends and recording industry colleagues, shot on a mix of Canon DSLR and Red cameras. “There’s crisp DSLR footage in HD of interviews,” says Alexander, “and then you’ve got the archive. We did a bunch of tests because we were sceptical about whether the

Rubber Monkey was formed out of a desire to make films, to create our own stuff and that’s what we’ve been doing. [Canon] 5D camera would blow up to film nicely. There were quite a few tests early on between 5Ds and Red cameras. But the 5D looked amazing, you could tell it would blow up to the screen and it wasn’t difficult to use in the field. It meant reducing our gear footprint to virtually nothing. We could put the guys on a plane with a couple of Pelican cases and they could take their entire shooting rig – two or three camera bodies and lenses – anywhere. “There was a lot of travel between here and the USA, Canada, UK, Germany. We did it all with small DSLR kits and it was a dream. Despite any drawbacks to using DSLRs, the benefits far outweigh them. We did use Reds for high speed, but really only at the concerts. “Anyway,” he says, “once we put it all back onto film, it glued it all together and it really felt nice. Even the old VHS stuff with its noise bars,

it adds something and makes you feel connected to that era. It makes the film breathe a little better.” The finished film also exposes the myth that NZ bands working overseas have “made it”, showing the band’s struggle to fill empty bars and get noticed while dealing long distance with strained relationships. “That’s the thing and Jon alludes to it in the film,” says Alexander. “When there’s news about a band getting signed to a label overseas, it’s exciting because it’s ‘over there’. People fill in the gaps themselves and don’t realise that the band may be battling to make it work. They might be playing to five people and perhaps getting the deal is the easy part. It’s not about making it to the US or signing the deal, it’s about everything else that comes after that.” • Shihad: Beautiful Machine opens nationwide 17 May.

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april 2012

Ready steady spaghetti! A Kiwi-made homage to the Spaghetti Western genre is turning heads in the USA. Onfilm spoke with writer-director Mike Wallis.

ood for Nothing is a self-funded feature from Kiwi writer-director Mike Wallis and his fianceé, South African-born actor and producer Inge Rademeyer. The couple decided that rather than buying a house, they would use their hard earned savings to fund their dream of making a spaghetti western – in New Zealand. Wallis worked at Weta Digital as animation manager for nine years but was itching to get started on his own film. “You’re close to what you want

april 2012

to do,” he says, “but you’re not quite there. Even though you’re working on amazing films and projects, they’re not your own.” When their bid on a house was unsuccessful, Wallis and Rademeyer decided to put their money into Good for Nothing. Stunning locations, filmed in Central Otago, Southland and South Canterbury for the project by DoP Mathew Knight, were the initial inspiration for Wallis. “I had an idea where a lot of the locations were,” says Wallis, “but when we started looking we found even more fantastic locations for a western. I’ve always loved westerns, that’s the main motivating factor. I love the genre.” Wallis grew up in Dunedin and spent summers in Central Otago. “I always felt a connection between the landscape there and the westerns we were seeing on the screen, both the spaghetti westerns from Italy and the Hollywood films made in California. I wanted to film a western there – I didn’t know it would be my first film, but it’s just turned out that way. “The concept is just like the spaghetti westerns that were shot in Italy and Spain,” he says. “They were using mostly Italian or Spanish crews and cast – obviously except for leads like Clint Eastwood – and they were set in the American west. But we’re in New Zealand with a Kiwi cast and crew.” It wasn’t until the first day of shooting that he knew they could pull it off. With a crew of around 18 and a horse, they shot for three weeks in the South Island and three weeks in the North Island and got it to a first cut.

www.onfilm.co.nz

Wallis showed it to Academy Award winning editor and Weta Digital co-founder Jamie Selkirk (Heavenly Creatures, Lord of the Rings), who in turn introduced him to an editor and offered advice to help knock the film into shape. Wallis describes Selkirk, who came through with post-production finance and became executive producer, as the film’s “guardian angel”. They also enlisted the New Zealand Symphony Orchestra to record the soundtrack, by internationally renowned composer John Psathas. “He saw it and said he wanted it to be his first film score,” says Wallis, “and the music is fantastic.” Rademeyer, who worked for seven years at Weta Digital in a production role, stars as Isabella, a determined English woman who heads to the American West following the death of her father. “It was advantageous to write her character knowing her so well because I could play to her natural strengths,” says Wallis. “But it was really ambitious to put her in that situation because she was also producing. It was tough on her, coming off set and taking a phone call straight away over who’s doing sound tomorrow would be hard on any actor. She studied drama and acting though, it’s her passion. It was what she really wanted to do.” Before reaching her destination Isabella is abducted by an unnamed outlaw, played with suitably squinty eyes by Cohen Holloway (Eagle Vs Shark, Boy). He tries to have his way with her, but in one of the film’s many comedy touches, he can’t get aroused

Images: Supplied.

and seeks a cure for his impotency from a medicine man. “He’s an anti-hero, bad to begin with and he slowly becomes a better man,” says Wallis. “We saw Cohen in Eagle Vs Shark and we thought there was something about him. Even though he didn’t look like we initially imagined for The Man (an homage to Eastwood’s “Man With No Name” characters), but he had a charming quality and when he auditioned, he owned it. We tried casting up and down the country but it was him all along.” Mark Kinaston-Smith was horse trainer and stunt double. “I met Mark while we were doing motion capture on horses for The Lord of the Rings. When we decided we were going to do it, he was the first person I told,” says Wallis. “He straight away said ‘Yes, sure, no problem that’d be great – let’s do it.’ Which was awesome because animal trainers are essential for a western.” It’s wasn’t only horses that presented a challenge for Kinaston-Smith though. “Mark had a big horse truck,” says Wallis, “we took that down south and he organised horses and some musterers as riding doubles. They shifted the muster date forward and nearly every musterer in the territory disappeared on us. He only had 24 hours to wrangle up a bunch of new riders, but he managed to do it.” Another star of the film is the Kingston Flyer – the vintage steam train catering for the tourist market in the Queenstown Lakes District. “We got half a day’s shooting in and had to forge a scene around that. The own-

Casting

ers were keen to help but they said we had to pay for the coal.” Wallis also became an armourer, handling all the firearms on the set. “It would have been pretty expensive to have an armourer on set the whole time so I did it instead. It took about a year to get my licence.” Good for Nothing has already had a limited theatrical release in the USA with screenings in New York and Detroit, and it’s garnering favourable reviews. Leonard Maltin saw it at the 2011 Santa Barbara Film Festival. In his review, he called it a “strong

character piece” and said “the casts are unknowns but they do a fine job”. He added “it’s an original, well-acted, good looking film. I wish Americans remembered how to make westerns like this.” It was also favourably reviewed by The New York Times (“takes maximum advantage of the wide screen and his country’s amber fields, open skies and imposing mountain ranges, abetted by his skilled cinematographer, Mathew Knight”) and Variety, which said “All the unspoken truths of the Old West – bad oral hygiene, unspeak-

able pain and, as the Gene Wilder of Blazing Saddles put it so succinctly, morons – are exploited for great comic effect, against a rather spectacularly ersatz Old West.” “It’s hard to express the things we’ve learned,” says Wallis. “We’ve taken it all the way through to distributing the film ourselves. We’ve just been through the whole process of talking with the cinemas, negotiating for 40-something, maybe 50 cinemas in New Zealand. And we’ll take it right through to DVD release. The amount we’ve learned is just massive.”

• Good for Nothing opens nationwide on 3 May. goodfornothingmovie.com facebook.com/goodfornothingmovie

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april 2012

Casting

Casting The Cure David Gould’s medical conspiracy film The Cure was filmed in Wellington last year. Gould explains how he cast lead actors Antonia Prebble and Daniel Lissing as biochemists who uncover a terrible secret.

Antonia Prebble in The Cure. Photo: Brendan Lee.

et in San Diego, action thriller The Cure was shot in and around Wellington through November, 2011. It stars Antonia Prebble (Outrageous Fortune) as Beth, a young biochemist whose life is endangered when she discovers the pharmaceutical company she works for developed a cure for cancer many years earlier, keeping it off the market because of the harm it would cause to chemotherapy drug sales. Australian actor Daniel Lissing from Packed to the Rafters plays Beth’s slightly intimidated partner, Ryan, with New Zealand actors Stephen Lovatt, John Bach and John Landreth rounding out the core cast. The Cure is written, produced and directed by David Gould, who handled visual effects at Weta Digital on features, The Lord of the Rings, King Kong, Rise of the Planet of the Apes and The Adventures of TinTin. Alex Clark (Contract Killers, Aftershock) is co-producer and David Paul, who recently shot Kiwi Flyer, Rage and the award-winning Until Proven Innocent is cinematographer. Originally from Australia, Gould recently attended the Australian Screen Industry Awards in Brisbane, picking up Best Director and Best New Film for his short Awaken. The film has also screened at numerous international festivals. He now has US managers, the Gotham Group, attached and is also represented by CAA in Los Angeles. 16

april 2012

“Jon Levin is my talent agent and he also represents Arnold Schwarzenegger, Brad Pitt, and Jennifer Aniston amongst others, so I know I’m in the very best hands,” he says. “I’ve had the chance to visit all the major studios on my last visit and will be returning to LA at the beginning of May for further meetings. Everyone over there is very excited to see The Cure.” A key supporter was New Zealand casting director Liz Mullane (The Hobbit, Chronicles of Narnia, King Kong). “She loved it so much she offered to help,” explains Gould. “That was a huge boost for us. Her reputation and her credibility lent a great deal to the project, particularly in the eyes of the agents. We were asking them to release some of their top actors. They needed to feel sure that we were going to do a great job, portray them in the right way and give their clients a real opportunity to have their film released.” Auditions were held in Wellington and Auckland and those who couldn’t attend auditioned over the internet. “I never left Wellington, yet we cast from hugely different countries and locations,” says Gould. “Antonia Prebble recorded her audition in Australia and sent it to us, Daniel Lissing was the same. I also auditioned another actor in New York. “I auditioned Stephen Lovatt via Skype, sitting in his living room in

