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thedownlowconcept talks about latest comedy Hounds Pushing the waka out with Kia Ora producer George Andrews Dolby Atmos brings 3D sound to cinema NZ International Film Festival Best Shorts finalists
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contents News and views
JUNE 2012
4 A private view Onfilm columnist Doug Coutts and cartoonist Barry Linton look for any remaining signs of life at TVNZ 7. 5 Editorial page The real issue is about having a proper public service broadcaster, says editor Steven Shaw; cartoonist Andy Conlan untangles his speaker cables. 6 Short cuts Philip Wakefield rounds up NZ box office and television news from the NZ screen industry. 12 Finalists for NZ’s Best Short Guest selector and international filmmaker Roger Donaldson has selected six short films as the finalists in the inaugural NZ International Film Festival New Zealand’s Best Short Film Competition. 13 Kicking against the pricks Save TVNZ 7 organiser Myles Thomas provides a summary of the campaign and on-going public meetings that have been held across the country.
Feature 14
16
Releasing the Hounds
14 COVER: Photo: Marty (Mick Innes) faces off with Bernie in thedownlowconcept’s comedy Hounds. Photo: supplied.
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16
ick Grant talks to thedownlowconcept about the development of N their latest comedy Hounds.
Pushing the waka out
Helen Martin talks to producer George Andrews about the groundbreaking Kia Ora series, made for Maori Television from 2008 to 2011.
Sound feature
20 Surrounded by sound Peter Parnham reports on Dolby Atmos, an exciting new development in cinema sound tested at Park Road Post last month that sound engineers are calling the acoustic equivalent of 3D. 23 Staying composed Onfilm chats to award-winning composer, music editor and sound editor Stephen Gallagher about his extraordinary career. 24 Preparation for the lone sound recordist Sound recordist Ande Schurr offers words of wisdom on how to properly prepare for the shoot.
Regulars
10 Tooling up: Challengers appear Peter Parnham takes us on a whirlwind tour of some of the latest lenses and digital cinema cameras available on the NZ market. 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 Publicity Rights are still a major consideration for film and TV makers in New Zealand, say legal experts David McLaughlin and Emily Jackson. 28 Production listings
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Volume 29, Number 6
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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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JUNE 2012
3
A private view
Butter side from all that It’s always interesting to read the letters in this magazine. They’re often from disgruntled by doug coutts producers, directors or actors bemoaning the latest Film Commish stuff-up that’s seen funding diverted away from where it’s really needed – the pockets of the said disgruntled letter writers. It’s rare to see a letter from anyone bemoaning, or indeed lauding, television, especially in a magazine purporting to be about the screen industry. Is it an Orwellian case of small screen good, big screen better? Or could it be that television producers know which side their bread is buttered on? Whichever, there has been scant discussion in these pages of, for example, the demise of TVNZ 7 except by those directly affected by it, which seems to be just me. But at the end of the month, despite the efforts of a handful of Labour MPs who seem to have forgotten it was their party’s gummint that consigned public service broadcasting to the scrapheap in the first place, TVNZ 7 will be no more. It’s going to be replaced by a channel that screens TV One an hour later than advertised, something that they have come quite close to achieving on the regular channel since the advent of computerisation and/or Mark Sainsbury’s lengthy ad libs. It seems that no one’s going to miss the quasi-public service channel much. Certainly not the various Ministers of Broadcasting, whose lack of interest in the subject has been
evinced in their accidental misreading of viewership statistics – understating by a factor of four the numbers watching at any given moment. (The real figures appear to be double those who listen to Mike Hosking on the wireless, but those people are probably multitasking, perhaps driving pencils into their eyes in time to the ranting.) TVNZ itself couldn’t give a toss either it seems – while its chief apologist did say in the press that “We can’t have TVNZ 7 and return a dividend to the Gummint at the same time”, the preferred option is demonstrably neither of the above. Getting back to the handful of Labour MPs; they attended a series of public meetings around the country last month organised by the Save TVNZ 7 campaign. Why it took Labour so long to get around to it, given that the end of the channel has been on the cards for the past five years, is hard to understand – although to be fair, they’ve had a lot on their plate. With the Gummint regularly on the back foot, Labour traditionally attempts to seize the advantage by having an internal leadership struggle, a sex scandal or some other form of selfcombustion – and these things take a lot of organising. The Wellington Save TVNZ 7 meeting, organised by Grant Robertson’s office with help from the Save TVNZ 7 campaign, was very well attended, even though most of the attendees looked like they’d be just as at-home at a Save the Concert Programme or Keep the Pension at 65 rally. Two of the keynote speakers, neither a Labour MP, actually spoke against the motion saying
that public service broadcasting was far too important to be entrusted to the former state gamekeeper-turnedpoacher and a stand-alone public service channel was a far better idea. And so it is. But, as both media commentator Tom Frewen and Victoria University academic Peter Thompson pointed out, funding is an issue. TVNZ 7 was costing around $15 million a year, about the same amount that TVNZ gave back in dividend form to the Gummint last year and what the Gummint has budgeted next year for the John Key Memorial Bike Paths, that bold initiative to singlehandedly bring the country out of recession, starting with puncture repair kit manufacturers. The Gummint thinks it’s already doing more than enough through NZOA and will not dig into its own pockets. It could dig into ours though, via a licence fee, or, even better, it could ask Sky TV to cough up a little bit of the cash it’s raking in, as a way of saying thanks to its subscribers who spend hours each night trolling through the 50 channels of crap trying to find something good to watch only to discover they have to pay extra for it. There is a huge appetite for quality
television – well, watching quality television. That’s been shown in the unabridged viewership figures and enthusiasm for such shows as the superbly floor-managed Back Benches. The tragedy is there’s little appetite among politicians and the big media organisations for providing it. Although there is hope – Wellington Central MP Grant Robertson, who chaired the Wellington Save TVNZ 7 meeting, was visibly moved by the full house and so impressed by the panellists’ suggestion that saving something already extinct was not going to work that he’s joining in on the action: Save TVNZ 7 is organising another public meeting that will look at setting up a ginger group to lobby the Gummint for a real public broadcaster – one that doesn’t have to run raffles to pay a dividend back, one that doesn’t plaster its schedules with wall-to-wall American cop shows and hackneyed reality rip-offs, and one that quite possibly doesn’t run tabloid headlines in place of real news. It’s crazy enough to work. But sensible enough not to.
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Views
Andy Conlan’s view
Ed’s note The last nail
T
he notion of a public service broadcast channel has been systematically dismantled by successive Governments over many years, and the end of TVNZ 7 is just the last nail in the coffin. While it is a worthy channel in terms of content, its context and visibility among a fragmented, ever-increasing array of digital channels mean it has been marginalised to the point of being a “ghetto� version of public broadcasting: fenced off from being able to maintain any reasonable profile. Easy then, for any Government to maintain that it’s not needed. We’ll see soon if any shows migrate from TVNZ 7 to a bigger free-to-air broadcaster; if just one does it’ll be cause for this Government to proclaim that free market conditions have prevailed, that good commodities do survive in a competitive environment. The justification of money being transferred to the contestable NZ On Air Platinum Fund doesn’t wash with me, although I am supportive of more funding in that direction. So while many good people are debating over whether TVNZ 7 should stay or go, the wider issue has been largely ignored: do we still need a public service broadcaster? I believe the answer is yes – and I hope the Save TVNZ 7 meeting will morph into a movement to bring back a proper public service broadcaster. In a free-thinking society, that’s the socially responsible thing to do. Steven Shaw, editor.
DVD giveaway
The Most Fun You Can Have Dying
C
ourtesy of Vendetta films, we have three copies of Kirstin Marcon’s outstanding drama The Most Fun You Can Have Dying to give away. Based on the book Seraphim Blues by Steven Gannaway, it’s about Michael (Matt Whelan), who is diagnosed with a terminal illness. The community in his home town gathers around to support him and raise the money for a new experimental treatment, but instead Michael pockets the cash, skips the country and tries to blow the lot in a bucket list trip around the world. Filmed in NZ and across many exotic European locations, it’s a beautiful looking, extremely well-made local drama. To enter the draw (NZ residents only), write to editor@onfilm.co.nz with the words ‘Most Fun’ in the subject line‌ Good luck!
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JUNE 2012
5
Short cuts
By Philip Wakefield
Singin’ in the rain
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Shihad: Beautiful Machine.
Good for something
A
t press time the self-funded “pavlova” western Good for Nothing was still riding tall at the box office, having grossed nearly $200,000 by its fifth weekend. It opened as the week’s eighth highest-grossing release, rounding up $50,007 on 34 screens and $7754 in preview screenings. In week two, takings jumped 17.7%, to $58,868, after it expanded to 54 screens. In week three, it slipped from 10th place to 11th, as box office fell 40.3%; week four was down 26.7% but Good for Nothing still grossed enough on 48 screens – $25,779 – to sneak back into the top 10. Another local release, Shihad: Beautiful Machine, saw its opening week box office nearly halve, from $31,443 on 50 screens to $16,586 on 46 screens. Despite creative differences behind the scenes, the documentary topped critics’ lists. The Dominion Post dubbed it “the best music documentary that will ever come out of New Zealand” and the NZ Herald said it “digs the dirt and along the way tells a good old-fashioned rock’n’roll yarn”. Flicks.co.nz’s Dominic Corry thought it “impressively thorough and entertaining” but accurately
predicted it would have “limited appeal for any not interested in Shihad to begin with”. Meanwhile, Kiwi muso-turnedsci-fi villain Jemaine Clement helped Men in Black III to notch up the year’s fifth highest opening week, with $1,054,728 on 108 screens. It dislodged The Avengers from its four-week reign as the country’s #1 movie and also scored the year’s fif th-highest opening weekend gross of $809,943. While The Avengers slipped to second place, it was still well ahead of the rest of the competition, grossing $462,747 in its fifth week to nearly top $7.9 million overall. Its popularity, and that of The Hunger Games ($5.75 million after 10 weeks) and The Best Exotic Marigold Hotel ($5.06 million after 10 weeks), has helped to push the box office closer to its record-breaking 2010 benchmark (the year of Avatar and Boy). By the end of week 24 (May 30), the top 20 films had grossed $75.9 million compared to $81.4 million for the same period in 2010 and $66 million in 2011. That means the box office is tracking 15% higher than last year and only 6.75% behind 2010.
he weather was wet and windy at Cannes 2012, but Kiwi prospects were the brightest in years. “There was a real, positive shift in the market,” says NZFC chief executive Graeme Mason. “It feels like perhaps a point has been turned – buyers seem to be buying, there were more sales companies selling, and there was a range of product attracting attention. “In the last couple of markets there have been good signs at the top indie level but now it seems to be spread further across, which is exciting.” But while hot properties again were being pre-sold at script level, NZ projects generally aren’t in that sphere, Mason says. “We have some, with several coming through at the moment, but primarily the ones we take abroad don’t have the elements that would make them that kind of property people would buy just off the script.” Nonetheless, sales chief James Thompson concluded enough deals to “more than cover” the cost of NZ Film’s attendance. “Which is great, because it means the promotion and marketing thing gets a free ride,” says Mason. As well as emerging territories like Russia and Brazil opening their chequebooks to films from around the world, there was a resurgence of interest from Japanese and Italian buyers. “These territories can be valuable for New Zealand films,” says Mason. “But we have to be making product that is of interest to them to benefit from their coming back into the market. “I think it is paramount our industry recognises that. Just because it’s a story we want to tell from New Zealand does not necessarily mean there is an audience for it beyond these islands. “And it remains true that tough dramas need five-star reviews to have any traction outside of our borders. We remain committed to making
them but we again need people to think very clearly about what their goal and intent is for any film they’re making.” Mason says there NZFC’s Graeme Mason. also was strong interest from state-funding entities about how they could collaborate to develop filmmaking talent and coordinate financing. To that end, the NZFC held separate roundtable discussions between NZ producers and those from India, Ireland and the United Kingdom. “They shared views about what the industry was like for them and ways in which they could work together and think more collaboratively on a global level,” says Mason. “The producers who attended got a lot out of it and we would look to do more of those. “I was very encouraged by the way our filmmakers worked the market,” he says. “They were consistently out meeting people, gaining intelligence, forging and building relationships … “Our guys were very proactive about thinking about their international relationships, not just in terms of getting money into their budgets but also looking for distribution partners. Because, quite frankly, that is what co-pros are really about – having a partner who insists you get into a territory outside of New Zealand and the relations that can be built for future projects.” He cites how Curious Films used the incompetition screening of Zia Mandviwalla’s short film Night Shift to promote not only its potential for other festivals but also other projects it has in the works. “That’s what going to a festival and market is all about – celebrating what you’ve got but really doing the groundwork for the future. “That is why the Film Commission will support and encourage people to travel. That is the only reason we all go.”
Zia Mandviwalla’s Night Shift.
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JUNE 2012
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By Philip Wakefield
Shorty stands tall for 20th
NZ drama bustin’ out all over
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outh Pacific Pictures and TV2 had plenty to celebrate when Shortland Street rated higher than usual during its 20th anniversary week. The May 21-25 episodes averaged 19.3% of 18-39 year olds, the serial’s target audience, which was up 11% on the previous four weeks. More than 685,000 New Zealanders tuned in compared to 625,600 for the previous four weeks. The week opened with a 90-minute special that drew more than 769,000 viewers to earn a 40% share of the audience aged 5+ and a 53.8% share of the 18-39 demographic (it also was seen internationally on TVNZ Ondemand). The week ended with the special, Naughty Shorty: 20 Years of Bloopers, achieving a 56.3% share of the 18-39 demo.
