ONFILM Sept 2010

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Boy

wins big Full Qantas Film & Television Awards results 9 421902 251047

Our annual training & education guide and a great deal more

contents Views

SEPTEMBER 2010

4 Doug Coutts bemoans the multiplying deficiencies of

multiplexes; Andy Conlan makes his debut as Onfilm editorial cartoonist; Graham Dunster takes issue with an article from last issue; Rod Johns calls for a stand against Auckland’s architectural amnesia; and film artist Raewyn Turner is profiled.

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Something did happen that night

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Royalties and profit share

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Earning his stripes

David Baldock provides his perspective on a series of nights spent filming NZ’s emergency services at work.

15 Cover: Feature film Boy won seven categories at the 2010 Qantas Film & Television Awards, with Taika Waititi taking home three of them – for directing, writing, and supporting actor.

Even when the prospect of genuine profit from a project seems a distant possibility, there are still issues that should be considered regarding any eventual financial return.

David McLaughlin explains.

Nicholas Henwood talks about earning his first producer credit by making $8000 short Where Dad Walked.

12 Mad man

Matthew Weiner, the creator of Mad Men, was the undoubted star of last year’s SPADA Conference.

A previously unpublished interview by Jane Warren.

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ull list of the 2010 Qantas Film & F Television Awards nominees and winners

17

The natural history of Michael Stedman II

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Part two of our interview with Michael Stedman, CEO of NHNZ and 2009’s SPADA/Onfilm Industry Champion.

Training & education 19

The tea test and other lessons

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Training scheming

Producer Glenn Elliott and director Simon Raby provide advice for people considering a career in the NZ screen industry.

As with the rest of its suggestions, the recommendations of the Review of the New Zealand Film Commission regarding training and professional development are subject to consultation and negotiation, finds Peter Parnham.

Volume 27, Number 9

Est 1983

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hoosing the best course for you C – a cheat sheet

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2009 Education & training guide

Editor: Nick Grant (editor@onfilm.co.nz) 027-810 0040 Contributors: Doug Coutts, Peter Parnham, Philip Wakefield Ad Manager: Kelly Lucas (admanager@onfilm.co.nz) 0-9-366 0443 Production Manager: Fran Marshall Designer: Cherie Tagaloa New Subscriptions: www.onfilm.co.nz/subscribe Subscriptions Enquiries: subs@mediaweb.co.nz, 0-9-845 5114 Pre-press and Printers: Benefitz

Production listings

Onfilm is published 11 times a year by Mediaweb Limited, which also publishes The Data Book.

Mediaweb Limited, PO Box 5544, Wellesley Street, Auckland 1141 Phone 09-845 5114, Fax 09-845 5116 Website: www.onfilm.co.nz

Comprehensive listings from 12 providers of screen production-related courses.

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The contents of Onfilm are copyright and may not be reproduced without written permission. © 2010: 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 $75.90 incl GST, Australia $115.50, Rest of World $160.

ISSN 0112-2789 (Print), 1176-8436 (Online)

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September 2010

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w e i v e t a A priv Suffering from an inferiority complex The local film industry has been scarcely off the front pages of the nation’s dailies, by doug coutts or out of the first three minutes of the nightly TV news bulletins, for some time.

Whether it’s the Commish’s latest successes/failures/restructuring or the postponing of a biblical/mythical epic, or even news (preferably without footage) of Taika/Sir Pete’s latest bowel movement, filmmaking has lately been big news.

Generally speaking, although the results have sometimes not reflected the effort put into the manufacture, the country’s filmmakers have always boxed above their weight (and if you’ve seen any of the pics from the most recent SPADA do, that’s a considerable feat).

And it can’t be easy functioning under all that intense kind of scrutiny – especially when you’re trying to have a three-course catered location lunch, begging favours from people you vowed never to work with again, or standing knee deep in canapés at Cannes. People who say filmmakers have it easy should think again (or perhaps write a monthly column somewhere).

So it’s a tragedy that all that effort, all that hard work, not to mention blood, sweat and tears, gets treated in such an off-hand manner once it leaves the warehouse.

It’s a co-tragedy that the level of scrutiny, criticism and suggestions for improvement heaped on filmmakers and filmmaking

hasn’t been applied to the people and organisations that screen the end product.

As a lad I used to go to the State picture theatre in Petone on a Saturday afternoon. You knew when things were about to start because the projectionist, a grumpy old bastard called Sid, would put on a bit of a show with the coloured lights in the ceiling and along the walls. You knew when halftime was coming because the kids from the Nibble Nook would take up their positions down the front with trays of ready-rolled ice-creams and boxes of Jaffas. Those were the days.

These days it’s all changed.

There’s no light show, there’s no Nibble Nook… there’s just a huge barn with horrendously dear Jaffas and three-week-old popcorn for sale at one end. The pimply pre-teen who sullenly sells you a packet of Tangy Fruits for roughly what Telecom’s Paul Reynolds earns in a week will also sell you a similarly highly-priced

ticket for an ominously stained seat in another barn about a ten minute walk away.

Once you’re sitting amongst the detritus of the previous seven days’ sessions, there’s no sense of occasion.

The lights are still on for the first dozen or so of the 300 ads produced

by Glendene Primary School’s media class, and the curtains are only pulled back to the correct aspect ratio once the feature’s into the second hour.

And, if you’re foolish enough to attend The World’s Worst Movie But This Time It’s In 3D, you can bet the kids who were supposed to have cleaned off the glasses from the previous user have spent more time texting than scrubbing. That’s if they’re not fretting about it being 89 days since they first started in the job.