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Auckland. He read the lines and I’d watch him and asked him to change this or that and 20 minutes later he was done. I recorded it and could watch it back later. It meant that I could audition actors from all around the world without leaving Wellington.” Gould was keen to have a strong, heroine driving the whole story forward, to open the film up to a younger female audience. “I’d love to see them coming to this film and embracing it for that reason,” he says. “We received a lot of submissions from actresses, I think because there are so few strong female roles out there.” Not familiar with New Zealand television, Gould was unaware of Antonia Prebble’s long-standing role as Loretta West in Outrageous Fortune. “I didn’t have a preconceived idea of Antonia, but when I first saw her I didn’t immediately see her in the role as I’d had another image in my mind for the character of Beth. But when I saw what she did with the character, she really broadened my mind. She nailed the character without any input from me or Liz. We looked at her audition and just went ‘Wow!’ She got it right from the get go. She understood the character, the intonations and where I wanted to take it. She was fantastic. From then on every other actress’s audition was judged against the benchmark set by Antonia.” “I’ve never done anything like an action movie before, which is one of the elements that really attracted me to the role,” says Antonia Prebble. “It adds a really interesting dimension to the filming day. While the performances are really important, there’s this whole other technical aspect that’s also really important, so a lot of time has to be devoted to setting up shots for slow motion or things smashing or exploding. “That’s a real challenge. It means you have to be really on your game because when it eventually comes to filming the dramatic scenes, you don’t get as much time. So it poses its own challenges but it’s also really interesting to observe what needs to

happen to create all these special effects, because I haven’t been in close range to things like that before.” The task of finding Beth’s partner Ryan mainly rested with Rob Woodburn, who helped Gould cast his short film, Inseparable Coil. “I always liked the actors Rob has on his books and I wanted to offer him the opportunity because he’d been so generous to me,” Gould explains. “Daniel Lissing definitely had the look we were after, so we gave him a shot. When Liz and I watched his audition afterwards she said ‘I think he’s amazing, maybe we just discovered a new star.’ “What’s nice is that Ryan’s personality is quite different from Beth’s so there’s a good contrast between the two,” says Gould. “I wouldn’t have wanted them both completely head strong. Daniel brings a bit of the softer side, interestingly enough. Typically it’s the male who’s strong and the female is the softer, love interest. But in this case it’s switched with Beth being the stronger, more motivated one and Ryan as the logical, more reasoned partner.” In the film, Lionel is the villain at the top of the heap. “John Bach instantly brings that Machiavellian, nefarious character to life so quickly, so easily and so simply in many ways. He doesn’t have to overact it. It’s mainly the way he holds himself, the stillness with which he looks you in the eye – you know immediately this is not a guy you want to trifle with. “What was interesting with the actors was their willingness to dive in,” says Gould. “That made my job and my life as a director so much easier because I could talk to them one on one. They were more than happy to come and do that extra bit of work if they needed to and they just went the whole nine yards. “I’d like to add a word of encouragement for actors,” says Gould. “Over the years I’ve had the opportunity to audition a lot of actors. While they may not fit a particular role I have always noted them down. If they have the spark and the talent I know that someday, somewhere I will hire them. I think this is important for actors to remember. Even if you didn’t get the part, you may have planted the seed in the director’s mind. You have to think long term. It’s a marathon.”

Casting

Film agencies delighted with ‘Actors on Screen’ Film New Zealand and the New Zealand Film Commission are “delighted” with the overwhelming response to the ‘Seeing More of NZ Actors on Screen’ series, a collaborative project offering free seminars to professional actors and industry professionals.

he series, run in Auckland and Wellington was devised and presented by Film New Zealand board member and international acting coach Miranda Harcourt (Bright Star, The Lovely Bones, Soul Surfer) with leading New Zealand casting director Tina Cleary (Boy, Home By Christmas, Emperor and Jane Campion’s current series Top of the Lake), and focused on New Zealand actors working on international productions. Gisella Carr, Film New Zealand’s chief executive, says industry support for the series has been extremely positive with more than 200 attendees over the four seminars. “The response has been overwhelming, with the workshops oversubscribed. These seminars are a perfect vehicle for both Film New Zealand and the New Zealand Film Commission to nurture local talent for the international market. “The success of our screen actors is somewhat of an untold story,” says Carr, “but more than two decades of international production have seen local acting talent underpin

productions such as Xena and Hercules, Spartacus, Lord of the Rings, Tintin and now The Hobbit, to name a few. As an industry we are committed to seeing our local talent flourish by equipping to make the most of these opportunities,” she says. Featuring additional input from prominent casting directors Christina Asher, Stu Turner and Andrea Kelland and insights from writer Rachel Lang and director Jane Campion, the seminars also included workshops on improving actors’ American accents with renowned accent coach Jacque Drew. Actor Tandi Wright was among those who attended. “Acting is like any other job in that the more you practice, the better you get… It’s very difficult to be brilliant in isolation. Workshops with seasoned professionals like Miranda and Tina are so valuable for performers. They help us hone our skills, test ourselves and keep us match fit. We’d love to see more of them!” Miranda Harcourt says the feedback shows how these practical

workshops are in high demand across the industry. “We had more than 200 actors attend and we turned away just as many. We had some very experienced actors from films and shows like LOTR, The Almighty Johnsons, Nothing Trivial, and many new actors too.” Actors have since emailed, texted and Facebooked us in response, with comments like, “entertaining and inspirational,” Harcourt says. An important component of the seminars was the screening of actors’ recent audition and recall tapes for the Jane Campion production Top of the Lake. “This was really valuable material, as actors never get to see other auditions. Many thanks to the great support and buy-in from Philippa Campbell, Jane Campion and the actors who allowed us to show their work,” says Harcourt. But local casting directors “need to cast their nets wider”, says actor Simon Ward, who’s perhaps best known on screen for the lighthearted Tower Insurance TVCs and

48 Hours short films including last year’s finalist Headshot. “It’d be great if casting directors supported the idea of “Seeing More of NZ Actors on Screen” by seeing more NZ actors for auditions,” wrote Ward on the Onfilm.co.nz website. “I know I’m not the only one who’s sick of hearing my agent say ‘we submitted you but they didn’t want to see you’ – or worse, having budgetary constraints cited as the reason ‘they were only seeing a certain number of people’. “Okay, everybody’s hands are tied,” says Ward, who moved to Sydney earlier this year, “and it’s hard to get anything done the way it should be – but if casting isn’t simply arbitrary, and NZ productions place any value on having the right person for the role, then NZ CDs need to cast their nets wider. “We’re a small industry with a limited number of professional actors – and limited opportunities for those professionals. There’s no good excuse for failing to audition the local pool thoroughly.”

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april 2012

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april 2012

Wires and fires It’s the job of the stunt team to make the physical trials of the screen characters seem convincing, but what lengths do they have to go to these days? Peter Parnham talks to some of the players.

Descender rig for a Phantom camera to follow a cliff diver. Photos: Mark Harris.

s the crew heads off through the amassed trucks to lunch, a small group heads over to the next set up, where they exercise a full range of pointing and miming gestures. The overseas creatives wear designer-scruffy without radios; the people who make things happen are wearing comfortable-scruffy and radios. From the discussion, quietly spoken stunt coordinator Mark Harris determines where the air ram will be located and where the wires will thread through pulleys to yank the stunt performer across the set with an appropriate level of visual exaggeration. You can tell Harris has been doing this kind of thing for a while. He has the apparently unhurried air that only comes with experience, and besides that, his web address stunts.co.nz, must have been nabbed a long time ago.

through sugar glass and things like that. Fortunately with digital imaging technology now, things can be layered and you can have green screens, and they expect to see the actor’s face a lot more. Now we have to learn about loads and angles and things like that.” Harris is now working on the next level of stunt sophistication, a high speed winch system which will be able to fly people around and pinpoint exactly where they will go in a 3D space, and then repeat the moves again a second time with a camera to capture point of view shots. “I enjoy that stuff – putting my thinking cap on, designing and building,” says Harris. It is not only people that get suspended and swung on wires, Harris builds car-sized rigs too.

We set up a specialist team doing wiring, and that’s where things have grown – in flying people around on wires. Mark Harris “In 1984 there was only really me, and the guy that employed me,” says Harris. “We would double for everybody. I would be doubling an old lady one day and maybe a tall African guy the next day.” Then in the early nineties when Xena and Hercules started, the industry changed. “Most of the stunties and the coordinators that are around now came out of those productions and because it was so full on we were able to develop a whole lot of other techniques. We set up a specialist team doing wiring, and that’s where things have grown – in flying people around on wires.” Harris says since Xena finished, stunts have gone up another level as expectations have grown, and stunts have become more complex. “It is more technical now. In the old days it was about chucking somebody 22

april 2012

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“On this production there is a fantastic shot where we built a complete rotisserie to rotate a car round and round with the actors inside, filmed from a camera mounted to the car. Then we took the same car and rolled it three times down a bank that afternoon – all with wires so nobody had to be in it, so there was a real safety element to it. “We had seven days of actual prep, building the rigs that will take the car and stripping the cars out. We had two days testing for the rigs, we did testing with stunties and we did exactly the same thing again with actors, putting actors into as many of the rigs as we could, then deciding when we have to go from using actors to a stunt double.” When looking for the stunt performers to add to his team, Harris says he avoids gung ho types that might overreach themselves and work beyond their skill level.

Spinning a car with actors inside for a TVC. Photos: Mark Harris.

“I work every day of the week so I haven’t got time to take a new stunt person and teach them things. I’d rather use experienced stunt people, but when it is busy – like it is now – you’ve got to bring in other people and you want them to have some sort of training. “Dayna Chiplin’s stunt school is great,” he says, “because now people are getting training, and actors are going there as well.” Springy, cheerful and busy, Dayna Chiplin neglects her food in favour of talking about her overlapping livelihood and passion: stunts and the stunt school. Chiplin founded The New Zealand Stunt School a couple of years ago but still has to fit it around her working schedule. “I go away a lot with stunt work,” she admits. “I was over in London doing Snow White and the Huntsman (due for release in June) last year but I have somebody who looks after training while I’m away – and when I come back, we do more workshops. “We do air ram workshops, and high fall workshops, or it might be a beginner’s fight workshop, or a partial burn, and next week it might be a full body burn and things like that,” she says.

If you have the drive and the dedication of wanting to do it badly enough, then you will get there. Coordination and stuff like that helps. Dayna Chiplin. Photo: Peter Parnham.