S
hooting has started of two new investigative drama series that will screen on TV3. NZ On Air has invested $3.5 million of Platinum funding in Harry, a six-part detective series from Desert Road (This Is Not My Life), and $7 million in Rachel Lang and James Griffin’s latest 13-part collaboration for South Pacific Pictures, The Blue Rose. Harry stars Oscar Kightley in a role that Chris Dudman wrote for him, while the Chris Bailey-produced Rose stars Outrageous Fortune’s Antonia Prebble and Siobhan Marshall as office workers who use their “unique powers” to tackle corporate abuse, fraud and theft. The rest of the cast includes Anna Jullienne (Underbelly NZ, Shortland Street), Jennifer Ludlam (Golden, Apron Strings), Matt Minto (Shortland Street), Raj Varma (Curry Munchers, A Thousand Apologies), Stelios Yiakmis (Underbelly NZ, McLeod’s Daughters, Jindabyne), Tim Foley (Spartacus, Legend of the Seeker), George Mason (Shortland Street), Theresa Healey (Go Girls) and newcomer James Trevena-Brown. Both drama series will screen later this year on TV3, which has two other Kiwi comedies on air this month: Hounds and Golden, with the latter having been awarded a plum 7pm Sunday slot from June 17. Also screening every Sunday in June is a movielength NZ drama on TV One’s Sunday Theatre: Audi New Zealand Season. Ironically, the 10-week drama showcase opened on June 10, opposite TV3’s premiere of Peter Jackson’s The Lovely Bones. Two Screentime true-crime dramas were first to air – John Laing’s Safe House and Mike Smith’s City Under Siege – with Eyeworks’ What Really Happened: The Women’s Vote due to screen on June 24 and the Tom Scott movie Separation City on July 1. Audi NZ is sponsoring the slot for the second year running. “Audi’s sponsorship of the season provides a wellintegrated association with the very best of New Zealand drama,” MGCOM’s Martin Gillman says. “Being local stories and local productions adds enormous value to the season, both in terms of prestige and the size and quality of the audience. “Last year’s season of four productions was viewed by two-thirds of the Audi target audience and with an additional six titles, plus repeats of last year’s, we expect this year’s season to easily exceed that.” Last year’s NZ season premiere of Billy earned the highest ratings in four years for a Sunday Theatre programme, drawing 18.1% of viewers (the next most popular drama in the season, Tangiwhai, averaged 15.7%). This year’s season was preceded by the June 3 premiere of another Platinum Fund project, Shackleton’s
Short cuts
Joel Tobeck in City Under Siege. Captain, which the NZ Herald praised as “an instructive, detailed and fresh look at a remarkable story which taps into the Kiwi affinity for the frozen continent”. However, that affinity wasn’t reflected in the ratings. The two-hour dramatisation averaged only 4.3% of TV One’s target audience, 25Siobhan Marshall and 54 year-olds, par tly Antonia Prebble. because it screened Photo: South Pacific Pictures. from 9.30pm, which led to viewership halving from 6.1% at the start. Shackleton’s Captain aired a few weeks after another Platinum docudrama, Strongman – The Tragedy, debuted to disappointingly low ratings on TV3. It finished a distant third in its 7pm Sunday slot, averaging only 5.6% of the network’s target audience, 25-54 year-olds, and 4.3%-4.9% of other key demographics. TV3’s controversial reality series, The GC, has been rating twice as well and while it raised questions about NZOA’s funding priorities, the first few episodes helped to give The Almighty Johnsons a late-season lift. At 8.30pm Wednesday, opposite TV2’s top-rating comedies, TAJ rated lower than its first season, which launched in a more protected 9.30pm Monday slot. TV2’s latest series of Go Girls also was down on previous seasons. It averaged 321,700 viewers compared to 348,300 last year and 384,100 in 2010; with TV2’s target audience, 18-39 year-olds, it averaged 162,600 versus 179,500 in 2011 and 176,500 in 2010.
That’s all, folks
W
arner Bros Video surprised the home video industry when it abruptly closed its NZ office in Auckland at the end of May. WB DVDs and Blu-rays are now being distributed by Fiveight, which specialises in interactive product including WB video games. An official statement about the new partnership was expected as Onfilm went to press. The first the industry knew of the pending closure was when WB told delegates at the NZ Motion Picture Industry Council’s annual movie convention in Hamilton, May 6-8. Many were surprised by the news, given Warners was apparently enjoying good sales in a challenging market. Even more surprising was Warners’ decision to contract its titles to a third-party games distributor when Roadshow Entertainment seemed a more obvious partner, given the two companies are theatrically aligned here. For some, Warners’ new relationship raises the spectre of Paramount Pictures’ disastrous mistake when it switched from Roadshow to Scene 1 Entertainment, only for the latter to go into receivership and leave its titles languishing in limbo for months. In Australia, WB itself distributes the studio’s movies, discs and games, and it’s thought the closure of the NZ office is a cost-cutting measure on its part. WB Oz’s managing director Roger Clarke couldn’t be reached for comment.
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JUNE 2012
7
Short cuts
By Philip Wakefield
Best intentions
F
unding agencies NZ On Air and the Film Commission last month released their Statements of Intent for 2012-2015. The NZFC’s was published on the eve of recommendations from the Screen Sector Work Programme being made this month to Cabinet that it says could have a dramatic impact on funding and expenditure. At the same time, the NZFC has been grappling with a sharp decline in private investment since 2007 and the onset of the worldwide recession, and expects its reserves to largely dry up by 2014/15. “Without additional funding sources, we anticipate a decrease in the number of feature films we can support.� It forecasts income of $29.6 million for 2012/13 halving to $14.6 million in 2014/15, and feature film financing dropping from $9.6 million to nearly $8 million (compared to $12.9 million this year). Over the same period, feature development funding will be cut from $1.1 million to $980,000, short films funding from $1.03 million to $700,000, training from $1.1 million to $820,000 and industry support from $640,000 to $500,000. NZOA’s priorities include a new strategy to improve the range and calibre of primetime documentaries, maintaining its Platinum Funding success, raising the bar for quality generally, and assessing multiple platform opportunities. (The content it funds is expected to screen on at least two platforms, typically free-to-air broadcast and an on-demand service.) NZOA expects TV programme funding to account for nearly $81.3 million in 2012/13, compared to its SoI budget of $81.6 million for 2011/12. Of this, nearly $66.2 million will be contestable and $15.1 million will be allocated from the Platinum Fund. At least half of the contestable funding will be for primetime, with network targets of 310,000 viewers for dramas, 360,000 for documentaries and factual series, 210,000 for comedies, and 310,000 for arts/culture programmes. Drama/comedy will soak up $27.7 million, slightly less than that estimated for 2011/12 but for far fewer hours: 87 compared to 105. Documentary/factual hours will drop from 98 hours to 86, and funding from nearly $10.1 million (estimated) to $9.8 million. Children and young people’s content will dip from an estimated 433 hours to 426.5 but with comparable funding of nearly $14.4 million. Arts/culture/identity and minorities funding will be boosted by about $500,000 each to deliver another 7-9 hours. Platinum Fund drama hours will be the same – 6.5 for $7.75 million – while documentary/current affairs funding will be cut from an estimated $6.8 million in 2011/12 to nearly $6.4 million, which will see five fewer hours produced. Platinum Fund arts/culture/identity content is forecast to jump from two hours in 2011/12 to six hours, and funding from $535,000 to $990,000.
Coming to a home theatre near you
T
he Most Fun You Can Have Dying will be resurrected next month on DVD – the Vendetta release comes out July 18 after spending three weeks in the box office top 20, where it grossed $80,000 ‌ Also due next month is Golden, the South Pacific Pictures comedy that started this month on TV3, Sam Hunt: Purple Balloon and Other Stories and the 40-disc compilation, Hercules Anthology ‌ Other July highlights include Buck, Love Like Poison, Any Questions for Ben, Klitschko, The Skin I Live In, Martha Marcy May Marlene, My Week With Marilyn, Revenge: A Love Story, Headhunters, We Need to Talk About Kevin, Weekend, Circumstance and Footnote ‌ Out this month are Sione’s 2: Unfinished Business, Woody Allen – A Documentary and Nightmares in Red, White and Blue, and Blu-rays of the classics Pinocchio, Chinatown, The Man Who Shot Liberty Valance, Sabrina and To Catch a Thief ‌ Due on Blu-ray next month are Army of Darkness and the original Solaris.
The Most Fun You Can Have Dying.
Docos endangered, says DocNZ
T
he decision to shut down TVNZ 7 will mean quality documentary films will become “an endangered species on television in New Zealand� according to the Documentary NZ Trust. Directors Alex Lee and Dan Shanan say they’re worried that not having a channel for public broadcasting will severely reduce the commissioning of documentary films and the broadcast commitment to providing docos to the public – and that the growing gap in funding and support for local documentaries needs to be remedied. At the 2012 Screen Edge Forum held in May, a session named “Mind the Gap� addressed the need for new strategies to raise money for documentary making. As a result, the Documentary NZ Trust will convene a working group and lead the development of alternative sources of funding. The Trust will hold a series of meetings in the
coming months to discuss and develop long term strategies to protect and foster documentary making in NZ. It is also committed to the goal of ensuring that New Zealand has a public television broadcaster that values quality independent programming. “This resolution is timely in light of the demise of TVNZ 7,� says Alex Lee. “Given the commercial imperatives faced by the remaining broadcasters, preference will be given to developing and supporting programmes perceived to appeal to wider audiences. These are unlikely to be documentaries.� “A country without documentaries is like a family without photo albums,� adds Shanan. “As a nation, we have a responsibility to our future generations to protect public broadcasting and documentaries.� www.documentaryedge.org.nz
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JUNE 2012
www.onfilm.co.nz
By Philip Wakefield
Short cuts
TV3 goes loco over local
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ediaWorks’ decision not to renew a major Hollywood output deal may have had as much to do with its troubled finances as freeing up funding for more local content. Last month the company was dealt a doubleprogramming whammy when it lost exclusive rights to CBS Studios International product and programming boss Kelly Martin abruptly resigned on the eve of the LA Screenings. The CBS shows that were unveiled in LA will now screen on Prime TV, as part of the broadcaster’s first studio deal with a Hollywood heavyweight, while Martin apparently is taking “a complete break” from TV before considering her options – which could include returning to TVNZ to be the chief programmer it has lacked since Jane Wilson’s exit over a year ago. MediaWorks was quick to turn negative news into positive by announcing it would use the “millions of extra dollars” in savings from the expiring CBS pact to make more local shows like those that contributed to Martin’s “formidable legacy”. “It was MediaWorks’ decision not to renew the CBS deal,” says publicity manager Rachel Lorimer. “We have a great relationship with CBS but over time TV3’s focus has increasingly been about great local programming. “These days we also deal with a lot of independent suppliers, such as Fremantle Media (The X Factor, Project Runway and Grand Designs) and Screentime Australia (Underbelly, Bikie Wars), and our schedule has become less reliant on studio-supplied content.” At the same time, MediaWorks’ negotiating power would have been undermined by the indebtedness of parent company Ironbridge Capital – both in terms
of what was being reported in the media, which would have made a conservative supplier like CBS nervous about committing to another multi-year term, and MediaWorks’ ability to bid competitively should the deal not have been rolled over. Although MediaWorks says it has “earmarked” for local content the millions that would have been spent on the CBS renewal, its ongoing commitment to shows like NCIS, The Good Wife and Hawaii Five-O could cost several million a year to maintain. “We will continue to screen our current CBS programming, for which we have life-of-series licences, and budget will continue to be allocated to pay for these series,” Lorimer says. “However, over time, the cost of our business with CBS will decrease. All the CBS shows that are currently screening in primetime across TV3 and Four have been renewed so there will be very little initial change.” When will there be extra funding for commissioning? “There are too many factors involved to answer this precisely,” Lorimer says, citing development and production logistics. “This is not a dramatic change, but just another step in what has been a long-term evolution. As it is, we are rolling out a lot of big local shows over the next 12 months.” They include two major drama series (The Blue Rose and Harry), more comedy (Hounds, Golden, Jono and Ben at 10), new factual series, another helping of What’s
7 Days. Really in Our Food?, more Inside NZ docos, The Block NZ and a local version of The X-Factor under the stewardship of Andrew Szusterman and John McDonald. There may also be a new current affairs hour to succeed 60 Minutes if the CBS institution doesn’t continue under a separate deal on TV3. However, there won’t be a hike in local content on Four, which will continue its US entertainment focus. “Its programming is complementary to TV3, which is where most of our local content will continue to be screened,” Lorimer says. Putting more resources into uniquely NZ commissions is a sensible, point-of-difference strategy for a free-to-air broadcaster in a market overrun with imported content – particularly one that’s turned risks like Outrageous Fortune, bro’Town and 7 Days into iconic crowd pleasers. “We know Kiwis love seeing New Zealand stories on screen,” says Lorimer, “and although we will always broadcast a wide range of top-notch international shows, we do see ourselves as becoming the home of local content.”
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JUNE 2012
9
Tooling up
Challengers appear By Peter Parnham. Lenses look simple compared to what is crammed into a digital camera, yet prices for good glass have remained at levels that seem genteel and untouched by the street fighting that has savaged camera prices in recent years.
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The Arri Alura Zoom - a product of the relationship between Arri and Fujinon. Photo: Peter Parnham.
hat’s why it is good to see Arri Alura zoom lenses starting to appear in some rental inventories in this country. The new range of zooms mounts a challenge to Angenieux, who more or less owned the high end super 35mm zoom space once archrival Cooke’s attention drifted towards prime lenses. The Alura Zooms are designed for PL mount cameras – Reds, Sony CineAltas, Arri digital and film cameras – and are reputed to be very good optically, while also providing a jolt to the complacent pricing regime that often attends a dominant supplier. They were first announced a couple of years ago and according to Arri they have sold in significant numbers in Australia and New Zealand since the launch here last year. The lenses reflect a relationship between Arri and Fujinon that will perhaps eventually match the longstanding Arri-Zeiss collaboration in prime lenses. Globally, Fujinon is a subsidiary of Fujifilm, and is well known for video and broadcast lenses, which have been well established over decades in this country by Gencom Technology, but are now parallel-distributed in New Zealand by A2Z Technologies as well. The combined Arri Fujifilm media release from Sydney was perhaps also a gentle reminder that Fujifilm, and
Two-Way Radios Mobile Phones Wireless Routers Commercial Repeaters Iridium Satellite Phones
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film itself, is still around. That goes for Kodak too, with New Zealand general manager Grant Campbell interrupting arrangements to supply a five day overseas commercial and confirm it is business as usual, despite US corporate financial woes. There is even a new stock to consider, with Kodak Vision3 50D picked up by DP Stuart Dryburgh on Emperor, a big feature recently shot in Auckland and around NZ. Evidently the closure of FilmLab, the last Auckland laboratory, has not stopped productions from shooting film. According to FilmLab director Clare Rising, closing the lab at the end of February was as much a personal decision as a financial one, and January and February were busy. Meanwhile, Park Road Post head of laboratory Brian Scadden says as long as people shoot film his lab will be there to process it, and courier logistics are not a problem. After all, shipping exposed film stock to Wellington for processing is nothing out of the ordinary, and if you’ve shot in Queenstown in the past you will be used to it. However, it is also true that these days Queenstown Camera Company has a sizable fleet of digital cameras, with an Alexa Plus recently added. This is a new variant in the Arri Alexa Camera range, but to non-geeks, an Alexa Plus looks the same as the previous Alexas, it’s just got slightly better wizardry inside. Where things might get confusing is the similarly named Alexa Plus 4:3 which was announced at NAB, the big gear show held in Las Vegas in April. This is a significantly different camera because, thanks to a bigger
Queenstown Camera’s Alexa Plus with an Angenieux Optimo Zoom. Image supplied by Raj Patel.
Mark Lapwood ACS demonstrates the Canon C300. Photo: Peter Parnham.
sensor, it makes traditional widescreen anamorphic shooting a realistic digital option. You’ll be able to shoot with bigger, heavier, anamorphic lenses that squeeze the image, give a shallower depth of field and a set of optical quirks, all in pursuit of a traditional widescreen, John Wayne sort of look. But even if you were lucky enough to actually attend NAB, it is in truth more revealing to see new cameras away from the controlled environment of exhibition stands. Hence the interest by cinematographers who attended the recent viewing at Kingsize Studios of ‘real world’ test footage shot on a Canon C300 by Mark Lapwood ACS, on behalf of the New Zealand Cinematographers Society.
The Canon EOS C300 is a midlevel super 35mm HD camera now starting to appear on shoots after being announced a few months ago. A prototype sibling, the Canon EOS C500, was shown off at NAB and will start arriving later this year, delivering a 4K picture at a new price point. Of course the images on the C300 looked pretty good – you can head to www.vimeo.com/42385598 to check out the footage. But then, no matter which professional camera technology you choose, in the right hands and the right circumstances they can all look pretty good to the eye, even if not to the EFX suite or broadcast transmission chain. That’s partly because what you get for your dollars is pretty amazing compared to just a few years ago. But there is another reason. No matter what budget level you are working at or what the technology happens to be, your DP is tasked with pushing the technology, without pushing too far and over the edge where the image would fall apart. Perhaps the right question is not about how good the camera is, but rather how easy or hard it is to get a good image, especially when circumstances are not ideal.
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Festival news
NZIFF announces finalists for NZ’s Best Short Night Shift.
43,000 Feet.
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ix short films have been selected as the finalists in the inaugural NZ International Film Festival New Zealand’s Best Short Film Competition. Guest selector and international filmmaker Roger Donaldson selected the six finalists from a shortlist of 12 and festival programmers Bill Gosden and Michael McDonnell viewed 109 submissions to prepare the shortlist. “All films show a very high standard of cinematography and production values,” said guest selector Roger Donaldson. “I am really impressed by the quality of the acting. New Zealand is obviously creating a large pool of very talented people to draw on. I feel honoured to be part of the process of helping choose the final programme.” The New Zealand’s Best programme will screen as part of the 2012 NZIFF and audiences will be asked to choose a winner by rating all six. A jury of three will select the winners of the $5000 Madman Entertainment Jury Prize and the $3000 Friends of the Civic Award. The winner of the Audience vote in Auckland and Wellington takes away 25% of the box office from the festival screenings. The finalists are:
43,000 Feet Director Campbell Hooper Producers Heather Lee, Amber Easby Screenplay Matthew Harris. 9 mins, NZ 2012. Synopsis: With several minutes before he hits the ground, a falling man reflects on his past and his immediate future. “Great photography. Very original framing and concept.” – Roger Donaldson Ellen Is Leaving Director Michelle Savill Producers Michelle Savill, Desray Armstrong Screenplay Martha Hardy-Ward. 15 mins, NZ 2012. Synopsis: Ellen is cool. She is recycling stuff before she heads overseas. “I love how original it feels. The details of the travel pack put a real smile on my face. ” – Roger Donaldson Home Director Thomas Gleeson Producers Thomas Gleeson, Pip Walls. 11 mins, NZ 2012. Synopsis: We watch a house take a road trip. “A beautifully photographed minimalist documentary.” – Roger Donaldson
Lambs Director/Screenplay Sam Kelly Producer Tom Hern.15 mins, NZ 2012. Synopsis: Jimmy, a young Maori, decides to quit school after an argument with his teacher. Nobody shows any interest in his reasons. Life is unbearable in his dysfunctional family where violence and alcohol reign. A hard-hitting exploration of the conditions in which many Maoris are living today. “Really captures a tough uncompromising world in a very compelling way. I loved the central character’s heroism. It reminded me of Once Were Warriors in the best possible way.” – Roger Donaldson Milk & Honey Director/Screenplay: Marina Alofagia McCartney Producers: Angela Hicks, Marina Alofagia McCartney. 14 mins, NZ 2012. Synopsis: This brief drama recalls the notorious dawn raids on Pasifika families. “I lived in Ponsonby in the 70s and remember the events portrayed in this film. Very poignant.” – Roger Donaldson
Night Shift Director/Screenplay: Zia Mandviwalla Producers: Chelsea Winstanley, Matt Noonan. 14 mins, NZ 2012. Synopsis: An airport cleaner has reason to keep to herself. “I love this story – it feels so real and packs a real wallop.” – Roger Donaldson The New Zealand International Film Festival runs in Auckland from 19 July to 5 August and runs concurrently in Wellington and Dunedin a week later, from 27 July to 12 August, then in Christchurch from 9 to 26 August. Further regional dates are being advised on the website as they are confirmed. The Festival has already announced nine films including Peter Jackson-produced documentary West of Memphis, Joss Whedon’s The Cabin in the Woods, Bob Marley documentary Marley, and Lynn Sheldon’s Your Sister’s Sister (starring Emily Blunt) for the Festival from July. Festival programmes will be available online and around town from 26 June in Auckland, and 29 June in Wellington. For Festival updates visit www.nzff.co.nz and register to receive e-newsletters.
Kathryn Rawlings & Associates Actors for Film, Television, Commercials, Theatre & Voice
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PO Box 78-131, Grey Lynn, Auckland, New Zealand. Ph: +64 9 378 9016. Fax: +64 9 378 9018. Web: www.kractors.co.nz Email: kathryn@kractors.co.nz
Views
Kicking against the pricks Save TVNZ 7 organiser Myles Thomas provides a summary of the campaign and ongoing public meetings that have been held across the country.
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s a director of reality television and documentaries, I love entertaining audiences. But I’d also like to stretch their expectations, inspire the audience to think a little and go beyond just keeping people from slitting their wrists out of boredom. That’s one reason I setup the Save TVNZ 7 Facebook page which then became an online petition and has now morphed into several committees around the country running meetings, adverts and protest marches. The audience participating at a Save TVNZ 7 meeting in Auckland. Like much of the Save TVNZ 7 campaign, our were up and out the door yelling as bury. Top quote: “If the GC is a docupublic meetings have been a big surprise. I thought there’d they left. And in Dunedin an elderly mentary, a drunk one-night stand is a be a few sombre discussions and woman used the F word to describe cultural experience.” But some of the meetings have enough academic rambling to send the whole panel – she felt they’d given the meagre audiences to sleep. In fact up on TVNZ 7 even though it has two been more measured. Auckland felt like a time warp back to the 1970s with they’ve been loud, well-attended and or three weeks to run. To be fair, the moderators and the erudite Brian Edwards negotiatfiery – often intelligent, sometimes uproarious and even (dare I write it) some of the speakers can take some ing intelligent speeches from panel of the blame for lighting the audi- and audience alike. Dr Peter Thompstimulating. In Wellington the audience ence’s fuses. Tom Frewen scathingly son succinctly laid out the process by yelled at the panel of speakers “DO attacked all and sundry for being which funding of several TVNZ 7s SOMETHING ABOUT IT! DO stupid enough to give the manage- could be achieved with a small levy SOMETHING ABOUT IT!” Sadly ment of non-commercial channels on the screen industry’s future profthe Minister of Broadcasting Craig to the most commercialised national iteers – Sky TV and the ISP/telcos. Foss, the man who can do something broadcaster in the world, headed by And ex-CBS vice-president Barry Fox about it, had declined to appear on Rick Ellis. Professor Emeritus Jim exclaimed that TVNZ 7 is more comthe panel. In Christchurch 10 peo- Flynn complained about young peo- mercially viable than the commercial ple got up and asked why MTS gets ple these days knowing nothing about channels which will continue to lose funding and TVNZ 7 is being closed Hitler, but everything about cooking audiences to the internet. All of the meetings have been down. With their question asked and Chicken Kiev from five ingredients before the Treaty obligations had in less than 15 minutes. And Bomber thoughtful, challenging, a bit messy been explained, the whole group Bradbury has been … Bomber Brad- and inspiring, just like Public Service
Save TVNZ 7 coming to a town near you Golden Bay, Sunday 17 June, 5pm, Wholemeal Cafe, Downtown Takaka Masterton, Monday 18 June, 7.30-9pm, The Frank Cody Lounge, Masterton Town Hall North Shore, Friday 22 June, 7-9pm, Milford Bowling Club, 20 Commodore Parry Rd, Castor Bay, North Shore Orewa, Sunday 24 June, 4-6pm, Orewa Community Centre, 50 Causeway Road, Orewa South Auckland, Monday 25 June, 7-9pm, Wiri Community Hall, 11 Inverell Avenue, Wiri West Auckland, Tuesday 26 June, 7-9pm, Oratia Settlers Hall, 569 West Coast Road, Oratia Wellington, 28 June, 12.30pm, March to Parliament to present the petition Auckland, 30 June, 4.30pm, March to St Matthew-in-the-City to commemorate the passing of New Zealand’s last public service television channel.
TV should be. The one thing missing in large numbers has been the film and TV industry. Where are the people who want to make intelligent, creative and innovative programmes for a Public Service TV channel if we had one? Come to one of the Save TVNZ 7 public meetings and sign the Save TVNZ 7 online petition at www. savetvnz7.co.nz.
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JUNE 2012
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Feature
thedownlowconcept, left to right: Ryan Hutchings, Nigel McCulloch, Jarrod Holt. Images: supplied.
Releasing the Hounds Nick Grant talks to thedownlowconcept about developing new comedy Hounds from initial concept through to delivery.
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fter meeting while majoring in radio at AUT, Jarrod Holt, Ryan Hutchings and Nigel McCulloch formed production company thedownlowconcept in 2002. Initially producing such work as Off the Wire and Pop Goes the Weasel for radio, they segued to the small screen when presented with the opportunity to make Weasel for C4. These days thedownlowconcept is best known for AFTA award-winning hit comedy game show 7 Days, which – now in its fourth season on TV3 – is currently providing the lead-in to their first sitcom, Hounds. The inspiration for this long-ingestation six-part series was a visit to the greyhound races in Manukau. “Ryan had done some research and discovered they were holding the Silver Collar,” recalls McCulloch. “He was like, ‘It’s the biggest race of the year and it’s near my birthday – why would we not go?’” It turned out to be an unexpectedly pleasant experience. “Everybody initially thinks, ‘Oh gross, dogs, it must be really white trash and horrible,’” says McCulloch. “But it’s actually a huge amount of fun.” 14
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“Everyone was really nice, really friendly,” says Holt. “They all introduced themselves and wanted to make us feel very welcome, and at the same time they were such an odd collection of people.
so it was quite refreshing.” That sense of openness and community was something the trio was interested in exploring on screen, “though we didn’t want to overly romanticise it,” says Hutchings. “It
What we’ve learnt is to build a structure that’s really bland first – ‘this character is going to do this, and this character will do that over there’ – and then start putting the jokes into the scenes on top of that. “What was interesting was how honest everyone was – good or bad, they really lay their cards on the table. There wasn’t the superficiality you have with other aspects of Kiwi society,
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would be a bit patronising to go, ‘Look at these poor people, they’re actually quite nice.’” Their first crack at telling a story set in the greyhound racing world
was short film Second Coming, which in hindsight “was too long, with a ridiculous story”, says Hutchings. “Yeah, we didn’t realise it at the time but the writing quality wasn’t really quite there,” says Holt. Happily oblivious to this scripting shortfall in their collective skill-set, at the start of 2007 they pitched both Hounds and 7 Days to Caterina De Nave, then TV3’s head of drama and comedy. She passed on the game show but said yes to developing the sitcom. “We were quite excited at that point,” says Holt. “We went out celebrating, thinking we’d probably see that show on TV by the end of the year.” “Yeah, ‘We’ll have a TV show on in six months! Don’t worry about it!’” deadpans Hutchings. “Now five-and-ahalf years later… It’s embarrassing.” Rather than spend their development money on scripting, they decided to use it to shoot a pilot, topping up the $20,000 from TV3 and NZ On Air with $16,000 of their own cash. “It was a bit of a first for NZOA, I think,” says Hutchings. “They traditionally don’t fund pilots.” “Funnily enough, I haven’t heard of them letting that happen again,” says Holt.
The crew shoots a scene on location.
Left to right: Will (Toby Sharpe), Lily (Susana Tang) and Marty (Mick Innes).