The school’s students are drawn from new people wanting to be stunt performers, and experienced stunt performers who want to keep training and broadening their skills. Some students are actors wanting to get some basic fighting skills or use experience with the wires to move into action roles, says Chiplin. “Obviously we still need to have stunt performers doubling, but actors need to be able to do the basics. If they can’t do a basic fight, then it is pretty hard to swap a stunt performer in and out,” she notes. Chiplin believes there is a shortage

Dayna Chiplin of female stunt performers, but says that doesn’t make it easy to get in. “Too many people expect to go along to an audition and get into the stunt industry because they have done a workshop or been a gymnast or something,” she says. “If you have the drive and the dedication of wanting to do it badly enough, then you will get there. Coordination and stuff like that helps. Some of our best performers are dancers – people who are able to watch, mimic and copy.” Like Harris, Chiplin recognises Xena and Hercules as springboard for her own career, built on a background of

horse riding, gymnastics, dance, and martial arts. “Back then it was a bit of a daredevil thing, and we didn’t always know if it was going to work or not,” says Chiplin. “I loved every moment of it and I would never take any of it back – without it we wouldn’t have what we have now – but safety is way better now because we really rehearse and cover all the bases for health and safety. “This is why I started the stunt school, so we don’t have new performers coming and getting thrown into something where they don’t know what they are doing.”

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april 2012

In our job when it goes bad, it goes bad really quickly. Paul Chapcott Image: Supplied.

She says it’s natural to want to push yourself and your boundaries, but at the school you can come and learn what you can, and go for it from that foundation. “The difference between us and the stunt schools overseas is that a lot of them run as money making businesses. For example they sell you the idea that at the end of two weeks you will be experienced in fire burns and high falls, and this and that. “But we’ve had performers who have gone and done these workshops, and they don’t know the first thing about how to set themselves on fire, so they can’t actually look after themselves, they still trust other people to do it all for them.

“We need to be able to look after ourselves – we take the performer through everything, including the safety side of things. For fire burns it would be things like what the material is, what the accelerant is, what everything is made out of, and how it should be applied. I want performers to have all this knowledge, so they are people that we can use in the industry.” For its part, the Stunt Guild of New Zealand was set up about 10 years ago with the aim of promoting and protecting stunt performers. Its grading system serves as a professional brake on stunt people to prevent them getting themselves in over their heads, but also as a measure of protection for producers who need to pursue proper

safety procedures, not only for ethical reasons but to fully comply with health and safety legislation. Under this system raw stunt performers start as a probationary stunt performer, progress through stunt performer, stunt utility, stunt technician, one day reaching Level 5: Stunt Coordinator. To get there you need experience, peer recognition, and some 14 relevant New Zealand Qualification Authority unit standards covering topics like health and safety, first aid, and fall arrest systems. Guild president Paul Chapcott says the system is based on a similar scheme in the UK. “From the point of view of new

people wanting to become stunt performers or to join the guild there is a formal process that we did not have ten years ago,” he says. “We’ve got about 70 members at the moment, they see the guild as a place they want to be, because of the promotion and because of the professionalism, and I suppose it is also about belonging to a group of peers who are trying to achieve the same thing.” Chapcott says it might be tempting to cut corners under budgetary pressure, especially on low budget and selffunded features, but says it is better to employ professionals and readjust the scope of the stunts to suit the budget. “In our job when it goes bad, it goes bad really quickly.”

The Stunt Guild of New Zealand

(SGNZ) represents and promotes the professional stunt industry of New Zealand and maintains a database of qualified coordinators and stunt performers. By regulating stunt qualifications, safety procedures and setting the highest standards to qualify for membership, the SGNZ is able to supply film and television productions with the best stunt coordinators and performers available.

www.stuntguildnz.com

View our members profiles online at www.stuntguildnz.com Request a copy of the current SGNZ members book from info@stuntguild.com

april 2012

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Actors

Acting for the best When low budget filmmakers embark on their projects they rely on everyone else to set sail alongside them; production, crew and actors all together. Actor and comedian Greg Ellis offers some ideas on how to keep the cast smiling.

s I write this I’m sitting, waiting on the set of a low budget film. Self-funded as far as I can tell. It’s an incredibly brave thing to do to max out your credit cards, borrow money off friends and relatives or even remortgage your house, to follow a dream. And without any guarantee that you’ll make that cash back. Taking your big movie dream and cramming it down into something that fits a publicly funded budget is almost as brave. But it is this risk-taking and dream-pursuing that is the backbone of film in New Zealand – almost nothing would get made without it. Many actors are happy to help support the dreams of filmmakers by working for very little, if anything at all. It suits actors for many reasons. For some, film is work and paying any amount of money for a role is better than nothing. For others it’s seen as vital experience and for others it’s simply fun. But for whatever reason a performer chooses to work on a low budget production, you can depend on the fact that they have dreams of their own. Anyone who tries to carve out a living or even part of a living as an actor has more than a touch of the dreamer about them. So, if you are a filmmaker pursuing your dream with a low budget or no budget fea-

ture film, don’t forget that everyone working alongside you has dreams of their own. Actors understand that filmmakers need them to help fulfil their dreams. And the great thing about being self-employed is that you can choose to help others or not. But filmmakers have to remember that actors can be supported in turn with a little forethought, and at little to no expense to the production. It can be easy to forget all those folk who have volunteered their time to help your project. However, a few little touches can really scratch the backs of those people scratching yours. Some of the points discussed here may seem like obvious things, but you’d be surprised. In the pressure of a fast turnaround shoot it’s often the little things that get missed. So what we’d like to look at here are some of the things that can put a smile on the faces of your cast and make the final product that little bit better. To start with, pay is good. Paying actors always puts a smile on our faces, especially when we know the budget isn’t that large. When you’re poring over the budget for your project, factor some pay in for actors as an integral part right up there with the camera you are hiring and the DoP – after all, filmmaking is a collaborative art form. What’s appropriate? There are plenty of places to turn and ask this question. There are the two professional organisations for actors – NZ Actors’ Equity (www.actorsequity.org. nz) and the NZ Actors’ Guild (nzactorsguild.wordpress.com). Actors’ agents and casting directors are a great source of advice as they’ve seen it all before, and don’t forget actors themselves. Paying something is always better than nothing, even if it’s only paying your actors their expenses as a flat fee. Credits are a very valuable thing for actors. Having lots of roles on your CV can be a really good thing. It shows that you are working and that you’ve spent time in front of the camera. But if all your credits read “Angry Woman” or “Soldier 3”, that’s not so impressive. Named roles look better on the resume. No matter how small, when you’ve been cast in a named role it brings a smile to your face. If you are taking a couple of min-

utes to write some dialogue, take another couple of seconds to name the role. Then “Angry Woman” becomes “Beryl Thomas”, which looks a heck of a lot better on paper. For those actors seeking a better CV this can be gold, and it takes nothing out of your overstretched budget. Productions that have realistic scheduling are also a great thing for actors. To take part in a film, chances are they are missing out on something else. It might be a real paid day job, it might be family, it might be working on projects of their own, but few actors can afford to sit around doing nothing. If the budget is close to zero we understand if you can’t pay much, but a production that at least gets you back to the real world as quickly as possible is a production you’ll be happy to turn up to work on. The film I was working on wrapped me ahead of schedule both days – this makes for a happy family and therefore a happy me! A big thank you to those productions that are honest and upfront about how long it’s going to take, and how much waiting around everyone is really going to have to do. If actors know they are signing up to lots of long days and plenty of night shoots, and then whinge about it, they have only themselves to blame. For many actors, especially those who are just starting out, having a record of your performance to show friends and family, or include as part of your showreel, is a great thing. And it is a nice touch to get a copy of the film on DVD at some stage. It doesn’t have to be immediate and it can be a nice surprise to be told that your agent has a copy sitting at their office to pick up. But I have been on sets for low or no budget projects where extras have asked for a DVD copy and have been flatly told that they can’t. It doesn’t have to be immediate. It doesn’t have to be flashily presented and it doesn’t have to be until after release date – but these sorts of things are nice touches. It does cost money, but certainly not the cost of paying market rates for your cast, and it helps nurture an actor’s dream – figure it into the budget beforehand. Another option is placing the final work or a rough edit on a site like Vimeo, where access is password controlled. That way people can be sent an address and a password and

no outlay is involved. And how about letting them take some pictures? Is it really going to destroy your production to have a few pictures of folk in costume up on Facebook? Might not a couple of shots actually help create a bit of a buzz? It’s always worth remembering that your show, despite its importance to you, is not a Hollywood blockbuster and so rampant secrecy probably isn’t the order of the day. People are getting much better with the idea of running cast and crew screenings but these are generally affairs that you can’t bring your grandparents to, and you certainly don’t walk away with things to put on your showreel. The reality of low budget filmmaking is that your cast isn’t always generally super-experienced or knowledgeable. There’s often quite a bit of enthusiasm but not a lot of experience from about four or five down on the cast list. So filmmakers – try and take a moment or two to help those with less experience to learn a bit about the industry, on set etiquette, or what tasks some of the crew are doing. All this sort of stuff can take a moment or two but it can really make a less experienced performer feel part of the whole deal. It can help the actor’s performance in your film. And it has the positive spin for you of educating them a little bit more and helping the flow of things on set. “Thanks” is also a great thing to hear. It takes only a few seconds but being thanked by those folks driving the production makes a performer feel like they were valued. Often actors can slink away from set, sometimes even unsure if they are wrapped, whether they need to sign anything, or even how to get back to their cars! So a thank you from someone, a handshake, or even a round of applause is always welcome. Think of that spirit of collaboration that exists in a 48 Hours film – it’s contagious and keeps people coming back year after year. The same spirit exists in the best low-budget productions and means everyone feels they are getting something out of the work. Done right, everybody wins and there’s a fantastic product at the end. • Greg Ellis is secretary of the NZ Actors Guild. www.nzactorsguild.org.nz

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april 2012

Across the ditch

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

lack and White and Sex was just that, at a recent premiere in Sydney. by JAMES BONDI Shot in black and white, this intriguing film is from director John Winter, best known as a producer on Rabbit Proof Fence and Doing Time for Patsy Cline. It is deceptively straightforward: a director is interviewing a prostitute, Angie, about her life and work, in a film studio complete with crew. But Angie is portrayed by eight different actresses, all delivering bravura performances, and deserving the glowing reviews so far. Check out the website at www.blackandwhiteandsex.com. The opening night bash at Sydney’s Entertainment Quarter in Moore Park was… unusual. The goody bags contained vibrators, lubricants and chocolate body paint. One room was set aside for those who fancied a bit of bondage or a jolly good whipping (no cameras were allowed and we were sworn to secrecy about the identities of those who participated) and there was a scantily clad young lady in a cage on the floor. Nearby, another young lass wearing little apart from a dog collar knelt with her head bowed,

disciplined whenever she dared move by a beefy sheila in stockings and a bustier. Crikey! Something for everybody! But a bit too much for some, and we fled, clutching our goody bags, to the relative normality of the nearby Fox and Lion Tavern for a calming ale or two. ***

eries two of Rake, Essential Media and Entertainment’s black comedy for ABC about dissolute barrister Cleaver Greene (brilliantly played by Richard Roxburgh, who also shares producing credits), has started filming in Sydney. Unit bases have popped up like hipster caffeine bars around the CBD, paying similarly extortionate rents to prop up council cash flows. Familiar faces under legal wigs get a double take from the passing citizens as they sashay down the city streets in flowing back robes. While Oz production companies can have trouble getting full crews at present, the usual surplus of actors means no casting problems. In spite of stiff competition, a swag of Kiwi thespians continue to score good roles here. Rake has Danielle Cormack (also in Miss Fisher’s