The three agreed the resulting 20 minute pilot was simply terrible, so they cut it down to a one minute sizzle reel, a savvy move creating such a misleading impression of the source material’s quality that it still induces pangs of guilt when they talk about it. In any case, it was the pilot NZ On Air saw, along with a six episode breakdown, and on that basis the funding body declined to support the concept any further, “so it sort of sat in a drawer for a year”, says McCulloch. Then, at the start of 2009, De Nave left TV3 to go to SBS in Australia and Rachel Jean was appointed to the vacant position. “When Rachel first started she went through the rubbish bin and found 7 Days and Hounds,” says Holt. “Not the literal rubbish bin,” clarifies McCulloch. “Don’t tell people Rachel went through rubbish bins. She went through the rejected pile.” “Yeah,” says Holt, “it’s like a yellow folder in her office labeled ‘Developed and rejected’, or something like that.” “There’s a whole lot of us in there,” says Hutchings. “Sometimes we just file stuff in there straightaway,” says Holt. “Just walk in and slip the prop right into the folder.” As well as putting 7 Days on a relative fast-track that would see it broadcast by the end of that year, Jean recognised Hounds’ potential and put
it back into development. “Rachel was really hands off,” says Holt. “We sort of said, ‘Oh, we want to change some things, and bring in some people to help us fix the script problems we’ve created,’ and she was very supportive of that. I think she was very keen to let us find our own way – with help.” Help included input from Paul Horan, as well as Ash Atalla of the UK’s Roughcut TV, who is credited as the series’ script editor. Holt, Hutchings and McCulloch had previously struck up a working relationship with Atalla, a producer of The Office and The I.T. Crowd, thanks to spending two long nights cold-calling 200 British production companies whose programmes they liked. Although the initial project they’d been developing with him didn’t go anywhere, Atalla agreed to work on Hounds – “a great opportunity for us, and a really, really big help”, says McCulloch. Having outside eyes looking over their scripts laid bare a fundamental problem. “Our experience writing oneminute sketches for radio and doing the 48HOURS film competition meant we’d gotten quite good at writing really short stories. We didn’t realise how difficult it is to construct a robust story that holds up for 20 minutes with a beginning, a middle and an end,” says Holt. “Our scripts were always just collec-
tions of semi-funny scenes that didn’t really go anywhere,” says Hutchings. “It wasn’t until we went over to London to work with Ash on that first lot of scripts that we looked at them and went, ‘We don’t have any stories in here.’ ‘What’s this script about?’ ‘Ah, the dog race at the end…?’” “I think one of our problems was we were looking to all these great sitcoms and seeing these funny scenes and thinking, ‘We need a scene like this!’ or ‘We need to have a character who evokes that!’” says Holt. “We weren’t looking deeper in terms of what makes their resolutions so enjoyable and why you buy into their characters.” “We’d seen all these sitcoms with crass humour but we didn’t understand it was coming from character and had a purpose,” agrees McCulloch. “We just saw a racist joke and thought, ‘Oh yeah, we’ll make a racist joke too.’ And then everyone would be, ‘Oooh, that’s a bit racist!’” Realising they needed to throw away all the scripts’ previous iterations and start from scratch was “a bit heartbreaking, and kind of humbling”, says Holt, but necessary. “We’d started with the jokes and the funny scenes and then just kept trying to rearrange them. We lost months and years just trying to put together this jigsaw puzzle that consisted of the wrong pieces,” he says. “What we’ve learnt is to build a structure that’s really bland first – ‘this character is going to do this, and this character will do that over there’ – and then start putting the jokes into the scenes on top of that.” Not that they claim to have now got
structure nailed, though. “I don’t reckon you ever stop grappling with structure,” says McCulloch. “It’s the most difficult thing, but that’s the great thing about it as well – you’re always chipping away at it and you’ll never be finished.” “It’s like grammar: the boring but necessary part of writing,” says Hutchings. The focus on building a solid story foundation finally paid off, with NZ On Air offering production funding in August 2010. Because they wanted to focus on directing, the trio brought in Matt McPhail to produce, and they credit him with helping further tighten up the scripts in the six months leading up to the shoot. “Matt was really good at encouraging us in the right sort of directions without telling us what to write,” says Holt. “Instead of prescribing ‘you need to do this, and this needs to happen here’, he’d say, ‘All these elements are fantastic and if you can answer these questions…’” “He was just playing with our fragile egos,” says Hutchings. “He had the end goal in sight and just shepherded us there and made us think it was our idea.” “Yeah,” says Holt, “he’d ask questions like, ‘Do you think this is funny?’, ‘Do you think anyone will watch this?’ And we’d be like, ‘I see what you’re saying, I see what you’re saying…’” Script development continued right up to the shoot and continued each day on set. “While the actual scene layout and story generally stayed the same
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Kia Ora Nihao, Tiananmen Square, the Great Hall of the People, Beijing, Dec 2007. Right to Left: Nawaia Watene, Aniwa Nicholas, Hurihia McGregor, Te Kohera Royal, Matariki Takao, Manawa Wright. Images supplied.
Pushing the waka out By Helen Martin.
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mong his many professional achievements, in 2002 film and television producer George Andrews became the first New Zealander to be made an officer of the New Zealand Order of Merit for services to television. Ten years later, Andrews’ commitment to “honour our past, challenge the present, and explore our future” appears undiminished. It was evident, for example, in his groundbreaking Kia Ora series, made for Maori Television from 2008 to 2011. Delivered predominantly in te reo, three six-part series – Kia Ora Ni
Hao in China, Kia Ora Hola in Chile and Kia Ora Molweni in South Africa – each followed a different group of kura kaupapa Maori students for three weeks as they experienced life in another country, attended local high schools and lived with local families. Helen Martin talks to George Andrews about the series. How did the series come about? Tom Newnham of the NZ/China Friendship Society invited me to China in 2004 on a Prominent Persons tour after we had tried to get a television
project up about New Zealand missionary Kathleen Hall. On the trip I realised there was something momentous and significant for New Zealand in what was happening in China that was in no way reflected on NZ television, and that the best way to show it on screen would be through young people. I was aware of how media literate and TV savvy lots of NZ kids were. So I came back with the idea to take young people to China and give them video cameras to record their journeys. I tried the concept on TVNZ Commissioner Jude Callan. Jude said it wasn’t for TVNZ, but did me the kindness of suggesting Maori Television. What a good call. What was Maori Television’s response? Larry Parr introduced me to Tawini Rangihau, who was looking after programming at the time. She said the idea could work off-peak. She saw it would be good for te reo and would provide role models for young people, as long as the kids in the programme were from kura kaupapa Maori. After getting funding from Te Mangai Paho we took six kids to China in September 2007.
Tiananmen Square Beijing. Director Mahanga Pihama reflects winter light on Hurihia McGregor. Peter Lee on camera.
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How did you find the students? Tawini put me in touch with Toni Waho, a teacher of Maori who was
principal of a Te Kura Kaupapa Mana Tamariki in Palmerston North. He had kids doing media studies and he and his daughter Hinurewa Poutu, who taught media studies, chose the kids. I realised that the best framework was for students to be selected by a Maori school and for them to be hosted by a school and their families in Beijing. What were some of the major considerations you had to prepare for? Timing was the first. We had to find time when the hosts and their visitors could be off school, so we chose December. We found a foreign language school in Beijing. The hosts, who were paid, had to be English speaking. At first the hosts were nervous about the length of the stay, but in the end were competing for them to stay longer. The logistics of the shoot were demanding, but one of the most important calls was my decision not to go to Beijing myself. The crew were all Maori operating within a Maori framework and it was a credit to them that it turned out so well. We had Mahanga Pihama as the director and Peter Lee as cameraman/director. Hinurewa was there as te reo consultant and in effect was the assistant producer. She did a huge job increasingly as the series developed. As far as possible the
Q & A
Kia Ora Hola: Santiago, Chile Sept 2008. Rotorua students jump for joy: Tanawhea Whauwhau, Te Wehi Wright, Okeroa Douglas, Te Amorangi Rikirangi Thomas, Te Miringa Sherman, Matatia Brell (Okeroa Douglas was killed in a traffic accident near Rotorua last July).
language of the production was Maori. Hinurewa’s responsibility to me and to Te Mangai Paho was to make sure the Maori spoken on location was grammatically correct. Through the China Friendship Society I had government connections in Beijing. Through them I could verify the bona fides of the hosts, but we also needed someone on the ground to be responsible for pastoral care of six high-spirited teenagers away from home. That was Toni Waho’s job – he went as the tumuaki. Mahanga and Peter Lee edited once they returned. The cameras they used were Sony Z1Ps at first, and sometimes there were two cameras on one event. The kids each had a video camera too. We used those diary cameras less and less because we found it was often better to use our cameras rather than the kids having to do it. Did ideas about how to present the material evolve on the shoot? Yes, for the better. I was going to have each kid do their own story, but Mahanga decided to do it thematically. This way we could play to the strengths of the kids and it gave us a way to break down the six episodes. The kids introduced themselves to camera at the beginning and then we followed themes. It ended with a
party on Christmas Day. We saw the importance of music and performance in that first series and we got a structure going. How was the series received? Maori TV screened it at 5pm first up, but it rated so well they soon repeated it at 7pm. Then they showed it a third time. All three series have been in prime time and all have been repeated. How did you settle on a location for the next series? I asked the Ministry of Education to ask all its consulates abroad to see which countries would be interested in hosting us. They had responses from Spain, Germany, Japan and Chile. Commissioner Reikura Kahi chose Chile. How did the Chile experience compare? For Kia Ora Hola, I went with my wife Ann on reconnaissance to Santiago and found a Montessori school which already had an interest in NZ. It was in a well-off area, so we had no trouble finding English-speaking hosts. We found two kura kaupapa in Rotorua, one of which taught Spanish. We asked each school to choose three kids.
All three series have been in prime time and all have been repeated. It was easy finding festivals and events in advance because Chile is so flamboyant and musical, then once the crew arrived they put it all together. We were lucky as we had New Zealander Matthew O’Meagher as education consul for New Zealand and we had another New Zealander in Chile as our travel fix-it man.
Again, I didn’t go. I don’t speak Spanish and I found it really effective to leave it to the Maori-speaking crew. They find their own dynamic and deliver superb results. It’s also easier on the hosts to have an entirely Maori group. I kept the same crew for all three series. My generation needs to work with younger people and they
Judas Mika farewells his Xhosa ‘brother’ Lusoko in the East London township of Mdantsane, Sept 2010.
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Q & A
Kia Ora Molweni, Game Park near East London, Sept 2010. At rear: Shawn Thwaites, Juneea Silbery, Te Niiwai Mutu, Rea Wipaki-Hawkins. In front: Judas Mika, Hoera Kereama and director Mahanga Pihama.
did me well. I couldn’t have wished for a better team and I would use them again. You’ve said the South Africa series Kia Ora Molweni was the most successful. Through the Chile experience I learned we needed someone who was going to be on the shoot to help me prepare the ground so I took Hinurewa with me to South Africa. That paid huge dividends. One of the key decisions was to visit all the communities, Black, Coloured and Afrikaners, and when Hinurewa returned she was able to immediately hit the ground running. Everyone knew her. One of my key New Zealand links in East London was Shona Jennings, who was working there with Volunteer Service Abroad. She has an 11-year-old daughter and was able to reassure the
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NZ parents their kids would be okay in South Africa. She also gave me really good steers as to what we should shoot there: we had to go to a game park, to get out into the country and to go to Mandela’s birthplace, all of which worked really well. What worried you about taking on such big projects? You always worry, but it’s a good worry – unless you’re a bit worried you’re not going to do a good job. For example, you worry about the cost of licensing the Soweto Gospel Choir music for the soundtrack. We made a few booboos with the Afrikaans subtitles and spent quite a lot of money having to redo stuff. The budget for Kia Ora Molweni was helped enormously by a contribution from local regional council and
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tourism people. They paid for the helicopter shots and also a bus and a driver for the Mandela location, the game park and further afield. Cathay Pacific gave us a good discount for the flights and the crew worked extremely hard doing long hours and a lot of multi-tasking. You’ve got to decide when you make a programme like that whether you want to take the full producer’s margin from the budget, or whether you want to add those flourishes that will survive you. It is rewarding to be able to make it happen and it would have been wrong to short change the project when the opportunity was there. I know we touched many lives. Watching the kids soaking up every moment and learning and contributing I was touched to see how transformative the experience was. It’s summed up in South Africa by Judas when he says, “I think, regardless of poverty, love and kindness matter most. ” It really is something to take a group of young people to a place like that and just leave them to it. Being an ambassador for your country is very intense and exciting. Mahanga had the kids sing their own tribal waiata so it was working on several levels. At the end of the Beijing visit one of them made the point that before he’d felt in a minority, but seeing everyone was brown in China he realised he
was actually in a majority. What we couldn’t have counted on in South Africa was that Thoko, the husband of one of the hosts, had been on Robben Island with Nelson Mandela. The dimension we got there was to have the children of Maori who’d been on the protest barricades during the 1981 Springbok Tour visiting the Eastern Cape Province in South Africa where Mandela, Steve Biko and the anti-apartheid movement were born. And in their turn, our young Maori were able to inspire black Africans who had come from the renaissance that came from the ending of apartheid. There was a lovely symmetry to it. You could see they were blown away by the candour and maturity of the discussions about things like AIDS and apartheid – they were humble, weren’t they? As well as the cultural epiphanies, it’s a pretty heady introduction to television. In three weeks they get to know a lot about shooting and they come back in post to do voiceovers, so by the time they’ve finished they have a pretty good idea of how a six-part television series is made. As for long term effects, who knows? There were some very strong and warm connections they can build on if they choose. As producer you can only push the waka out – who’s to know where it will go?
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Sound
An upgraded mixing console at Park Road Post.
Surrounded by sound Peter Parnham reports on Dolby Atmos, an exciting new development in cinema sound that sound engineers describe as the acoustic equivalent of 3D motion pictures.
Dolby’s Stuart Bowling.
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new audio platform is poised to dramatically improve the cinema-going experience, with a team of Dolby experts visiting Wellington last month to demonstrate the new system in Park Road Post Production’s sound-mixing theatres.
Revealed to the industry in April at the big US cinema show CinemaCon, Dolby Atmos is heralded as Dolby’s most significant innovation in years, and promises to transport viewers into the story with a lifelike sensory audio experience. From a start-up company this would be mere puffery, but based on its track record, Dolby does know how to produce this kind of technology. And perhaps more importantly, how to generate a critical mass of content and installations. It is no accident that for years Dolby Digital 5.1 has been the default basic audio standard in cinema, broadcasting, home theatre, PC, online streaming, and video game programming. As it happens, Dolby 5.1 was outmoded in 2010 after Disney Pixar asked Dolby if it could breathe a
more expansive audio experience into Toy Story 3. Since then Dolby 7.1 has been installed around the world, including some 30 sites in Australasia, adding two extra audio channels to the five audio and one subwoofer bass channel of the 5.1 system. Content began to gather pace too with 34 movies mixed in that format last year, many of them big studio titles. But for Dolby, 7.1 was both an interim step and a new base line, according to Dolby global technical marketing manager Stuart Bowling, who spoke to Onfilm while at Park Road Post in Wellington. Bowling says after Dolby 7.1 the company experimented with adding still more channels but quickly realised it would lead to a creative cul-de-sac and produce distribution headaches. “We wanted to give exhibition a
format that was like the giant leap of going from analogue to digital. Where someone off the street could come in, not necessarily knowing what the technology is, and go ‘Wow! That is really different, I don’t know why but it is just awesome’.” Unlike the older systems, Dolby Atmos doesn’t work on zones and nor does it work on channels in the traditional sense. Instead, during the film’s audio mix, the mixer can precisely place and move up to 128 voices or simultaneous sound elements anywhere in the 3D space of the auditorium around and above the audience. The intelligent playback cinema processor places the sound elements, not according to a specific channel or speaker, but by using its knowledge of the auditorium to determine which combinations of speakers should be
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Competitive leapfrog
We wanted to give exhibition a format that was like the giant leap of going from analogue to digital. – Dolby’s Stuart Bowling used to accurately reproduce the mixers’ intentions within the size and shape of the particular cinema. John Neill, head of sound at Park Road, says this gives a dramatically different experience. “With surround sound you are addressing an array of speakers in zones. With say Dolby 7.1, if you are feeding audio out the left side, it comes out of all the speakers on that side. With Dolby Atmos we can now make somebody walk down the side of the theatre or we can hear a car drive smoothly around the audience. “We are panning in three dimensions during mixes according to where we want the sound to come from, and in the cinema it will come
T
John Neill.
from that same place. In one cinema that might be centrally between two speakers and in another it might be heard in one particular speaker.” Neill says atmosphere sounds are designed to make you feel you are in a location and this feeling will be enhanced. “If you are in a building with a tin roof, the noise of the rain will come from above you,” he says. “It pulls you in.” As part of cinema’s fight-back strategy against other forms of entertainment, anything that might pull the punters in is good news. So much the better if it creates a unique and marketable point of difference. The Dolby Atmos system fits that strategy because it is unique to the
he trial of the Dolby Atmos in Wellington tops off a major upgrade that has been taking place deep in Park Road Post Production’s sound department. Head of sound John Neill says the project puts Park Road back out in front, leapfrogging other top sound facilities around the world that had been creeping ahead in technical specifications. “Over the past two years we have upgraded our mixing consoles and increased the capacity by a huge amount,” he says. “In the two main mixing theatres 270 channels have jumped to 600 channels, and in the third theatre 150 channels have been boosted to 200 channels.” Typically about 200 of the new channels are used for dialogue and music while 400 are used for sound effects. Channels are assigned individually or in groups to 104 faders on the physical
mixing console. Neill says mixing with faders on a console is the only way to go because the mixer gets better feel and control from physical, tactile fader control, in a way that’s not possible with a mouse and computer screen. On a big project two or more mixers work on the same mixing console adjusting the audio controls and faders to match and enhance a visual sequence. During repeated passes the audio fader moves are rehearsed and then recorded to automation files which are subsequently used to render the finished sound mix. The console upgrades now mean that two mixers can work independently on the same console and save their automation separately. This means that if one of the mixers needs another pass over a sequence they can go ahead and re-record their part without disturbing the other mixer’s completed work. “In the past both mixers either had to agree to go back and make changes or both would agree to the work and move on,” says Neill. The changes boost efficiency and introduce a new level of flexibility. “On a big job, in the morning the dialogue mixer can work in one theatre and effects mixer in the other, then in the afternoon they can come together bringing their automation with them from the other theatres, and it’s not going to affect the automation that is already recorded.” He says the end game is to improve the quality of the sound mix for filmmakers and ultimately enhance the experience for cinema goers.
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Sound
Dolby Atmos speaker arrays. Images: supplied.
growing number of digital cinemas. Thanks to the system’s extra speaker arrays and intelligent processors it is not transferable to current home systems, and there is no way to make it work on your iPad or out of your smartphone ear buds. Nor will it work with film projection because the extra audio data doesn’t fit onto 35mm film sound tracks. Although it is a new format, the system also eliminates worries about cinema operators having to manually set the audio systems to match the particular title they are showing, because the cinema’s Dolby Atmos processor will automatically
Dolby Atmos plug-in Monitor User Interface.
recognise a Dolby Atmos, 7.1 or 5.1 sound track and play it back correctly. Audio post is simplified too, as Dolby Atmos automatically creates Dolby 5.1 and 7.1 deliverables. Bowling says the upgrade cost for a cinema is reasonable because the system is built onto existing systems. “If you had six speakers on the side wall, then we would ask you to add a row of six and a row of six, in total 12 overhead surround speakers and in the background we have been working with speaker manufacturers to design new overhead speakers that are easier to install. “On average for a medium sized theatre, you can budget about
US$25k to US$35k to upgrade,” he says. Before the industry announcement Dolby had already given the major studios private demos and the first Dolby Atmos title will be Disney Pixar’s Brave. “They are mixing it at Skywalker Ranch right now,” says Bowling. “This year is really about refining the processes and so we are working with 15 hand-selected theatres in the US and an additional 10 worldwide for Brave. “Traditionally our marketing response was that we provided posters and trailers, which we’re doing for Atmos, but we feel that this is
a truly compelling technology and differentiator. Our focus this year is on developing several different marketing campaigns to find what works best, so that going into the beginning of next year when we officially start selling the Atmos cinema processors worldwide we will have a brand new campaign that will really help drive consumers to seek out theatres where they can see and hear movies played back with this technology.” Bowling admits the first chance for Kiwis to hear the system will be next year after the pilot programme is completed – except for those lucky few who heard the demonstration at Park Road Post.
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Sound
Staying composed Onfilm chats to award-winning composer, music editor and sound editor Stephen Gallagher.
W
ellington-based Stephen Gallagher works across the sound disciplines, in films, TVCs, documentaries, short films, theatre, dance and television. He has collected four Chapman Tripp Awards for theatre composition and sound design and his feature film credits include music editor on Neill Blomkamp’s District 9 and supervising music editor for Peter Jackson’s The Lovely Bones. This year, Gallagher was awarded a Professional Development Award by the NZ Film Commission to undertake tutoring from music editor Nigel Scott. “I met Nigel when I first came to Park Road Post in 2008, we were working on The Lovely Bones,” says Gallagher. “He is an incredibly talented post-production sound person. He’s all over dialogue effects and as a music editor he’s probably the most experienced that I know of. But the main thing is watching how he undertakes orchestral recording … that
was the object of getting that grant.” Gallagher is also the recipient of a developmental grant from APRA, the Australasian Performing Rights Association, which represents composers in terms of copyright earnings from performance and broadcast. Later this year he will go to New York City and spend time with music editor Nancy Allen (Black Swan). “The connections came from when she was in New Zealand for the first Lord of the Rings film. People here knew her and put me in touch with her. I wrote to her and bravely said, ‘Hi, we’ve never met but I’ve heard all about you, how would you feel about me coming over and spending some time watching how you work?’” Gallagher holds an honours degree in composition from Victoria University of Wellington, where he studied under composers John Psathas, Jack Body and Ross Harris.
“Part of the honours degree was writing for film, recording Foley and making a sound track for a short film. One of my lecturers, Jack Body, said ‘you need to get out and make your own film’. So I borrowed a camera, went out and made a short film. He said ‘you need to make four copies of this film and I want you to make a different sound track or music to each copy just to see what happens’. In terms of music editing it was my first foray into it, doing that you realise the power music can have against an image and how you interpret the image.” While he was studying Gallagher befriended a drama student who was directing in a theatre production and offered to do the music for the show. He also got into the rock band scene playing keyboards for Wellington band Breathe, which led to more gigs and recording. “The band got busy with recording and touring. In between I tried to do
Stephen Gallagher.
theatre work, then I met David Long [of The Mutton Birds] when he was producing Fur Patrol. We kept bumping into each other over the next couple of years. He was scoring the second series Continued on page 26
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Preparation for the lone sound recordist The role of a sound recordist is hugely important on any screen production, and they’re often out there on their own. The key to getting it right is research and preparation, writes Ande Schurr.
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mong the more obvious things a sound recordist does as part of their job description are to clarify, test and verify the work flow with the camera department, script supervisor, editor and sound designer. Next is the task of recording clean audio with correct boom and lapel placement, politely eliminating as many distracting sounds as possible. But what is less understood is the importance that the script plays, not just as a technical guide, which it so obviously is, but in helping us feel for what the actors are going through. The script is the core energy source of the movie. The script provides me with understanding and with understanding comes an accurate approach. The success of a movie rests on its actors being able to deliver the emotional punch needed
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to move their audience. As a sound recordist, I work towards that end. I want that actor to produce their best performance. Of course it’s not all so serious and once the shoot is over I don’t really give it another thought, but while I’m there shooting I’m trying to give the film the best chance it has by being observant to such considerations. Once I accept a job, I give no more thought to the quality of the story. My single purpose for reading the script is now for technical understanding and, of equal importance, so I can get an idea what the actors are going through for each scene. There is something very rewarding about understanding what the actor has been through in the story to get to the scene. I believe there is a sympathetic rapport between actors
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and crew, and especially the sound crew purely based on their proximity to the actors – that is, dealing with their radio mics and booming them at a close distance. The more I understand about their space, the more appropriate my approach will be and the better sound I will get because I know what I am looking for. Something that has to be understood by newer members of the film industry is the amount of effort that goes into a film’s preproduction. The task of breaking down the script into a shot list, storyboard, and shooting schedule at the right locations, is in my opinion the single biggest feat in the development of the film. Understanding how much effort goes into preproduction has helped me respect the tight timeframes on set. When I need wild lines or FX I make it known
and ensure I am completely ready when the chance appears. In terms of my own preparation for a job, I am inspired by how actors prepare for their role. When Tom Cruise was interviewed for The Actors Studio TV show, he said that he would practise for 10 to 12 hours a day learning to play pool for The Color of Money. That sort of dedication is simply astounding. If the biggest factor in creating a movie star was the time they put into preparing their character then that is enough of a clue for a sound recordist, or any technician for that matter, to research and prepare in as many ways as possible for their film. Specifically, that means a number of things to me. I like to research the director. I want to learn about them and see what their last films were like.
Sound
My best work is not just about technical considerations or getting clean sound, but a constant awareness of what is missing, or ‘what I owe this scene’. How did they approach sound? When I visited producer Claire Kelly to discuss the possibility of recording sound on the historical, lighthouse-based drama JubJub (recipient of the New Zealand Film Commission’s Premiere Shorts fund) she gave me the director’s treatment to read, which included biographical information on both director Dylan Pharazyn and writer Paul Stanley Ward. Aside from explaining his visual approach, it also included historical references to the script and the regulations surrounding how lighthouses were maintained all those years ago. I sat there reading for quite some time, relishing the chance to work on a project that I could sink my teeth into! Next in my research I looked at his previous work on commercials and music videos, but in particular his last short film that had been invited to Sundance, the sci-fi Vostok Station. This amazing looking and sounding film was brought to life by Kiwi star Matthew Sunderland. In this case,
sound design made up 100% of the film. There was no location sound so all the breathing FX and ambiences were recreated later. What I gleaned from watching this film was how important the breath is in conveying the character’s emotion. I realised that despite there being no dialogue whatsoever, every nuance of feeling was still expressed by Matthew. This is testament to the painstaking work that Max Scott did in designing the sound track. When I relate this latest film of Dylan’s to JubJub, which had only a few lines of scripted dialogue, I paid special attention to the breathing, adlib and other audible expressions used to convey the feeling of each character. After my research into the director I engage in discussions with the editor and sound designer so I know what they want from the very start. My communication with Dylan and his UK-based sound designer Max Scott were instrumental in helping me feel properly prepared for the shoot. Back and forth went our emails until
Ande Schurr recording sound on location for short film JubJub. Photo: Claire Kelly /Smasher.
we had established exactly what was needed. Max likes the comprehensive approach. He wants true 5.1 ambient tracks, Impulse Response recordings in each location – we were filming in and around lighthouses in the South Island, often in incredibly tight spaces – and as many FX as possible that fitted both the mechanical and natural moods of the film. With all this discussion guiding my approach to a film, I feel that I am part of a larger sound team – I don’t just work for myself (as some people may wrongly observe when they see the lone sound man struggling to keep the set quiet!!), but I am the forerunner, or worker on the field, that helps the sound designer lay the foundation for a brilliant sound track. When I see how much effort the producer, first AD, production manager and others put into preproduction it makes me want to deliver great
work. I’ve learned my best work is not just about technical considerations or getting clean sound, but a constant awareness of what is missing, or ‘what I owe this scene’ to use a camera coverage phrase. The location sound department is a small team. We have one boom operator and if it’s a bigger job, a sound assistant. With all eyes turned towards the camera and visual side of the film, the onus is on the sound recordist to speak up when they need something or forever hold their peace. We have to make our day. Yet within that day there are often moments when we can chip away at getting all the sounds we need. Yes, preparation is king. • Ande Schurr is a sound recordist for film and TV. He is currently working on the feature film Fantail, produced by Sarah Cook, directed by Curtis Vowell and shot by Ian McCarroll. His website has further articles and information on his rental sound equipment: www.schurrsound.com
Continued on page 26 www.onfilm.co.nz
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Across the ditch
Sapphires steals the show Our expat spy provides his idiosyncratic take on the Aussie film and television industry.