Murder Mysteries), with Roy Billing (who’s about to go on to telemovie Cliffy) and Robyn Malcolm also reprising their roles from series one. ***

t would seem Ms Malcolm hasn’t suffered too badly from the “damaged goods” label foisted upon her for supporting actors during The Hobbit War. Major roles in Jane Campion’s Australian-produced Top of the Lake (filmed in the South Island) plus Oz films Burning Man, Drift, and Rake prove she’s highly employable here. There have been rumblings though, about some actors who are not as employable. Kiwi and ex-Home and Away star Jay Laga’aia, of Samoan descent, recently spat the dummy at the show’s producers for being racist. He claimed he was dumped from the soap because it already had a star of ethnic background. Other actors from various ethnic backgrounds supported him to point out to the media that many Australian productions do not seem to represent the multicultural make up of our society. For example, you’d be hard pressed to find an Asian or Aboriginal face on any of our soaps. New Zealand is way

ahead in terms of “colour blind” casting. Other Kiwi actors working in Oz recently are Antony Starr, who’s a lead in in Kieran Darcy-Smith’s new feature Wish You Were Here, Anna Hutchison, currently filming Aussie Rules flick Blinder, and Gareth Reeves is on tour with Bell Shakespeare’s Macbeth. ***

rock!!! Horror!!! Channel 7, in a cost cutting exercise, has dumped its stylists for this year’s Logie Awards. The wardrobe mistresses from each show and the actors and “personalities” themselves will have to find their own ensembles, promising a bumper crop of fashion disasters on the red carpet. 25 Home and Away soapettes and the entire cast of Packed to the Rafters will be begging, borrowing or making their own designer outfits – maybe even hiring their own security guards for the loaner bling. Mind you, given the style car crashes that the professional fashionistas have rolled out in past years, it could be a good idea to exclude them and leave it to the law of the jungle. Let the wardrobe malfunctions begin!

Getting reel T

he Reel Earth Environment Film Festival kicks off in the Manawatu from Friday 11 to Saturday 19 May. Featured are 56 global productions with a focus on nature and the environment, including documentaries, mockumentaries, animations and dramas. “New Zealand is globally renowned for creative expression in film and for her unrivalled natural vistas, making it the perfect place to host an international film festival focused on nature and the environment,” says festival director Dorothee Pinfold. “It brings great colour to Palmerston North and sits in well with the city’s family-friendly focus.”

april 2012

The Reel Earth Seminar series also returns this year for those interested in the practical or theoretical side of filmmaking and storytelling. Speakers include Rob Hamill, co-producer and key subject of Brother Number One, and Sumner Burstyn, producer/writer of the award-winning This Way of Life. Reel Earth sprung from within the community in 2004, thanks to a small band of friends with a shared passion for film and a sustainable future. It has flourished to become recognised as a festival that seeks, selects and applauds the best new film from NZ and around the world in a juried annual competition. This year 10 different

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nationalities are amongst the finalists. In recognition of the festival’s impact and excellence, Reel Earth achieved finalist status in New Zealand’s annual Ministry for the Environment Green Ribbon Awards in 2011. Included in this year’s festival is documentary Gone Curling from Dunedin-based filmmakers Rachael Patching and Roland Kahurungi. The setting is Naseby, Central Otago, the last place in the world that still upholds the traditions of outdoor curling. The community hungers for hard frosts and freezing lakes, but a changing climate means that curling outdoors may soon become a thing of the past and these

passionate curlers may never again be able to compete for New Zealand’s oldest sporting trophy – the Baxter’s Cup. Gone Curling has also been selected to show at the Documentary Edge Festival 2012 (www.documentaryedge.org. nz – Auckland, 26 April to 13 May and Wellington 17 May to 3 June.) Reel Earth culminates in a “green carpet” Gala Awards ceremony at the newly-restored grand film palace, the Regent Theatre on Broadway, on Saturday 19 May. • Reel Earth Environment Film Festival, 11 to 19 May, Downtown Cinemas, Palmerston North.

A legal view

Key rights in Option and Purchase Agreements Ensuring the correct rights are covered by an Option and Purchase Agreement is an essential step in safeguarding each party’s expectations for the deal, writes David McLaughlin.

n the last issue of Onfilm we looked at some of the fundamentals of how an Option and Purchase Agreement is structured. In this article we’re going to dig a little deeper and consider the nature of the rights that Option and Purchase Agreements need to deal with. Option and Purchase Agreements are fundamentally about a producer obtaining the rights to develop a concept or material owned by someone else, in the hope that it will subsequently become possible to move this project from development into actual production. So in terms of defining the extent of rights that are to be the subject of an Option and Purchase Agreement, the producer needs to think carefully about what rights they need and intend to exploit. And similarly, the owner needs to consider what level of rights is in their best interest to grant to the producer. From a producer’s perspective the first priority is ensuring the necessary rights are acquired for the primary screen production they intend making. In other words, if you are making a TV series, you need to ensure the rights necessary for this are clearly set out in the agreement. Or if you intend producing a film, make sure that the full extent of rights specifically required for this are clearly provided for.

Once you move past the issue of the primary intended production the extent of rights required starts to become more a question of the parties’ respective commercial drivers. Even if a producer is making a TV series, they might still want to acquire the rights to produce the property as a film, especially if the TV series is a huge success. From the producer’s perspective, if their work on the TV series has made the property popular enough to support a big screen adaptation, then surely it is only fair that they should have the first right to do this. Conversely, granting excessive rights to a producer who may not actively intend to exercise the rights will only serve to prevent the owner from either exploiting these rights themselves or being able to subsequently on sell the rights to someone else who will. Once again, what either party feels they need respectively to acquire or retain really comes down to the commercial imperatives they are working to. One of the reasons that the grant of rights section in an Option and Purchase Agreement is so extensive is that there are a number of very specific rights related to the primary rights noted above that need to be clarified. These relate to such things as acquiring clear copyrights in the material for the

purpose of making the production, as well as ensuring there are clear rights allowing for broadcast, exhibition, promotion and general exploitation of the finished production as is customarily required in the applicable screen industry. Moving even further from the primary purpose, some discussion should take place about rights covering stage adaptations (if based on the production), novelisations, graphic novels and video games. The rights to create these further commodities based on the primary production may be seen as essential and may even be regarded as part of the standard merchandising and ancillary rights a producer will need to acquire in order to exploit the primary production. It’s not just different formats and related rights that should be considered but also subsequent productions in the same format. Will the producer be able to acquire rights to make sequels, prequels and spinoffs based on the primary production? Nothing should ever be assumed and both parties should take the time to discuss and clarify the extent of the rights. Failure to address these points adequately at the outset can cause significant disagreements and disputes down the track. Commercially, all manner of

further rights – outside of the rights necessary to create and exploit the primary production – can be provided for in an Option and Purchase Agreement. Mechanisms can also be put in place to ensure the original rights owner will receive further payments in the event that any such further rights are exercised by the producer. Once again, the precise terms the parties agree on will very much be up to the specifics of the commercial situation in question and the first concern should always be ensuring appropriate grants of rights are in place for the primarily intended production. • David McLaughlin (david@mclaughlinlaw.co.nz) is the principal of McLaughlin Law (www.mclaughlinlaw.co.nz). • Disclaimer: This article is intended to provide a general outline of the law on the subject matter. Further professional advice should be sought before any action is taken in relation to the matters described in the article.

Got a legal issue you’d like examined in an upcoming column? Then email David McLaughlin (david@mclaughlinlaw. co.nz).

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Production listings

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

Film IN PRODUCTION MEDICINE WOMAN prod co SPP (09 839 0999) prods John Barnett, Chris Hampson line prod Catherine Madigan prod coord Michelle Leaity prod sec Sarah Banasiak prod rnnr Aimee Russell acct Susie Butler writer/dir Dana Rotberg 1AD Hamish Gough 2AD Katie Tate script sup Hayley Abbott loc mgr Jacob McIntyre loc asst Nina Bartlett DP Al Bollinger f/puller Bradley Willemse 2nd AC Alyssa Kath vid split Nina Wells gaffer Gilly Lawrence b/boy Ben Corlett lx asst Mana Lawrence snd rec Adam Martin boom op Nikora Edwards prod des Tracey Collins art coord Kate Olive art dirs Davin Voot, Milton Candish set dsrs Anita Dempsey, Setu Lio constr mgr Nik Novis scenic art Paul Ny art asst Leah Mizrahi stby props Nick Williams art rnnr Jessica Leijh cost des Tracey Collins asst cost des Kiri Rainey cost s/by Carmel Rata asst dresser Emma Ransley m/ up sup Abby Collins m/up art/pros Yolanda Bartram m/up art Vee Gulliver pros des Andrew Beattie grip Terry Joosten grip asst Tim Watson unit mgr Ben Dun unit asst Andrew D’Almeida cast dir Christina Asher coach Stephanie Wilkin saftey Robert Gibson ed Paul Sutorius asst ed Shailesh Prajapati pub Tamar Munch pub asst Lucy Ewen stills p/grphr Todd Eyre adv Ngamaru Raerino, Kararaina Rangihau cast Whirimako Black, Antonia Prebble, Rachel House, Nancy Brunning, Te Waimarie Kessel

POST PRODUCTION COMPOUND Feature prod co D S Prods 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