S
uccess at Cannes for The Sapphires, actor/ director Wayne Blair’s first feature! by JAMES BONDI The indigenous filmmaker already has an impressive slate of work and a shelf of awards for acting and stage and film directing, including a Crystal Bear Award from Berlin for his short film The Djarn Djarns, and now he seems set for an international career. The Sapphires is based on Tony Briggs’ stage play, which played to sold out houses in Sydney and Melbourne. It tells the story of Briggs’ mother and her family, who formed a singing group in the style of The Supremes and headed off to Vietnam to entertain the troops in the late 1960s. The four girls are played by pop diva Jessica Mauboy, renowned actress Deborah Mailman and newcomers Shari Sebbens and Miranda Tapsell, with Chris O’Dowd (The IT Crowd, Bridesmaids) as their manager. The Cannes audience bopped along to the music and gave the film a 10-minute standing ovation… or 20 minutes according to some reports… let’s say 15 minutes. Whatever, an impressive time to have a cinema full of people on their feet slapping their paws! Reviews have also been good, with Screen Daily claiming “The Sapphires ticks off all the right boxes to click with audiences as well as being
Staying composed Continued from page 23
of TV show The Strip and asked me to be his assistant for that. It was an incredible learning curve.” That led onto other TV shows – including The Insider’s Guide to Happiness and Amazing Extraordinary Friends. From there Gallagher met people from the post production side of things who were doing sound design and dialogue editing. He was offered a trainee position as sound assistant at Gibson Group, which led on to a dialogue 26
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a smart advert for Aussie girl power. It is a film with soul at its heart and some great tunes…” Nice to see those boxes being ticked! The best news is that The Sapphires has been picked up for international distribution by The Weinstein Company with speculation that this could be Harvey’s “sleeper” movie from Cannes. The film’s Australian premiere is on August 2 at the Melbourne Film Festival with its national release a week later. Producers (Kiwi) Kylie Du Fresne, Rosemary Blight and Ben Grant from Goalpost Pictures should expect a healthy local box office, kick-started by the Cannes buzz which is already creating interest. Check out the trailer on YouTube. ***
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iwi director Jessica Hobbs’ latest project is a two-part telemovie, a political thriller called Devil’s Dust about mesothelioma victim Bernie Banton’s fight for compensation for asbestos-afflicted employees of James Hardie Industries. Hobbs was featured in the May AACTA online newsletter. An Honorary Councillor of the Australian Academy of Cinema & Television Arts, Hobbs is widely regarded as one of Australia’s top TV directors, so naturally Aussies are happy to claim her as their own – apparently an honour for Kiwis working here.
editing position at Cloud Nine. Since then he’s been bouncing between doing post sound and composing. “It’s nice to get a feel for the different fields and get to know how they work together, how they fit at the mix stage.” Gallagher worked as supervising music editor for Peter Jackson’s The Lovely Bones, working with the legendary Brian Eno. “He’s been one of my heroes for a long, long time. It was an honour to work with the new music that he had scored for the film and go through his back catalogue and ‘cut stuff up’. We got to meet him as well – you know how
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The accomplished director has won numerous Australian awards and is one of the directors of mini-series The Slap, a BAFTA nominee this year in the International TV category. Hobbs is renowned for getting good performances out of actors and says she spends “as much time as possible talking with them about the story and what we are trying to convey to the audience. Then we break that down into what they feel it is that their characters want and how they are going to go about getting that.” That must be refreshing for thespians used to TV directors focusing more on whether they hit their marks or if there is time for another take before lunch. Hobbs went on to say that the creative collaboration “with writers, producers, actors, designers, cinematographers and editors” is what she most likes about the job… and that’s what makes people enjoy working with her. ***
A
nother Kiwi director in the news is Simon Phillips, arguably the most successful theatre director to have come out of New Zealand. He has just directed the world premiere of the stage musical based on the film An Officer and a Gentleman, playing at Sydney’s Lyric Theatre. After some fine tuning the production is expected to head off overseas. Phillips is now the international
people say your heroes let you down? Well he certainly didn’t, he was really fascinating, a very affable chap.” In January, Gallagher worked as supervising music editor on West of Memphis, the Amy Berg-directed documentary about the West Memphis Three. Peter Jackson and Fran Walsh were producers on the film, which debuted at Sundance and will screen as part of the NZ International Film Festival in July/August. “Working with music by Nick Cave and Warren Ellis was a real treat,” he says. “It’s a good overview of the case, but being a parent it was hard to watch
go-to man for stage musicals based on popular films. His production of the musical Priscilla, Queen of the Desert was a huge success, first in Australia and then in London’s West End and NYC’s Broadway. He seems to have a turn for directing blokes in frocks too. Last year he directed Geoffrey Rush in drag as Lady Bracknell, in Oscar Wilde’s The Importance of Being Earnest. This year they will collaborate on a revival of A Funny Thing Happened On The Way To The Forum, with Geoffrey toga-ing up to play lusty slave Pseudolus. Phillips trained at the NZ Drama School in Wellington and after stints as Associate Director of Auckland’s Mercury Theatre and Artistic Director of Centrepoint in Palmerston North, he started his Australian career as a lecturer and director at Perth’s Western Australian Academy of the Performing Arts (or WAAPA for those short of breath), went on to be Artistic Director of Adelaide’s State Theatre Company and led the Melbourne Theatre Company for 11 years, stepping down last year. He’s directed for every major Australian theatre company as well as for Andrew Lloyd Webber’s Really Useful Group. So while we’ll still see his productions here if we’re lucky, his international career is likely to take him away from the Antipodes. Maybe there’s a musical in there somewhere… Broadway Begins in Palmy? Boom boom!
some of those scenes.” As he looks forward to a bright future in film, Gallagher has also been working on a new product called Booktrack. It’s a new technology for ereaders that mixes music, sound effects, and ambient sounds to provide a sound track for the reading experience. The company was founded in Auckland, where it has offices, although its HQ is in New York City. “It’s a new medium and a logical extension of what iPads and e-readers are capable of now,” says Gallagher. “It’s going to be interesting to see where it goes as the technology advances.”
A legal view
Publicity Rights Although they may have a bigger impact overseas, Publicity Rights are still a major consideration for film and TV makers in New Zealand. By David McLaughlin and Emily Jackson.
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he concept of protecting an individual’s right to publicise their identity (the so-called “right of publicity”) has gained steam in the past few years, particularly as the use of publicity rights in the US has become more widespread. Though New Zealand has no legal equivalent to this right, in an era in which people’s private lives and their public personas are often confused, it’s important to consider how an individual’s right to protect their identity from unauthorised publicity could affect your work in the screen industries. Unlike most rights designed to protect personal information, which usually stem from privacy concerns, the right of publicity is designed to protect against unauthorised use of a person’s (usually a celebrity’s) name, likeness and identity. This right is completely separate to any other intellectual property right such as copyright or trademark rights. The reasoning behind this separate right was that to attain a level of fame that made them recognisable, an individual would have to invest a certain amount of time, effort and money into cultivating a public persona. Therefore they should have the exclusive right to reap the rewards of that investment. The US right of publicity was officially recognised by the US Supreme Court in 1953. Since then, the concept of publicity rights has developed to the point where it is recognised in most states across the US. Publicity rights have been a cause of action in several recent lawsuits, such as the suit brought by Lindsay
Releasing the Hounds Continued from page 15
through shooting, maybe 95% of the scenes changed in some way,” says McCulloch. “It was about trying to hone each line and get them as natural as possible, rather than it sounding like someone’s just been given a bit of standup material to deliver,” says Holt. “And there was usually one scene per episode that had to drastically change.” “That’s where the actors came into their own a bit, having to re-
Lohan against the rapper Pitbull. George Clooney and Julia Roberts also recently sued two audio-visual companies that used their names and images without permission. Publicity rights can be used in a variety of ways; for example Apple is currently attempting to use them to prevent a toy manufacturing company from creating a Steve Jobs action figure. The extent of publicity rights can also differ from state to state in the US. In some states the right of publicity is considered to extend post-mortem, which has resulted in lawsuits being brought by the estates of deceased celebrities such as Jimi Hendrix. In states such as New Jersey, even non-famous individuals are accorded a right to publicity, which they can use to protect against unauthorised use of their names and images. In the US this right is limited by freedom of expression, so where an individual’s identity is reported in the news or used for non-fictional purposes, such use will normally be allowed. Though publicity rights are increasingly becoming accepted in the US, the legal positions in other countries are very mixed. English and Australian courts have maintained that such rights can be similarly protected by existing copyright, trademark and passing off laws. However, Canada has recognised a more limited right to privacy where a person’s name or likeness has been used to suggest endorsement of a product without their permission. France and Germany have also introduced personality rights on a more limited basis. If you are think-
member new material on the spot,” says McCulloch. “Toby [Sharpe], Susana [Tang], Mick [Innes], Catherine [Waller], and Josh [Thomson] were all very patient,” says Holt. “I mean, we’d literally be yelling out a line at them right before they had to go and act it: ‘And make it real!’” “‘And funny!’” recalls McCulloch. A year after the shoot, the three still evince delight at the experience of being surrounded by a crew of television professionals after years of DIY filming, and happily admit to being “the least competent people on set”
The right of publicity is designed to protect against unauthorised use of a person’s (usually a celebrity’s) name, likeness and identity. ing about releasing or distributing a production in a territory outside New Zealand, you should consider whether that territory’s laws could create problems for you in respect of publicity rights. Though the right of publicity is not yet recognised in New Zealand, given the increasing use of the right in America and it’s more limited introduction in other countries, it is foreseeable that some form of this right may be introduced in New Zealand in the future. Also, even though a specific right of publicity hasn’t yet been introduced in New Zealand, use of celebrity names, images or other identifiers could still infringe other laws. Actions could be brought based on infringement of copyright or trademarks, or passing off. If use of a celebrity’s identity breaches consumer law, a claimant could base a claim on the Fair Trading Act. If a reference or image is considered untruthful or derogatory, a claimant could also potentially bring an action in defamation. Even at a scriptwriting level, you should consider whether a mention of a celebrity’s name could poten-
(“That slab rule’s pretty rough,” McCulloch muses). The initial edit took around two weeks per episode but, when the onair date was pushed back, the tinkering continued. “Because our production company owns the editing suites, we could spend a lot longer on it than we’d have been able to afford otherwise,” says McCulloch. “It just felt like a once-in-a-lifetime opportunity,” says Holt. “We never really saw Hounds as a business venture, it was more us doing something we really wanted to be proud of and would enjoy watching ourselves.
tially create some problems down the line, particularly if the reference has negative connotations or is intended to be humorous. New Zealand does not have any defences for parody in respect of either copyright or passing off, so even if a reference is made in jest, it could still conceivably be the basis of a claim. • David McLaughlin (david@mclaughlinlaw.co.nz) is the principal of and Emily Jackson (emily@mclaughlinlaw.co.nz) is a solicitor at 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).
“It was good to have Matt there as producer saying, ‘Don’t spend every last dollar and other money you don’t have on it.’ But when it came to our own time and resources, it was just too tempting not to throw as much at it as we could.” “We really want it to be a calling card – not just in New Zealand but for overseas as well,” says McCulloch. “So there’s not a lot of places where we went, ‘That’ll do.’” • Hounds screens 10pm Fridays on TV3; previous episodes can be watched at ondemand.tv3.co.nz.
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JUNE 2012
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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 FANTAIL prod co curious film prods Sarah Cook, Matt Noonan exec prod Ainsley Gardiner dir Curtis Vowell writer Sophie Vwell DP Ian McCarroll 1ACs Ben Rowsell, Bryce Swainson 1AD Quentin Whitwell prod mgr Dan Higgins prod des Brant Fraser stby prps Sean Black cost des Kylie Cooke m/up adv Lisa Shearer key grip/gaffer Jerry Mauger best boy Tom Davis script sup Elizabeth McGlinn snd rec Ande Schurr ed Richard Shaw ed adv Cushla Dillon cmpsr Tama Waipara script exec Katherine Fry epk dir James Boddy cast Sophie Vowell, Jarod Rawiri, Stephen Lovatt, Jahalis Ngamotu, Vincent Nelson, Vinnie Bennett, Epine Savea, Henare Erihe, Beulah Koale, Hami Pehi
GAME SHOW 16mm short prod co The Film School dir Will McGuire writer Scott Williams prod John Reid exec prod Sashi Meanger asso prod Alison Langdon DP Jared Gray prod mgr Corey Le Vaillant prod coord Charlotte Dallison loc mgr Kupa Warner cam op Jesse Corah f/puller Nick Dol c/loader Andre Cox grip Jared Flitcroft gaffer Kahli Briggs snd rec Michael Nicholas 1AD Charlotte Dallison cont Scott Williams art dir Julie Russell prps/arts asst Sam Etheredge w/robe Crystalea Wilson-Connel cast Danny Mulheron, Hannah Paterson, Shirley McGregor, Zariah Wilson, Josiah Jordan, Grant Pearce, Rodney Bane industry asst Alan Morrison, Dylan Jauslin, Oren Graham industry mentors Annie Frear, Paul Chatts, Adrian Hebron, Charled Edwards
THE CALLING 16mm short prod co The Film School dir Scott Williams writer Will McGuire prod John Reid exec prod Sashi Meanger asso prod Alison Langdon DP Kupa Warner prod mgr Kahli Briggs prod coord Charlotte Dallison loc mgr Nick Dol cam op Andre Cox f/puller Crystalea Wilson-Connel c/loader Jared Gray grip Sam Etheredge gaffer Will McGuire snd rec Jesse Corah 1AD Corey Le Vaillant cont Julie Russell art dir Charlotte Dallison prps/arts asst Jared Flitcroft w/robe Michael Nicholas cast Miranda Harcourt, Thomasin McKenzie, Alistair Browning industry asst Alan Morrison, Dylan Jauslin, Oren Graham industry mentors Annie Frear, Paul Chatts, Adrian Hebron, Charled Edwards
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 co prod Eric Stark exec prods Michael Stephens, Brendon King DP Matthew Sharp prod mgrs Catherine Juniot, Sophie Gregory prod asst Amanda Berryman 1st ADs Kendall Finlayson, Lisa Fraser-Clark 2nd AD Anne Jaeger cont Marian Angeles f/puller Bryson Rooney cam assts Kim Thomas, Graham Smout gaffer Lee Scott b/boy Daniela Conforte lx assts Jan Kleinheins, Sally Cunningham, Royce Goddard, Sam Wynn key grip Will Matthews dolly grip Brett Saunders grip asst William Flanagan snd rec Aaron Davis boom Lance O’Riley w/ robe Larissa McMillan w/robe asst Daria Malesic art dept Anna Brown art assts Fern Karun, Ryan Roche m/up Julia O’Neil, Lucy Gargiulo sfx Bill Hunt prod des Robert Flynn loc mgr John Patrick data wrangler Symon Choveaux unit Cameron McCulloch stills Robert Johnson runners Mike Potton, Ryall Burden eds Patrick Canam, Nick Swinglehurst asst ed Betsy Bauer ADR Darren Maynard vfx Tony St George, Brett Johansen, Kenny Smith, James Bell, Marty Chung, Matthew Pearson 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 Salvagepunk Western prod co Existence dir Juliet Bergh prods Mhairead Connor, Melissa Dodds writers Juliet Bergh, Jessica Charlton based on a concept by Juliet Bergh, Jessica Charlton, Philip Thomas script adv Graeme Tetley 1AD/asso prod David Norris prod asst/trainee Jess McNamara prod acct Lyndsay Wilcox casting dir Tina Cleary, The Casting Company DP Jessica Charlton 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 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 fac Underground Sound/Production Shed post prod fac Park Road Post titles/credits Brendan Dee head of prod Dean Watkins head of pic David Hollingworth fac prod Nina Kurzmann DI ed Tim Willis DI colourist Clare Burlinson re-rec mix Gilbert Lake, Tim Chaproniere deliverables Matt Wear, Victoria Chu DI workflow mgr Tony Pratt gm Cameron Harland head of mkting Vicki Jackways post prod coord Alison Ingram 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 cast Loren Taylor, Gareth Reeves, Peter McCauley, Matt Sunderland, Thomasin McKenzie, Peter McKenzie, Aaron Jackson, Rachel Roberts, Gentiane Lupi, Richard Freeman
FINDING HONK Feature prod co Run Charlie prods Eldon Booth, Jason Crane exec prod Irene Gardiner writer/dir Eldon Booth prod mgr Katya Masanja prod coord Zahra Archer prod asst Peta Douglas art dept Vea Mafile’o art assts Elizabeth Mafile’o, Michael McNamara DP Jason Crane cam asst Dominic Fryer snd recs Ande
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Please see www.onfilm.co.nz or contact crewlists@onfilm.co.nz for everything you need to know about getting your production listing/s in Onfilm, including deadlines, submitting new entries and updates, and abbreviations.
Schurr, Ben Vanderpoel, Mark Story ed Jarrod Wright mus Heydon Hohaia snd des Dick Reade cast Heydon Hohaia, Tapua Hohaia, Alison Bruce, John Rawls, Erroll Shand, Greg Smith, Karlos Drinkwater, Wati Edwards, Maya Dalziel, Barnie Duncan
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
MEDICINE WOMAN prod co SPP (09 839 0999) prods John Barnett, Chris Hampson writer/dir Dana Rotberg line prod Catherine Madigan acct Susie Butler writer/dir Dana Rotberg ed Paul Sutorius asst ed Shailesh Prajapati pub Tamar Munch pub asst Lucy Ewen adv Ngamaru Raerino, Kararaina Rangihau, Whitiaua Ropitini, Tangiroa Tawhara caterer Marvel Catering post prod Images & Sound cast Whirimako Black, Antonia Prebble, Rachel House, Nancy Brunning, Te Waimarie Kessell
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
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
IN RELEASE 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
Production listings
THE PSYCHOLOGIST 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
WHAKATIKI
12mins 16mm short fund Independent Film Makers in asso NZ Film dir Louise Leitch prod Melissa Dodds writer/co-prod Bernadette Murphy DP Martyn Williams ed Lala Rolls comp Tom McLeod snd des Ray Beentjes snd rec Ken Saville boom op Joe Fraser pic/ snd services Park Road fac mgr Nina Kurzmann DI ed Tim Willis colourist Matthew Wear snd mix Gilbert Lake taperoom sup Victoria Chu tape op Steve Duburguet snd mix sup Hassan Lehrech titles/credits Brendan Dee offline ed asst Nathan Hickey add snd fac Outpost score sup Sarah Lineham feat musicians Sarah Lineham, Nick Granville, Tom Mcleod 1AD Jules Lovelock script sup Pete Wellington prod asst/3AD Tom Kelly casting Tine Clearly, St Joseph’s School, Angela & Paul Murphy art dir Nicole Spackman art assts David Hewitt, Tom Southall m/ up/w/robe sup Kate Trafford m/up asst Azure Ellis w/robe stby Alex Boyd w/robe assts Cam Putt, Jessica Murphy f/puller Graham MacFarlane 2nd cam asst/stills Tammy Williams 3rd cam/lx asst Simon Oliver gaffer/grip Byron Sparrow gaffer Adrian Hebron lx/grip asst Chris Murphy lx asst Hansel Verkerk unit loc mgr Gabriel Page unit assts Akira, Jarryn safety off Brent Sylvester rnnrs Heather Cottam, Melanie Murphy, Emma Murphy chaprns Tania Milne, Pare-kotuku Porter-Samuels, Aniwaniwa PorterSamuels, Michaela Gemmel cam Metro Film film stock Fuji grip/lx Gunmetal radios Wireless Warehouse catering Billionaires Catering, Billie Lusk coffee c4 Christchurch insurance Crombie Lockwood cast Mabelle Dennison, Jim Moriarty, Jason Te Kare, Stephanie Matuku, Christian Dennison, Alyssa Mataiti, Daarian, Dylan, Nathan,Tyronne, Harley - Te Rakau Trust, Krystal Meyrick, Ariana McCormack, Clarisse Harman
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/Cara-
van 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
Television pre PRODUCTION AVALANCHE HUNTERS 3x43mins 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 pres Jordy Jendrikx
TANGAROA WITH PIO SERIES 8 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 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 BLUE ROSE 13x60min drama/comedy prod co SPP (09 839 0999) exec prods John Barnett, Chris Bailey, Rachel Lang, Gavin Strawhan prod 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 coords Anna Reid, Jo Johnson acct Lee-Ann Hasson asst acct Sheree Silver dirs Murray Keane, Peter Salmon, Kathy McRae, Josh Frizzell 1ADs Gene Keelan, Michele Priest, Seumus Cooney 2ADs Kate Hargreaves, Kylie Drew, Michelle Sowman 3AD Estelle Chatenoud script sups Gabrielle Lynch, Lisa Cook loc mgr Benny Tatton loc assts Rick Waite, Nicola Rhind DPs Rewa Harre, Kevin Riley, Dave Cameron 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 Mark Williams boom op Kyle Griffiths snd asst Adnan Taumoepeau prod des Gary Mackay art coord Karen Mackay off set art dir Emily Harris on set art dirs Greg Allison, Andy Currie stby props James Rennie, Lia Neilson set dec Anita Dempsey set dec asst Domini Calder stby assts Tom Willis, Brooke Darlison gfx Sarah Dunn, Christiaan Ercolano 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 snd post sup Steve Finnigan mus cmpsrs 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
THE WILDE BUNCH prod co Subtext prod/dir Mike Smith prod Judith Trye script prod Paul Yates writers Jamie Bowen, Amanda Allison, Dean Butler, Sam Smith, Leon Wadham DP Grant McKinnon prod des Miro Harre cost Pauline Bowkett prod coord Donna Pearman prod sec Vanessa Macedo prod run Marcel Vidot acct Alex Cole-Baker
art dir Petelo Vaihu prod run Amy Hutton 1AD Craig Wilson 2AD Ainsley Allen 3AD Rebecca Webb cam op Peter Janes 1ACs Lee Allison, Graham MacFarlane digi tech Richard Simkins caterers Peter Bonifant, Will Keely cont Kristin Witcombe cost stby Cecilie Bridgford cost run Ngametua Paitai ed Lisa Hough asst ed Shailesh Prajapati post prod Grant Baker post prod coord Anna Randall cast Tammy Davis, Oliver Driver, Morgana O’Reilly, Erroll Shand, Molly Tyrrell, Ian Mune, Mick Innes, Adam Gardiner, Aleni Tufuga, Jennifer Ward-Lealand, Tainui Tukiwaho, Jim McLarty, Sally Stockwell
WHAT NOW 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 rsrchr Joanna Manson prod asst Charlotte Meads prod mgr Jo Ffitch studio dir Kerry Du Pont creative prod Jason Gunn Live in your Living Room asso prods Martin Hale, Josh Wolfe prod Reuben Davidson exec prod Janine Morrell-Gunn n/wrk exec Kathryn Graham
IN PRODUCTION
FAMILY REPORT 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 Henry, Alison Horwood fac mgr Rex Potier eds Nathan Hickey, Paul Sutorius prod acct Kathy Regnault n/wrk exec Sue Woodfield
GOOD MORNING 2012 prod co TVNZ exec prod Tina McLaren prod Sally-Anne Kerr line-up prod/ed Melanie Phipps script ed/line up prod Dominic Smith prod mgr Terri MacFarlane dir Karen Hinkley 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 Richmond segment pres Matai Smith, Astar Kirkpatrick
HINDSIGHT SERIES 3 13x30min current affairs prod co/prod unit TVNZ n/wrk exec Philippa Mossman exec prod Tina McLaren prod/pres Damian Christie asso prod Sofia Wenborne ed Marko Siraky rsrchr Melanie Love prod mgr Stewart Jones
I SURVIVED 5
ANNABEL LANGBEIN FREE RANGE COOK SIMPLE PLEASURES 13x30min prod co Screentime exec prod Philly de Lacey prods Carolyn Harper, Annabel Langbein dir Ross Peebles prod mgr Kate Moses DP Hamish Wilson, Scott Lee, John Patrick pst dir Rita Attwood ed Paul Skulander
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, Emily Martin 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
BEYOND THE DARKLANDS 8x60mins prod co Screentime exec prods Philly de Lacey, Mary Durham line prod Sandra Clark dirs Mary Durham, Cameron Bennett, Ingrid Leary, Michael Huddleston, Amanda Millar, Alison Horwood visual dir Kim Gunter rsrchrs Eugene Carnachan, Gerri Eller prod coord Chansina Chin eds Peter Evans, Roger Yeaxlee, Margot Francis, Emma Patterson, Alex Behse online ed Keith McLean snd post Inside Track pres Nigel Latta
BORDER PATROL prod co Greenstone ho prod Andrea Lamb prod Saffron Jackson prod mgr Jani Alexander prod coord Carita de Jong fund TVNZ
COASTWATCH 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
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
DOG SQUAD 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
30x60min HD doco prod co NHNZ (03 479 9799) for A&E TV exec prod Alan Hall sup prod Penny Ashbrook prod mgrs Dayle Spavins, Robyn Pearson prod asst Shannon Winn rsrchrs Stephanie Antosca, Bridget Baylin, Amy Tenowich, Amy Kagelmacher, Karen Price, Tucker Bowen, Hillary Heath, Valerie Aburn, Megan Parlen, Deirdre Cossman, Lisa Moderelli Werner, Myra Morris, Ann Lieber, Diane Hassan dirs Sally Howell, Deborah Vogel Cornwell DP Kris Denton, Robert Winn prod coords Dwayne Fowler, Sally Williams 2nd unit cam Lindsey Davidson post dirs Jacqui Crawford, Peter Holmes, Kelly Meade offline eds Chris Tegg, Jeff Avery, Mark Orton
MOTORWAY PATROL prod co Greenstone ho prod Andrea Lamb prod Kate Fraser prod mgr Jody Phillips prod coord Kali Moss fund TVNZ
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/NatGeo 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 aerial DP Andy Salek DP Marty Williams writers James Heyward, Bruce Morrison res prod Hugh Barnard line prod Liz DiFiore media mgmt Jerri Halliwell pilot Alfie Speight
NOTHING TRIVIAL 2 13x60min drama/comedy prod co SPP (09 839 0999) exec prods John Barnett, Chris Bailey, Rachel Lang, Gavin Strawhan prods 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 Anna Reid, Jo Johnson acct Lee-Ann Hasson asst acct Sheree Silver dirs Murray Keane, Peter Salmon, Kathy McRae, Josh Frizzell 1ADs Gene Keelan, Michele Priest, Seumus Cooney 2ADs Kate Hargreaves, Kylie Drew, Michelle Sowman 3AD Estelle Chatenoud script sups Gabrielle Lynch, Lisa Cook loc mgr Benny Tatton loc asst Rick Waite, Nicola Rhind DP Rewa Harre, Kevin Riley, Dave Cameron 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 Mark Williams boom op Kyle Griffiths snd asst Adnan Taumoepeau
The 2012 edition of The Data Book is coming soon Pre order your copy now from subs@mediaweb.co.nz.