ETERNITY Feature prod co Eternity Prods prod/dir/writer Alex Galvin exec prod Michael Stephens DP Matthew Sharp prod mgrs Catherine Juniot, Sophie Gregory prod asst Amanda Berryman 1st ADs Kendall Finlayson, Lisa Fraser-Clark 2nd AD Anne Jaeger cont Marian Angeles f/puller Bryson Rooney cam assts Kim Tho-

mas, Graham Smout gaffer Lee Scott b/boy Daniela Conforte lx assts Jan Kleinheins, Sally Cunningham, Royce Goddard, Sam Wynn key grip Will Matthews dolly grip Brett Saunders grip asst William Flanagan snd rec Aaron Davis boom Lance O’Riley w/robe Larissa McMillan w/robe asst Daria Malesic art dept Anna Brown art assts Fern Karun, Ryan Roche m/up Julia O’Neil, Lucy Gargiulo sfx Bill Hunt prod des Robert Flynn loc mgr John Patrick data wrangler Symon Choveaux unit Cameron McCulloch stills Robert Johnson runners Mike Potton, Ryall Burden eds Patrick Canam, Nick Swinglehurst asst ed Kevin Dubertrand ADR Darren Maynard vfx Tony St George, Brett Johansen, Kenny Smith, Marty Chung composer Michelle Scullion cast Elliot Travers, Geraldine Brophy, Dean Knowsley, Alan Brunton, Liz Kirkman, Simon Vincent, Kirsty Peters, Rachel Clentworth, Renee Sheridan, Amy Usherwood, Ralph Johnson, Jessica Manins, April Phillips, Ben Fransham, Nigel Harbrow, Tom Rainbird, Raquel Sims, Lucy Smith, Alana Henderson, Laurence Walls, Luke Hawker, Amy Tsang

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

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FRIDAY TIGERS 12min RED Cam prod co Notable Pictures prod Julia Parnell dir Aidee Walker scrnply Aidee Walker DP Roko Antonio Babich ed Dan Jarman 1AD Alexander Gandar f/puller Ayrton Winitana snd rec Cameron Lenart gaffer Matt Harte lx asst James Dudley prod des Laura Smith art Spencer Harrington m/up Jacinta Driver prod mgr Zanna Gillespie dir asst Vicky Yiannoutsos cast Aidee Walker, Matariki Whatarau, Simon Wolfgram, Anysia Davies, John Davies, Kahurangi Carter

GHOST SHARK 2: URBAN JAWS Feature prod co Mad Fox Films writers/prods/ dirs Andrew Todd, Johnny Hall line prod Alastair Tye Samson DP Andrew Todd art dir Jasmine Rogers-Scott m/up Kirsten Taiapa sfx Bailey Palmer, Kylie Nixon snd recs Alastair Tye Samson, Joh Bloomberg, Kirk Pflaum stills Adam Baines PA Ellie Callahan 2 unit dir Doug Dillaman eds Andrew Todd, Johnny Hall cmpsr Luke Di Somma cast Campbell Cooley, Johnny Hall, Steve Austin, Kathleen Burns, Roberto Nascimento, Isabella Burt, George Hardy, Juliette Danielle, Alan Bagh, David Farrier, Lizzie Tollemache, Stig Eldred, Timothy Bartlett, Helen Moran, Jeff Clark, Anoushka Klaus, Leighton Cardno

JAKE Feature (RED) prod co Hybrid Motion Pictures prods Alastair Tye Samson, Anoushka Klaus, Doug Dillaman writer/dir Doug Dillaman 1AD Ellie Callahan prod mgr Amanda Cairns-Cowen DP Ross Turley f/pullers Garth Merrylees, David Steel, Meg Perrott, Ayrton Winitana key grip Heath King 2nd asst cam Fiona Janet Young lx assts John Young, Ewan Hall snd rec Alex Bird art dir Jasmine Rogers-Scott cost Jasmin Gibson, Barbara Pinn m/up art Anna Hewlett stby w/ robe Shannon Winn conty Oliver Rose catering Concierge NZ stills Adam Baines ed Peter Evans 1st asst ed Katie Ross 2nd asst ed Gideon Smit colourist Alana Cotton snd des Jason Fox music Paul Velat cast Jason Fitch, Leighton Cardno, Greg Johnson, Martyn Wood, Tainui Tukiwaho, Campbell Cooley, Anoushka Klaus, Narelle Ahrens, Toby Sharpe, Deborah Rea, Julie Collis, Mick Innes, Jodie Hillock, Renee Lyons, Sam Berkley, Julian Wilson, Anna Davies

RUNAWAYS 35mm NZFC funded short prod co Candlelit Pictures prod Alix Whittaker writer/dir Jordan Dodson cowriter Oliver Page DP Matt Meikle 1AD Tony Forster prod coord Emily Van Wichen prod des Lyn Bergquist strybd Glen Christie cam op Dana Little f/puller David Shope loader Raymond Edwards clapper/ vid split Alan Waddingham snd rec Mark Williams boom op CJ Withey gaffer Paul Eversden key grip Jim Rowe gaffer asst Richard Schofield, Sean Loftin grip asst John Whiteside script sup Shana Lang m/ up/hair Paige Best sfx/m/up Sean Bridle w/robe Krysta Hardaker sfx rain Raymond Allen stunt coord Albert Heimuli catering Luscious Catering unit mgr Roan Lewisham making of Ilai Amir ed Kerri Roggio 4k scan Pete Williams, Nick Booth snd des James Hayday foley art Jonathan Bruce colorist David McLaren cast Donogh Rees, Stephen Ure, Mitchell Hageman, Thomas Hageman

SQUASH Short prod co NZ Film & Television School prod John Reid line prod Alison Langdon exec prod Tommy Honey dir Sky Adams writer Priscilla Rasmussen 1AD sched/ prod wrap/grad sup/prod mgr Ants Faifai ed/1AD

Jesse Moriarty asst ed James Wypych DP Oren Graham art dir Bex Djentuh loc mgr Sam Spooner prod coord Kate Hooker cam op Tony Stewart 1stAC/f/puller/ post prod sup Nikita Baines c/loader Natasha Tylee grip Duncan Pacey gaffer Tim Wells vid asst/rush Natasha Tylee snd rec/snd post sup James Carroll boom op/snd ed/foley Sam Bryant cont Jen Metcalf art dir Rebecca Djentuh props/art asst/making of Steve Goodwin m/up Sasha Rees w/robe Elliot Stevenson thanks to Brett Mills, Film Queenstown industry mentors Nicola Marshall, Charless Edwards, Ken Saville, Andreas Mahn. Graeme Tuckett cast Christine Raki-Noanoa, Theo Taylor, Rangimoana Taylor, David Lamese, Robert Hartley, Kahu Taiaroa, Shane Poihipi, Amalia Calder, Shaun McCluskie, Jacob Kerr, Jazz Calder

SUNI MAN Short prod co Opposable Thumbs writer/dir/prod Hamish Mortland prod mgr Nikki Baigent DP Andrew McGeorge 1AD Darren Mackie 2AD Sez Niederer casting dir/extras co Jay Saussey loc mgr Jeanette Bremner prod asst Alix Whittaker prod runner Rachel Ross prod des John Ioane art dir Sarah Beale art asst Lisa Ioane illustrator Niamh Purcell 1st cam asst/f/ puller Dave Hammond 2nd cam asst Dave Steel vid split/ data wrangler Alan Waddingham steadicam op Dave Garbett snd rec Mike Westgate boom op Shardae Foden gaffer Gilly Lawrence b/boy Merlin Wilford lx asst Mana Lawrence key grip Tommy Park b/boy grip Adnan Taumoepeau grip asst Hamish Young script sup Shana Lang m/up/hair Vee Gulliver w/robe Sarah Aldridge safety off/onset co Dr Rebecca Mackenzie-Proctor catering Jenny Mortland, Katie Heath & Ainsley Allen unit sup Ronnie Hape unit mgr Nicki Tremain unit asst Wayne Hooper ed Simon Price asst ed Dena Kennedy script ed Kathryn Burnett stills p/grphr Mark Gore cast Beulah Koale, Murphy Koale, Maggie Tele, Mauri Oho Stokes, Patrick Tafa, Ben Timu, Andy Bryers, Aleni Tufuga, Stacey Leilua, Madhu Narsai

THE CURE Digital action/thriller prod co David Gould Studios sales agents Archstone Distribution, Joker Films writer/dir David Gould prods Alex Clark, David Gould prod coord Olivia Scott prod asst Amanda Berryman runners Alistair van Hattum, Steven Charles acct Marc Tyron prod des Gim Bon art dir/sby Haley Williams byr/dress Chris Chandler art dept assts Hannah Sutherland, Heather Winship, Josh Cleary set bldr Richard Klinkhamer painter Stine Wassermann gfx Larissa McMillan intern Ruby Fitzgerald 1AD Marc Ashton 2AD Jack Nicol 3AD Keryn Johns cast dir Liz Mullane script sup Marian Angeles DP David Paul equip hire Cameraworks; David Paul, Chris Hiles f/ puller Matthew Tuffin 2AC Graham Smout 3rd AC/ grip Gene Warriner data wrang Josh O’Brien 2U cam Ross McWhannell 2U cam asst Manuel Czepok cost des Gabrielle Stevenson byr/sby Estelle Stroud asst/ sby Rose McIntyre gaffer Adrian ‘Wookie’ Hebron b/ boy Alan Wilson b/boy add Chris Murphy lx asst Jared O’Neale fx m/up lead Naomi Lynch fx m/up art Tanya Barlow m/up intern Sarah Elford snd rec Benoit Hardonniere stunt sups Rodney Cook, Shane Rangi stunts Allan Henry, Luke Hawker spfx sup Paul McInnes vfx sup Frank Rueter fluids/fire Bodo Keller concepts/gfx Felicity Moore sci consult George Slim experiments Richard Hall weapons Paul McLaughlin EPK Brendan Dee unit pub Sian Clement cast Antonia Prebble, Daniel Lissing, John Bach, Stephen Lovatt

Production listings

THE IMPORTANCE OF HAVING BREAKFAST Short prod co NZ Film & Television School dir Jen Metcalfe writer Kate Hooker prod John Reid exec prod Tommy Honey asso prod Alison Langdon DP Jesse Moriarty prod mgr/prod wrap/grad sup Ants Faifai prod asst James Wypych loc mgr Tony Stewart 1stAD Priscilla Rasmussen cam op Steven Goodwin 1stAC/f/puller Sky Adams c/loader/vid asst/snd ed/foley Duncan Pacey grip Sam Spooner gaffer Oren Graham gaffer asst Sam Bryant snd rec Rebecca Djentuh boom op James Carroll cont Francesca Brooks art dir Tim Wells props/art asst Elliot Stevenson w/robe /prod coord Kate Hooker unit/post prod sup Nikita Baines ed Elliot Stevenson asst ed/ making of Natasha Tylee snd post sup James Carroll tech sup Sam Spooner m/up Kerry Taylor industry mentors Nicola Marshall, Charles Edwards, Adrian Hebron, Ken Saville cast Robert Tripe, Alison Walls, Robert Hartley

IN RELEASE A BEND IN THE ROAD NZFC funded short prod co Alpha Bristol Films prod Gemma Freeman dir/writer Rollo Wenlock DP Simon Baumfield hd art Kasia Pol eds Charlie Bleakley, Michael Horton cast dir Tina Cleary asso prod mgr Georgiana Taylor 1AD Del Chatterton stunts Rodney Cook cam asst Graham Smout lx Byron Sparrow grip Wayne Subritzky lx/grip asst Simon Oliver snd rec Aaron Davis, Kevin Hill w/robe Caroline Stephen m/up Lucy Gargiulo m/up asst Tiffany Te Moananui continuity Marian Angeles, Nina Katungi snd des Matthew Lambourn cmpsr Stephen Gallagher dialogue ed Christopher Todd snd fx ed Jeremy Cullen ADR mixer Nigel Scott foley art Robyn McFarlane snd mixer Gilbert Lake, Park Road snd post prod Amanda Heatley colourist Matthew Wear taperoom sup Victoria Chu facility prod Emma Bartlett ed asst Greg Jennings loc res Lily Hacking prod assts Rachael Glassman, Robert Ormsby p/grphr Michael Hobbs casual driver Lillian Beets catering Peartree Lane Catering cast Aaron McGregor, Tom Hern, Leon Wadham, Cohen Holloway

BLINDSIDE Short prod co Zodiac Entertainment dir Dimi Nakov writers Chantal Rayner-Burt, Sean O’Connor prod Dimi Nakov, Graeme Cash 1AD Tim Butler-Jones add AD Kate Carver DP Jarod Murray cam ops Sam James, Stephen Morris, Lydia Stott cam assts Dinesh Chelat, Peta Douglas, Jamie Drummond, Lars Quickfall snd Richard Dugdale boom ops Josh Finnigan, Lars Quickfall, Daiyaan Rhoda sndtrack Unsub, Dano Songs, Kevin MacLeod, Valdi Sabev vfx Kathy Kenndedy, Jill Round art dir Kevin Luck asst art dir Natasha Luck stby props Peta Douglas, Rokhshana Lang, Henric Matthiesen stills Nichola Gilchrist, Tim Butler-Jones, Robert Aberdeen gfx des Jose Gilabert m/up Celeste Strewe, Victoria Haines cast dir Beren Allen loc mgr Daiyaan Rhoda safety Phil Greeves stunt coord Melvin Te Wani cont Brooke Macaulay, Anjula Prakash, Peta Douglas ed Martin Collyns cast Jordon Buckwell, Tonci Pivac, Sarah James, Paul Thomas Lewis, Lulu Bell, Tessa Jensen, Tara Eloise

PLAYMATES Short prod co Zodiac Entertainment dir Dimi Nakov writer Tonci Pivac prod Graeme Cash exec prod Dimi Nakov, Tonci Pivac post prod Samuel Wheeler 1AD Tim Butler-Jones DP Stephen Morris cam ops Levon Baird, Jarod Murray cam assts Dinesh Chelat, Paul Hudson snd Sudarshan Badrinarayanan boom ops Daiyaan Rhoda, Richard Dugdale score Tim ButlerJones, Samuel Wheeler tech dir Jarod Murray m/up Celeste Strewe stby props Peta Douglas stills Nichola

Gilchrist, Simon Long cont Jess Maitland, Brooke Macaulay catering Yagoda Pivac, Tim Bulter-Jones ed Samuel Wheeler cast Delaney Tabron, Tonci Pivac, Phil Greeves, Simon Long, Thomas Moon, Aleisha Moore, Jesse Miller, Sean O’Connor

Brennan te reo Mäori Tumamao Harawira ed John Fraser aud post Reade Audio mus Reo Dunn, Woodcut gfx Lettica Shelford prod acct Lee Ann Hasson prod mgr Karen Sidney prod asst Shelly Matiu n/wrk execs Annie Murray

THE PSYCHOLOGIST

WHAT NOW

Short prod co Zodiac Entertainment dir/prod Dimi Nakov writer/exec prod James Crompton exec prod Dimi Nakov prod mgr Graeme Cash DP Jarod Murray cam assts Kevin Luck, Lars Quickfall, Peta Douglas snd Richard Dugdale boom op Josh Finnigan sndtrack Cap Gun Hero, Kevin MacLeod, Dano Songs art dir Peta Douglas m/up Celeste Strewe cont Peta Douglas ed Logan Swinkels cast Stanislava Balkarey, James Crompton, Miho Wada, Pascal Roggen, Kevin Luck, Lars Quickfall, Tim Butler-Jones

120min weekly live kids show pres Gem Knight, Adam Percival, Ronnie Taulafo, Johnson Raela eds Michelle Bradford, Tyler King audio post Whitebait Facilities, Vahid Qualls, Dave Cooper props Warren Best, Rosie Taurima w/robe Wilma Van Hellemond stylist Lee Hogsden asso prod mgr Joshua Pollard writers Andrew Gunn, Jeff Clark dirs asst Jenny Murray post prod dir Franc Bol gfx des Matt Landkroon, Yosef Selim rsrchr Joanna Manson prod asst Charlotte Meads prod mgr Sharyn Mattison studio dir Kerry Du Pont creative prod Jason Gunn asso prods Rebecca Browning, Josh Wolfe prod Reuben Davidson exec prod Janine Morrell-Gunn n/wrk exec Kathryn Graham

WHEN A CITY FALLS prod co Frank Film writer/dir/prod Gerard Smyth prod Alice Shannon eds Richard Lord, Ken Sparks cine Jacob Bryant, Gerard Smyth rsrchr Rhys Brookbanks, Cate Broughton, Jennifer Dutton, Brent Fraser, Jo Malcolm sup snd ed/snd des Chris Sinclair snd des/mus dir Ben Edwards creative con Alun Bollinger exec prod Paul Swadel sndtrack by Tiki Taane & Aaron Tokona, Te Taonga Puoro & Richard Nunns feat Caroline Blackmore, Carmel Courtney, Ben Edwards, Mark la Roche, Serenity Thurlow, Ariana Tikao thanks Christchurch Symphony Orchestra dev Garth Campbell, Greg Jackson prod asst/snd asst Jennifer Dutton snd asst Carrie-Jo Caralyus, Rob Jamieson, Jake Sheldrake, Maggie Smyth, Jake Stanton footage supplied by Archive NZ, Simon Baker, Scotty Behrnes, Sam Britten, Nigel Brook, Steven Goodenough/Photo NZ, Mike Harvey, Richard Lord/Caravan Media, Brian McCausland, Logan McMillan/Gorilla Pictures, Joe Morgan, Dan Watson, Peter Young/Fish Eye Films, YouTube user Bugsandal, Anthony Dean, Wendy Ingram, Richard Harris, Tim McDonald, Finn & Sally McMillan, Shaun Ryan, Daniel Szesniak, Dawn Walsh stills supplied by David Barrell, Richard Jongens/GNS, Carys Monteath/ The Press, Gillian Needham/Getty, Philip Pearson, Geoff Sloan/The Star, Malcolm Teasdale/Kiwirail stills p/grphr Richard Lord/Caravan Media pub Alice Shannon, Sue May dist Gordon Adam/Metropolis gfx des Andrew Ashton, Aaron Beehre art dep Michael Dell, Denali Lord, Rosie Smyth lx Andy Rennie/Bright Lights, Park Road gen mgr Cameron Harland HO prod Dean Watkins snd prod Amanda Heatley fac mgr Nina Kurzmann HO pic David Hollingsworth sen online ed Rob Gordon colourist Matt Wear HO snd John Neill sen re-rec mix Mike Hedges, Gilbert Lake digi mast sup Victoria Chu digi mast op Steve Deuburguet projctnst Paul Harris HO tech Phil Oatley data wrang Natalie Best, Clare Brody, Jennie Yeung

WILD ABOUT NEW ZEALAND 6x60min HD doco prod co NHNZ (03 479 9799) for TVNZ, NZOA Platinum Fund exec prod John Hyde series prod Nicky Hammond prod mgr Suzanne Lloyd rsrchrs Marcus Turner, Claire Clements, Rob Bridgeman, Amy Anderson prod asst Michael Henríquez cam Alex Hubert snd Daniel Wardrop host Gus Roxburgh

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

BORDER PATROL prod co Greenstone ho prod Andrea Lamb prod Saffron Jackson prod mgr Jani Alexander prod coord Carita de Jong fund TVNZ

BOTH WORLDS 10x26min special interest prod co Notable Pictures prod Julia Parnell dirs Dane Giraud, Stephen Kang, Zia Mandviwalla DP Richard Harling snd op Cameron Lenart ed Tim Grocott prod mgr Zanna Gillespie res Angelique Kasmara

COASTWATCH

Television pre PRODUCTION AVALANCHE HUNTERS

prod co Greenstone ho prod Andrea Lamb exec prod Ashley Stuart Coupland prod Megan Jones prod mgr Angela Burgess prod coord Carita de Jong, Wendy Tetley fund TVNZ

Henry, Alison Horwood fac mgr Rex Potier prod acct Kathy Regnault n/wrk exec Sue Woodfield

FROCK STARS (WT) 6x30min HD doco prod co NHNZ (03 479 9799) for Smithsonian exec i/c of prod Andrew Waterworth exec prod Judith Curran series prod Judith Curran prod mgr Robyn Pearson rsrchrs Katy Kassler dirs Lauren Thompson prod coord Katy Kassler DP Jenna Rosher, Scott Shelley cam 2 Andrew Mungai, Petr Cikhart, Robin Mueller cam asst Jason Huggins, Jonathan Lester, Ezequiel Caseares, Brodee Smith field snd Barry Weissman, Paul Cote offline eds Cameron Crawford, Marilyn Copland

GOLDEN Series 1, 6x30min comedy prod co SPP (09 839 0999) exec prods John Barnett, Chris Bailey prod Charlotte Hobson line prod Sharron Jackson prod coord Linda Fenwick prod sec Liz McGlinn prod run Lance McMinn writers Lucy Schmidt, Stayci Taylor acct Lee-Ann Hasson dir Katie Wolfe 1AD Jimmy Scott 2AD Kylie McCaw script sup Lisa Cook loc mgr Tafale Matafeo loc scouts Ian Goldingham, Charlotte Gardner DP Marty Smith f/puller Frith Locke-Bonney cam asst Fiona Janet Young gaffer John Bell lx/grip asst Ewan Hall snd rec Daniel Loughnan boom op Craig O’Reilly prod des Clayton Ercolano art coord Lia Neilson art asst Anna Rowsell stby props Craig Wilson gfx Christiaan Ercolano cost des Sarah Aldridge cost s/by Ciara Dickens byr/dresser Ruth England m/up des Vanessa Hurley, Shannon Sinton m/up assts Ana Ah Kuoi, Dani Orme unit mgr Josh Dun stunt co Mark Harris cast dir Andrea Kelland safety Lifeguard & Safety ed Jochen Fitzherbert asst ed Kerri Roggio post prod sup Dylan Reeve pub Tamar Munch pub asst Lucy Ewen stills p/ grphr Matt Klitscher cast Lucy Schmidt, Jesse Griffin, Joel Tobeck, Jennifer Ludlam