www.onfilm.co.nz
june 2012
Databook_Strp_0612_Jen
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
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Production listings prod des Gary Mackay art coord Karen Mackay off set art dir Emily Harris on set art dir Greg Allison, Andy Currie stby props James Rennie, Lia Neilson set dec Anita Dempsey set dec asst Domini Calder stby asst Tom Willis, Brooke Darlison gfx Sarah Dunn, Christiaan Ercolano 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 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
RENTERS prod co Greenstone head of prod Andrea Lamb prod Saffron Jackson asso prod Wendy Tetley prod coord Lauren Slade fund TVNZ
RESTORING HOPE 1x52min doco charting the Maori restorative justice process prod co Notable Pictures prod Julia Parnell dir Eugene Carnachan 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 pres Roger Bourne
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, Ming Schaumkel prod acct Stephanie Dahlberg acct asst Natalie Millerchen loc mgr Bryce Wood 1ADs Michele Priest-Edmondson, Moe Hobbs, Flora Woods, Jimmy Scott 2ADs Francis Koon, Katie Dallimore 3AD Cat Henshall prod rnnr 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 cam ops Nigel Roberts, Nick Hayward cam asst Daniel Lacy snd rec Greg Moon boom op Andrew Lusk, Nick Whittaker prod des Ana Miskell art dirs Ross Goffin, Andy Currie, Natalie Tsuchiya art dept mgr Nick Williams 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 stndbys Katie Jones, Kelly Marumaru, Keri Wheeler cost asst Rowena Smith cost trnee Abby Stevens 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 Bree Peters asst chaprns Renee Lyons, Shirley Duke comp Graham Bollard p/ grphr Jae Frew caterer Rock Salt cast Michael Galvin, Angela Bloomfield, Amanda Billing, Robbie Magasiva, Benjamin Mitchell, Peter Mochrie, Matt Chamberlain, Beth Allen, Sally Martin, Jacqueline Nairn, Ido Drent, Pearl McGlashan, Geordie Holibar, Frankie Adams, Tyler Read, Amelia Reid, Teuila Blakely, Brooke Williams, Gerald Urquhart, Pua Magasiva, Chris Tempest
SHOWTIME prod co Greenstone ho prod Andrea Lamb exec prod Ashley Stuart Coupland prod Sam Blackley field dir
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june 2012
Esta Hutchins prod mgr Angela Burgess prod coord Rochelle Leef fund NZOA/TVNZ
SPARTACUS 10x60min graphic action-drama US prod cos Starz Media NZ, Pacific Renaissance exec prods Rob Tapert, Sam Raimi, Josh Donen, Steven S. DeKnight prod Chloe Smith line prod Mel Turner prod dir Rick Jacobson asso prod Paul Grinder, Moira Grant prod mgr Tara Landry prod coord Helen Urban, Amber Wakefield rig coord Fiona Wadman asst prod coord Meredith Black prod sec Olivia Marshall prod assts Tim Armstrong, Rebecca Rowe, Andy Brown, Petra Gray prod runners Carlos Santos, Scott Litchfield prod acct Sherie Wikaira asst accts Lissa-Mia Smith, Maya Abu-Mansour p/roll acct Alicia Lee acct assts Annie Baines, Clayton Smith cast dirs Annabel Lomas, Faith Martin key cast coord Honor Byrne cast coord Tim Judson cast driver Julie Gunson, Tim Foley, Alan Drum-Garcia extras cast Anita Corcoran extras cast coord Marjan Gorgani extras cast asst Kesha Robertson dir ep1, ep6 Mark Beesley dir ep2, ep7 Jesse Warn dir ep3 John Fawcett dir ep4, ep9 Michael Hurst dir ep5, ep8 TJ Scott dir ep10 Rick Jacobson DPs John Cavill, Dave Garbett, Adam Clark cam ops Ulric Raymond, Todd Bilton, Andrew Stroud 1ACs Henry West, Dave Hammond, Willy Pearce 2ACs Alex Glucina, Tom Markham Short, Gray Turner 3AC Neal Wagstaff digi op Chris Lucas digi asst Robert O’Connor 1ADs Axel Paton, Hamish Gough, Edd Bennetto 2ADs Paddy Compter, Katie Hutchinson, Katie Tate 2nd 2ADs Stuart Morrice, Lynn Hargreaves 3ADs Arielle Zadok, Andrew Burfield, Ant Davies, Tref Turner prod des Iain Aitken sup art dir Nick Bassett art dirs Mark Grenfell, George Hamilton art dir Nick Connor set des Neil Kirkland, Lilli Knight constr mgr Murray Sweetman lead hnd Graham Harris, Bryan Gravatt hd scnic art Paul Radford scnic painter Troy Stevens, Tane Griffen hd plasterer Zane Grey asst art dept coord Todd Smythe prps master Rob Bavin set decs Eliza Meldrum, Megan Vertelle set drssrs Angus Kurr, Colin Elms lead fab Hamish Wain lead text Sarah Bailey Harper text Patricia Dennis prps/byr Tasha Lang prps/fin Mei Ling cooper props asst Michael Morgan stby art dirs Tom Holden, Simon Hall stby prps Zac Becroft stby prps asst Olly Southwell art runner Joseph Griffen horse master Wayne McCormack prps/pros des Roger Murray cost des Barbara Darragh cost sup Shani Gyde asst cost des Olivia Dobson key stbys Joan Wilson, Ylona McGinity, Alistair Johns stbys Naomi Campbell, Katie Jones, Hanna Geor, Troy Garton backgrnd stby Amethyst Parker, Jess Neff, Jasmine Rogers-Scott cost byr Sara Beale wkrm sup Marion Olsen key cost props Natalie McAndrews, Sally Maingay cost prod asst Monica Anderson cost runner Ryan Freeman m/up /hair des Denise Kum m/up /hair sup Vanessa Hurley onset m/up /hair sup Susie Glass, Stefan Knight, Lauren Steward, Natasha Lees m/up /hair art Hayley Atherton, Charlie Rogers, Pilar Alegre, Jo Fountain, Kyra Dawkins, Aly Williams, Samantha Lees, Jacqui Leung, Vee Gulliver m/up pros art Shay Lawrence, Hayley Oliver m/up /hair dept coord Jasmine Papprill bkgrnd m/up / hair Jo Baker, Matt Huckstep, Carmen Te Moananui m/up /hair asst Tamara Eyre, Deanna HighstedJones, Danielle Orme strybd Ed Butler script sups Di Moffatt, Monique Knight, Guy Strachan gaffers Tony Blackwood, John Enright b/boys lx Tane Kingan, Luke Macready gene ops Aidan Sanders, Simon Schaetzle lx rig sup Allan Solly lx rig tech Jason Kerekere key grip Kayne Asher dolly grip Daimon Wright rig grip Jared Edley b/boy grips Andy South, Peter Cleveland crane op Karl Rickard-Worth grip assts Chris Rawiri, Te Oranga Witehira snd mix David Madigan, Fred Enholmer boom op Chris O’Shea snd utility Sandy Wakefield key stunt sup Allan Poppleton stunt coord Clint Elvy, Shane Dawson, Steve McQuillan asst stunt coord Ryan Carey stunt dept coord Erika Takacs sfx sup Brendon Durey sfx snr techs Steve Yardley, Dagan Jurd sfx tech Brin Compton, John Towe sfx asst Eliot Naimie safety Willy Heatley, Nick Fryer, Jeff Hales studio mgr Karl Smith unit mgr Jason Sietu trans cap Aaron Gibson craft svce mgr Abby Jones unit b/boy David Saena bts arcvst Clinton Haugh stills Matt Klitscher co prod Charles Knight post prod sup Kylie Harris post prod coords Margaux Peach, Alex Hammond post runner Anthony Butters eds Gary Hunt, Tom Eagles, Jonathan Venz vfx sup Charlie McClellan, Remo Balcells vfx prod Romola Lang vfx art dir Peter Baustaedter vfx concept art John Walters, Berrin Moody vfx eds Stephen McHardy, Anu Webster vfx onset sups Tim Capper, Zane Holmes vfx set coord Amanda Boock vfx onset tech asst Nick Hamilton vfx post coord Ryan Heelan, April Lougheed, Anna Cottle vfx asst Sean Ames
THE ART OF ARCHITECT 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 rschrs Sarah Jones, Sue Killian ed Doug Dillaman
www.onfilm.co.nz
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 rsrchr Min Mathieson
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 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) prod co Nat Geo Wild exec prod Andrew Waterworth series prod Ian McGee post prods Giles Pike, Brant Backlund, Sina Walker 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
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 field dirs Nicky Hammond, Alex Clark rsrchr Marcus Turner prod assts Michael Henríquez, Claire Clements, Rob Bridgeman, Amy Anderson, Joey Bania cam Alex Hubert snd Daniel Wardrop host Gus Roxburgh post dirs Nicky Hammond, Alex Clark, Quinn Berentson eds Cameron Crawford, Chirs Tegg, Josi Haines, Doug Dillaman, Marilyn Copland
POST PRODUCTION BOTH WORLDS 10x26min special interest prod co Notable Pictures prod Julia Parnell dirs Dane Giraud, Stephen Kang, David Hay DP Richard Harling snd op Cameron Lenart eds Tim Grocott, Brough Johnson prod mgr Zanna Gillespie res Angelique Kasmara
CLINICAL YEARS 1x60min doco prod co PRN prod/dir Paul Trotman cam Scott Mouat, Stephen Dowwnes, Wayne Vinten snd Brian Shennan ed Cameron Crawford
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
FROCK STARS (WT) 6x30min HD doco prod co NHNZ (03 479 9799) for Smithsonian exec prod Judith Curran series prod Judith Curran prod mgrs Christina Gerrie, Robyn Pearson rsrchrs Katy Kassler series dir 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 writers Lucy Schmidt, Stayci Taylor accts LeeAnn Hasson, Elisha Calvert dir Katie Wolfe ed Jochen Fitzherbert asst ed Kerri Roggio post prod sup Dylan Reeve pub Tamar Munch pub asst Lucy Ewen cast Lucy Schmidt, Jesse Griffin, Joel Tobeck, Jennifer Ludlam
MARAE DIY 7x60mins prod co Screentime exec prods Philly de Lacey, Greg Mayor prod Nix Jaques line prod Sandra Clark dirs Greg Mayor, Matt Summich, Kewana Duncan, Mina Mathieson rsrchr Mina Mathieson loc mgr Daniel Watkins loc coord Ngarangi Walker eds Malcolm Clarke, Janice Mulligan, Josh Bridgman online ed Keith McLean snd post Native Audio pres Te Ori Paki, Aroha Hathaway, David Clayton-Greene, Harry Anneff
MONSTER CROC HUNT 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 Stacey Hertnon music Leyton prod mgr Christina Gerrie
OPERATION HERO 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
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
THE MAKING OF THE OPERA: HOHEPA Feature doco that follows the international cast as they rehearse the groundbreaking opera by Jenny McLeod. A NZ cultural and artistic milestone prod cos Focus Films & Hawke Films prods/dirs/cams Craig McLeod, Keith Hawke thanks to the cast and crew of Hohepa especially cmpsr Jenny McLeod dir Sara Brodie conductor Marc Taddei narrator Rawiri Paratene, singers Phillip Rhodes, Nicky Spence, Jonathan Lemalu, Jenny Wollerman, Deborah Wai Kapohe & the chorus. Also Vector Wellington Orchestra & NZ Opera general director Aidan Lang
in release SHACKLETON’S CAPTAIN 85min feature prod cos Making Movies, Gebrueder Beetz n/wrks TVNZ, ZDF, ARTE dist ZDFE writers James Heyward, Leanne Pooley, Tim Woodhouse prods James Heyward, Andy Salek line prod Liz DiFiore dir Leanne Pooley dir assts Kelly Krieg, Olivia Garelja prods PA Katie Bolt 1AD Hamish Gough 2AD Katie Tate 3AD Andrew Burfield prod assts Ellie Callahan, Rachel Choy, Shannon Ween prod intern Lisa Brown prod runners Jasmine Rogers-Scott, CJ Withey, Emma Behrns, Nathaniel Sihamu prod des Roger Guise on set art dir Geoff Ellis propmster Paul Dulieu props mker Phil Gregory art assts Clarke Gregory, Jim Anderson constr mgr William Schmidt DP Simon Baumfield 1st cam assts Graham MacFarlane, Roger Feenstra 2nd cam assts Kim Thomas, Jacob Slovak vid splt/data intern Leigh Elford 2nd unit DP John Cavill 2nd unit ac George Hennah 2nd unit 2nd ac Meg Perrot snd Myk Farmer conts Rachel Choy, Katie Theunissen gaffer Thad Lawrence b/boy Tony Slack lx assts Merlin Wilford, Gilly Lawrence, Steven Renwick, Ben Corlette, Sam Jellie, Jack Gow key grips Kevin Donovan, Jim Rowe b/boy grip Chris Rawiri grip assts Winnie Harris, Chris Tait grip trainee Sam Donovan spfx Film Effects Company spfx sup Jason Durey spfx office coord Tanya Bidois spfx snr tech Mike Cahill spfx techs Graham Nixon, Rowan Tweed, John McLaren, Eliot Naime, Michael Lawton spfx runner Gavin Ravlich cost des Suzanne Sturrock w/robe stdby Cathy Pope w/robe assts Charlotte Turner, Amber Rhodes m/up des Davina Lamont m/up arts Michele Barber, Tash Lees, Hayley Oliver, Debbie Watson, Levonne Scott safety coords Scene Safe, Chris Griggs, Sam Armitage nautical adv Kevin Donovan unit mgr Samuel Shelton unit asst David Shope caterers Bonifant & Saxby epk/stills Cristobal Araus Lobos, Andy Salek cams Panavision prod acc Kylie Strain ed Tim Woodhouse cmpsr John Gibson post prod sup Grant Baker vfx prod Cris Casares vfx sup Brenton Cumberpatch vfx arts Brenton Cumberpatch, Richard Borg, Dale Pretorius, Carlos Purcell vfx interns Richard Neal, Brendon Chan, Josh O’Donnell archive res Sarah Bunn cast Craig Parker, Charles Pierard, Hugh Barnard
FOUR YOUR CONSIDERATION Two new lightweight zooms expand the ARRI/FUJINON Alura series The new Alura 15.5-45/T2.8 and Alura 30-80/T2.8 zooms are compact and lightweight: perfect for handheld, Steadicam and 3D rigs. They are compatible with the ARRI Lens Data System, deliver outstanding optical performance and, like the original two Alura Zooms, match all other ARRI prime and zoom lenses.
Visit the ARRI booth at IBC: Hall 11.F21
www.arri.com
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