GOOD MORNING 2012 prod co TVNZ exec prod Tina McLaren prod SallyAnne Kerr line-up prod/ed Melanie Phipps script ed/line up prod Dominic Smith prod mgr Terri MacFarlane dir Barbara Mitchell pres Rod Cheeseman, Jeanette Thomas DA Samantha Fisher advt prod Amber Smith advt mgr Donah Bowers-Fleming advt prod asst Isabella Stimpson spnsrship mgr Merril Thompson rsrchrs Cinna Smith, Daniel Hood, Fiona Cumming, Liana McPherson, Marilyn McFayden script ed/rsrchr Adrienne York prod asst Julia Lynch 2nd floor mgr Giverney Cootes stylist/props Anna Clark greenrm host Aoiffe Richamond segment pres Matai Smith, Astar Kirkpatrick

HINDSIGHT SERIES 3 13x30min current affairs prod co TVNZ prod unit TVNZ n/wrk exec Philippa Mossman exec prod Tina McLaren prod Damian Christie ed Gary Young res Sofia Wenborn prod mgr Stewart Jones pres Damian Christie

ICE CAPTAIN COUNTRY CALENDAR 2012 26x30min rural NZ lifestyles prod co TVNZ exec prod Tina McLaren prods Julian O’Brien, Dan Henry prod mgr Robyn Best dir/reps Frank Torley, Jerome Cvitanovich, Carol Archie, Kerryanne Evans, Katherine Edmond, Dan Henry res Vivienne Jeffs

7x30mins n/wrk Eden TV dist Naked Flame prod cos Making Movies, Bear Cage co pro New Zealand/ Australia exec prods James Heyward, Michael Tear prods Andy Salek, Hugh Barnard writers Hugh Barnard, James Heyward

prod co Greenstone ho prod Andrea Lamb exec prod Ashley Stuart Coupland prod Kate Peacocke prod mgr Laura Peters prod coord Wendy Tetley fund TVNZ

TANGAROA WITH PIO SERIES 8

FAMILY REPORT

13x26min fishing/lifestyle b/caster Mäori TV prod co AKA Prods prod/dir Aroha Shelford pres Pio Terei cam op Richard Curtis u/w cam Dean Savage snd Colleen

10x30min prod co The Gibson Group exec prod Dave Gibson prod Jane Robertson asso prod Sam Stacey prod mgr Inga Boyd rsrchr Sarah Boddy dirs Dan

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90min feature prod cos Making Movies, Gebrueder Beetz prods James Heyward, Andy Salek line prod Liz DiFiore writers James Heyward, Leanne Pooley dir Leanne Pooley dir asst Kelly Krieg prods pa Katie Bolt 1AD Hamish Gough 2AD Katie Tate prod assts Ellie Callahan, Rachel Choy prod intern Lisa Brown prod runners Jasmine Rogers-Scott, Emma Behrns, Nathaniel Sihamu prod des Roger Guise on set art dir Geoff Ellis propmster Paul Dulieu props mker Phil Gregory art assts Clarke Gregory, Jim Anderson constr mgr William Schmidt DP Simon Baumfield 1st cam assts Graham MacFarlane, Roger Feenstra 2nd cam asst Kim Thomas vid splt/data intern Leigh Elford 2nd unit DP John Cavill 2nd unit ac George Hennah 2nd unit 2nd ac Meg Perrot cont Rachel Choy gaffer Thad Lawrence b/boy Tony Slack lx assts

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

april 2012

Production listings

Merlin Wilford, Gilly Lawrence, Steven Renwick, Ben Corlette, Sam Jellie key grip Kevin Donovan b/boy grip Chris Rawiri grip assts Winnie Harris, Chris Tait grip trainee Sam Donovan spfx Film Effects Company Ltd spfx sup Jason Durey spfx office co-ord Tanya Bidois spfx snr tech Mike Cahill spfx techs Graham Nixon, Rowan Tweed, John McLaren, Eliot Naime, Michael Lawton spfx runner Gavin Ravlich cost des Suzanne Sturrock w/robe stdby Cathy Pope w/robe asst Charlotte Turner m/up des Davina Lamont m/ up arts Michele Barber, Tash Lees, Hayley Oliver safety coords Scene Safe Chris Griggs, Sam Armitage nautical adv Kevin Donovan unit mgr Sam Shelton unit asst David Shope caterers Bonifant & Saxby epk/stills Cristobal Araus Lobos, Andy Salek cams Panavision prod acc Kylie Strain ed Tim Woodhouse cmpsr John Gibson post prod sup Grant Baker vfx prod Cris Casares vfx sup Brenton Cumberpatch vfx arts Brenton Cumberpatch, Richard Borg, Dale Pretorius, Carlos Purcell vfx interns Richard Neal, Brendon Chan, Josh O’Donnell cast Craig Parker, Charles Pierard, Hugh Barnard

I ESCAPED A CULT 1x60min pilot HD doco prod co NHNZ (03 479 9799) for Nat’l Geographic Channel series pro Alan Hall dir Sally Howell post prod Mark Orton ed Owen Ferrier-Kerr DP Kris Denton rsrchrs Bridget Baylin, Amy Tenowich

I SURVIVED 4 (#2) 10x60min HD doco prod co NHNZ (03 479 9799) for A&E TV exec i/c of prod Michael Stedman series prod Alan Hall prod mgr Dayle Spavins rsrchrs Marina De Lima, Stephanie Antosca, Bridget Baylin, Jonathan Zurer, Peter Holmes, Brant Backlund, Amy Tenowich dir Sally Howell DP Kris Denton prod coord Dwayne Fowler 2nd unit cam Max Quinn post dirs Jacqui Crawford, Bill Morris, Peter Holmes offline eds Chris Tegg, Jack Woon, Jeff Avery snd Stacey Hertnon, Errol Samuelson, Alan Gerrie vid post Stu Moffatt, Ulf Uchida

I SURVIVED 5 20x60min HD doco prod co NHNZ (03 479 9799) for A&E TV exec i/c of prod Michael Stedman series prod Alan Hall prod mgr Dayle Spavins rsrchrs Stephanie Antosca, Bridget Baylin, Amy Tenowich, Amy Kagelmacher, Karen Price, Tucker Bowen, Hillary Heath dir Sally Howell DP Kris Denton prod coord Dwayne Fowler

0999) exec prods John Barnett, Rachel Lang, Gavin Strawhan prods Chris Bailey, Britta Johnstone line prod Tina Archibald prod mgr Jo Tagg prod coord Mariya Nakova prod sec Tim Burnell prod rnnr Olivier Campana writers Rachel Lang, Gavin Strawhan, Fiona Samuel, Nick Ward, Kate McDermott script coord Rachael McMahon, Jo Johnson acct Lee-Ann Hasson asst acct Sheree Silver dirs Murray Keane, Peter Salmon 1ADs Gene Keelan, Shane Warren 2ADs Kate Hargreaves, Kylie Drew, Michelle Sowman 3AD Estelle Chatenoud script sups Gabrielle Lynch, Lisa Cook loc mgr Benny Tatton DP Rewa Harre, Kevin Riley cam op Oliver Jones A f/puller Peter Cunningham B f/puller Cameron Stoltz 2nd asst cam Fiona Young cam trainee Ben Firman gaffer Nare Mato b/boy Trent Rapana gene op Sam Clark lx asst Jackson Cullen key grip Gary Illingworth grip asst Conrad Hoskins snd rec Dave Hurley, Mark Williams boom op Kelly Stewart snd asst Adnan Taumoepea prod des Gary Mackay art coord Karen Mackay art dir Emily Harris stby props James Rennie set dec Angeline Loo set dec asst Domini Calder stby asst Tom Willis props byr Jo Larkin gfx Sarah Dunn construct mgr Chris Halligan cost des Katrina Hodge cost coord Rewa Lewis cost byr Charlotte Rust cost dress Alexandra Carter cost s/bys Hannah Woods, Petra Verweij cost asst Daisy Uffindell m/up des Shannon Sinton m/up assts Lisa Foothead, Verity Griffiths, Jacinta Driver unit mgr Amy Russo unit asst Deborah Boylan cast dir Annabel Lomas safety Lifeguard & Safety eds Allanah Milne, Jochen Fitzherbert, Paul Maxwell post prod sup Grant Baker post prod coord Anna Randall snd post sup Steve Finnigan mus cmpsr Callie Blood, Wayne Bell catering Luscious Catering pub Tamar Munch pub asst Lucy Ewen cast Blair Strang, Tandi Wright, Debbie Newby-Ward, Shane Cortese, Nicole Whippy

POLICE TEN 7 40x30min prod co Screentime exec prod/prod Philly de Lacey, Mary Durham dirs Scott Hindman, Les Dawson prod Sarah-Luise Whatford asso prod/ rsrch Katherine Birchall prod coord Olivia Lynd gfx Kathy Kennedy pres Graham Bell offline ed Malcolm Clarke online ed Keith Mclean

PRAISE BE 2012 prod co TVNZ prod unit TVNZ exec prod Tina McLaren prod/dir Ron Pledger prod mgr Dawn Bowater pres rsrch Chris Nichol mus dir Peter Averi

RESTORING HOPE I SURVIVED…BEYOND AND BACK 10x60min HD doco prod co NHNZ (03 479 9799) for A&E TV exec i/c of prod Andrew Waterworth exec prod Judith Curran series prod Janice Finn prod mgr Robyn Pearson rsrchrs Nadia Izakson, Becky Beamer, Alissa Collins Latensa, Kelly Meade dirs Judith Curran, Lauren Thompson DP Alex Hubert, Eric Billman cam 2 Lindsey Davidson prod coord Supriya Vasanth post dirs Craig Gaudion, Kelly Meade, Jane Adcroft, Libby Young offline eds Cameron Crawford, Marilyn Copland, Karen Jackson, Sandy Pantall vid post Stu Moffatt, Frank Lodge snd post Stacey Hertnon, Errol Samuelson

1x52min doco charting the Maori restorative justice process prod co Notable Pictures prod Julia Parnell dir Eugene Carnachan DP Rewa Harre snd op Cameron Lenart prod mgr Zanna Gillespie

RURAL DELIVERY 8 40x30mins weekly prod co Showdown Productions exec prod Kirsty Cooper prod Tracy Mika line prod Emma Slade dir Jerome Cvitanovich, Kirsty Cooper prod mgr Barbie Nodwell prod coord Andrea de Klerk DP Richard Williams rsrchrs Richard Bentley, Jerome Cvitanovich, Hugh Stringleman, Marie Taylor ed Christine Jordan presenter Roger Bourne

MOTORWAY PATROL

SAFEHOUSE

prod co Greenstone ho prod Andrea Lamb prod Kate Fraser prod mgr Jody Phillips prod coord Kali Moss fund TVNZ

1x90min drama prod co Screentime exec prod Philly de Lacey prod/dir John Laing prod Bridget Bourke prod coord Jo Finlay prod sec Sarah-Jane Vercoe cast dir Terri De’Ath 1AD Mark Harlen 2AD Sarah Rose 3rd AD Esther Clewlow prod rnr Melinda Jackson prod des Chris Elliot art dir Brant Fraser on set art dir Adam Bilik art dept coord Megan Robertson stby props Sam Evans props asst Kylie Harris constr mgr Mathew Thomson DP DJ Stipsen cont Hayley Abbott gaffer Phil Totoro b/boy Danny Fepuleai gene op Puna Patumaka key grip Evan Pardington b/boy grip Mike Coney snd rec Adam Martin boom op Kyle Griffiths stunts Mark Harris cost des Tracey Sharman w/robe sup st/by Carmel Rata drssr Adele Hing m/up sup Stefan Knight m/up stby Shannon Sinton cost rnr Marina Serrao loc mgr Sean Tracey-Brown safety coord Robert Gibson on set safety Steve Jennings unit mgr Nod Anderson caterers Luscious Catering prod acc Barbara Coston ed Allanah Milne ed asst Kerri Roggio legal Karen Soich

NEIGHBOURS AT WAR prod co Greenstone ho prod Andrea Lamb prod Lee Baker dir Lee Baker rsrchr Jane Dowell prod mgr Lauren Lunjevich prod coord Kali Moss fund TVNZ

NEW ZEALAND FROM ABOVE 5x43mins n/wrk ZDF Arte/Prime dist Naked Flame prod cos Making Movies, Gebrueder Beetz, Bear Cage co pro New Zealand/Germany/Australia exec prods James Heyward, Michael Tear prod Andy Salek dir Bruce Morrison DP Marty Williams writer James Heyward res prod Hugh Barnard, Liz DiFiore media mgmt Jerri Halliwell pilot Alfie Speight

NOTHING TRIVIAL 2 13x60min drama/comedy prod co SPP (09 839

april 2012

www.onfilm.co.nz

SAVING TUNA 1x60mins MTS doco prod co The Gibson Group prods Gary Scott, Fiona Apanui-Kupenga dir Emily McDowell prod mgr Alison Black cam op Mike Jonathon

SHORTLAND STREET 5x30min weekly prod co SPP exec prods John Barnett, Simon Bennett prod Steven Zanoski line prod Liz Adams dirs Geoff Cawthorn, Katherine McRae, Richard Barr, Wayne Tourell, Oliver Driver script prod Paul Sonne head writer Kim Harrop s/liners Kirsty McKenzie, Alistair Boroughs, Caley Martin, Joanna Smith, Damon Andrews, Aimee Beatson med adv Sally Geary, Sarah Nevitt script eds Lynette Crawford-Williams, Karen Curtis script eds asst Nina Vlahovic prod coord Kinta Jennings prod sec Kylie Newman script typ Eva Yang prod acct Diane Boddy acct asst Stephanie Dahlberg loc mgr Bryce Wood 1ADs Michele Priest-Edmondson, Moe Hobbs, Flora Woods, Jimmy Scott 2ADs Francis Koon, Katie Dallimore 3AD Cat Henshall prod runner Aaron Levi dir assts Kathe Calis, Sarah Brinsdon, Laurel Urban tech prod George Platt tech coord Bryn Collins vis mix Fran Hodgson lx asst Chris Watkins loc DP Drew Sturge loc gaffer Drew Wright cam ops Nigel Roberts, Nick Hayward cam asst Daniel Lacy snd rec Greg Moon boom ops Andrew Revell, Andrew Lusk prod des Ana Miskell art dirs Ross Goffin, Andy Currie, Natalie Tsuchiya art dept mgr Liz ThompsonNevitt stby prps Scott McDowall, Logan Childs art dept assts Katherine Sasse, Brooke Darlison gfx coords Alex Kriechbaum, Sarah Dunn cost des Nicola Newman asst cost des Rebecca Jennings cost standbys Katie Jones, Kelly Marumaru, Keri Wheeler cost asst Rowena Smith cost trainee Galareh Golbakhsh laundry asst Jan Beacham hair/m/up sup Rebecca Elliott m/up Ambika Venkataiah, Katie Fell, Sophie Beddoes eds Anna Benedikter, Matthew Allison asst ed Lorne Haugh Post 4 Sound & Video snd mixrs Simon Weir, Graham Wallace cast dirs Andrea Kelland post prod sup Dylan Reeve pub Rachael Keereweer pub asst Chris Henry dialogue coach Shirley Duke asst chaprn Renee Lyons comp Graham Bollard p/grphr Jae Frew caterer Rock Salt cast Michael Galvin, Angela Bloomfield, Amanda Billing, Robbie Magasiva, Benjamin Mitchell, Peter Mochrie, Lee Donoghue, Matt Chamberlain, Beth Allen, Sally Martin, Jacqueline Nairn, Ido Drent, Pearl McGlashan, Geordie Holibar, Frankie Adams, Virginie Le Brun, Tyler Read, Amelia Reid, Teuila Blakely, Brooke Williams, Gerald Urquhart, Pua Magasiva

prods/dirs Paul Trotman, Malcolm Hall DP/cam Scott Mouat

THE INVESTIGATION prod co Greenstone ho prod Andrea Lamb prod Sam Blackley prod mgr Angela Burgess rsrchr Nicola Wood, Gemma Murcott prod coord Wendy Tetley fund TVNZ

THE ZOO prod co Greenstone ho prod Andrea Lamb prod Tash Christie dir/loc coord Candace McNabb prod mgr Lauren Lunjevich prod coord Rochelle Leef fund TVNZ

ULTIMATE ANIMAL COUNTDOWN 10x60min doc prod co NHNZ (03 479 9799) co prod Nat Geo Wild exec prod Andrew Waterworth series prod Ian McGee post prods Giles Pike, Brant Backlund eds Jason Lindsey, Thomas Gleeson, Sandy Pantall archive prod Lemuel Lyes media mgr Wayne Biggs rsrchr Nigel Dunstone snd Errol Samuelson, Stacey Hertnon vid post Stu Moffatt, Ulf Uchida, Frank Lodge, Wayne Poll prod mgr Glenda Norris

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

CROCZILLA 1x60min HD doco prod co NHNZ (03 479 9799) for Nat’l Geographic Channel exec prod Craig Meade dir Kate Siney DP Rob Taylor post prod Job Rustenhoven ed Marilyn Copland snd post Errol Samuelson music Leyton prod mgr Christina Gerrie

DESCENT FROM DISASTER 6x60mins prod co Screentime exec prod Philly de Lacey prod Ross Peebles line prod Carolyn Harper dirs Ross Peebles, Mary Durham, Bryn Evans, Howard Taylor visual dir Rupert Mackenzie rsrchr Dianne Lindesay prod coord Olivia Lynd eds Roger Yeaxlee, Margaret Kelly online ed Keith McLean

GEM HUNTER

prod co Greenstone ho prod Andrea Lamb exec prod Ashley Stuart Coupland prod Sam Blackley field dir Esta Hutchins prod mgr Angela Burgess prod coord Rochelle Leef fund NZOA/TVNZ

1x60min pilot HD doco prod co NHNZ (03 479 9799) for Travel Channel exec prod Craig Meade prod/ dir Scott Sinclair prod mgr Jill Soper DP Rob Taylor rsrchr Rob Bridgman host Ron LeBlanc co-hosts Diane Robinson, Bernie Gaboury ed Josie Haines snd post Alan Gerrie mus Leyton

THE ART OF ARCHITECT

OPERATION HERO

44min prod co TVNZ Production Unit exec prod Tina McLaren prod Gavin Wood prod mgr/prod acct Naomi Marsh dir Dean Cornish pres Peter Elliott sen rsrchr Sue Donald rschr Sue Killian ed Doug Dillaman

10x30min prod co The Gibson Group exec prod Dave Gibson prod Bevin Linkhorn prod mgr Inga Boyd dirs Dan Henry, Michael Huddleston pres Dayna Vawdrey eds Nathan Hickey, Mike Townsend fac mgr Rex Potier prod acct Kathy Regnault n/ wrk exec Kathryn Graham

SHOWTIME

THE AUSTRALIAN WOMEN’S WEEKLY – ‘ENTERTAINING IN STYLE’ prod co/unit TVNZ exec prod Tina McLaren prod Gavin Wood prod mgr/line prod Julia Leonard dir Rob McLaughlin pres Sarah Bradley

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

THE HEALTH STORY 1x90min Platinum fund doco prod co PRN films

SIEGE 1x90min drama prod co Screentime exec prod Philly de Lacey prod Ric Pellizzeri dir Mike Smith co prod Bridget Bourke prod coord Jo Finlay asst prod coord Kate Moses prod acc Barbara Coston ed Margot Francis ed asst Nicki Dreyer legal Karen Soich

THE ALMIGHTY JOHNSONS 2 13x60min drama/comedy prod co SPP (09 839 0999) exec prods John Barnett, Chris Bailey, James Griffin prod Simon Bennett line prod Tina Archibald eds Bryan Shaw, Eric De Beus, Nicola Smith, Sarah Hough asst ed Gwen Norcliffe post prod sup Grant Baker post prod snd Steve Finnigan post prod coord Anna Randall vfx Peter McCully comps Victoria Kelly, Sean Donnelly pub Tamar Munch pub asst Lucy Ewen cast Emmett Skilton, Tim Balme, Dean O’Gorman, Jared Turner, Ben Barrington, Keisha Castle-Hughes, Hayden Frost, Fern Sutherland, Rachel Nash, Michelle Langstone, Eve Gordon

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