I remember attending the opening function for the Reading complex in Courtenay Place, where the head honcho kept the Prime Minister, and the rest of us, waiting for

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half an hour while he waxed lyrical about multiplexes being the way of the future. Interesting, then, that the bar downstairs lasted about a week before shutting up shop and the record shop has recently followed suit. The ritzy ticket office no longer works – you have to trudge upstairs and queue up with the Jaffa-eaters to buy your ticket. The complex – a misnomer if ever there was one – is now basically a tacky food hall with movies upstairs.

And it’s not alone. Out in the Hutt, where only the brave and/ or foolish risk venturing out after dark, or even midday, the Event Cinema hangar is as awful. Just like the casino after which it was previously named, you go in expecting to be enriched but you come out poorer, in all respects.

Sadly, going straight to DVD doesn’t seem such a bad option any more.

Views

Andy Conlan’s view

Er, we erred I

n Onfilm’s August issue, in an article about a casting controversy involving the latest Steinlager Pure TVC, Screen Directors Guild executive director Anna Cahill was quoted regarding her organisation’s attitude towards NZ’s immigration policy, with particular reference to CER and the use of an Australian director and production company for the commercial’s NZ shoot.

While Cahill’s quotes were reproduced faithfully and accurately, we readily acknowledge that the sentences immediately before and after her responses to our questions indicated that the SDGNZ disagreed with NZ Equity’s objections regarding the use of American actor Vincent Gallo in the TVC. In fact, Cahill was not asked about and did not comment on the stance of the actors’ organisation – and, she advises, nor would she.

We regret the confusion caused.

e t o n s ’ Ed A

t the 11th hour I unexpectedly find myself in much reduced circumstances and without the room in which to unfurl the planned epic ed’s note titled, somewhat ironically, ‘Size matters’.

So instead, allow me to throw caution to the wind and predict that, by the time you receive this issue, Onfilm’s new website will be up and running. We’re just now entering its pre-launch test phase and I’m relatively optimistic this process will go smoothly and speedily and without major mishap. (Relative to what, you may ask, but I’m going to pretend I didn’t hear you.)

As previously noted, this site will be resoundingly adequate – in other words, a vast improvement on what as I type this must be referred to as the current version but in the future (your present, with luck) will be called the old (aka antiquated, aka dilapidated, aka sodding useless) one.

Then, as now, there’ll be a regular, free email update service available to anyone who wishes to keep abreast of new postings on the site without having to constantly log on to it (not that we’re discouraging you from doing that, of course – oh no no no). If you’re not already a member of the 1000-strong list, simply drop a line to editor@onfilm.co.nz with ‘updates please’ in the subject line. Students are more than welcome to join.

Okay, just enough space left to: commiserate with Cantabrians (I hope to catch up with some Christchurchbased companies for next issue – the meantime, kia kaha); congratulate all

Ready(ish) for launch

the Qantas Film & Television Awards finalists and winners (while one could, as ever, quibble about a few of the results, there’s only one that’s absolutely bizarre, which is pretty good going); welcome new bi-monthly editorial cartoonist Andy Conlan to the fold (you may have noticed his shy, retiring debut above); and draw attention to the item on page six about the New Zealand Film Archive’s very

welcome Saving Frames initiative, apropos of proposing a modest competition.

As relayed in the item, the Archive will be consulting with various industry outfits and individuals regarding which films should receive the restoration treatment.

I think it might be useful (okay, fun, in a mean-spirited way) to approach this task from the opposite direction. I therefore invite Onfilm readers to compete for an

as-yet-undetermined prize by writing in (pseudonyms are fine) with the film or films that on no account should be ever be restored, due to a complete lack of enduring cultural, historical or aesthetic importance to any New Zealanders. I’m pretty sure there’s at least one totally meritless NZ movie – in fact I’m thinking about it right now. What are you thinking of?

– Nick Grant

Kathryn Rawlings & Associates Actors for Film, Television, Commercials, Theatre & Voice

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

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s r e t t e L editor

Views

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National film restoration effort officially launched T

O

n 13 September the Minister for Arts, Culture and Heritage Chris Finlayson officially launched New Zealand Film Archive’s four-year Saving Frames programme.

Made possible via a one-off government grant of $2 million, the project will identify the most endangered New Zealand films from the past 110 years, saving hundreds that would otherwise be lost. “Over 50% of the Film Archive’s extensive film collection will benefit from this programme,� says the Archive’s CEO Frank Stark, “which brings to bear all the tools at our disposal – research, active acquisition, conservation and repair, laboratory reproduction, digital transfer, and environmentally controlled storage. “But first we need to select works from our collection that have enduring cultural, historical or aesthetic importance for all New Zealanders. In order to make the best possible selections the Film Archive will consult extensively with stakeholders, including the NZ Film Commission, Screen Directors’ Guild, SPADA, and Nga Aho Whakaari, as well as individual filmmakers and researchers.�

The focus in the first year will be locating the most endangered: feature films from 1900-1999 (with particular attention paid to the body of feature films produced since the mid-1970s); and government films from 1900-1939; independently-produced newsreels from 1900-1970.

At the launch Finlayson announced the first endangered feature film se-

Neither pure nor simple

lected for restoration – the 1940 black and white sound film Rewi’s Last Stand.

Written, directed and produced by Rudall Hayward, it’s the last unpreserved New Zealand feature shot on nitrate film.

The Saving Frames project also involves a partnership with Park Road Post Production, which is contributing its expertise in photochemical processing and digital restoration to ensure the films receive the highest level of technical attention.

The first part of the Saving Frames project – a fundraising campaign for a purpose-built environmentally controlled storage facility – was launched last November. Construction for the new facility has begun on the site at Plimmerton on the Kapiti Coast north of Wellington. The building, when completed early in 2011, will greatly increase the life expectancy of master materials for over 20,000 films.

hank you for publishing the article They’re stiffing our talent here? [August issue.] It was refreshing to have three pages devoted to actors’ affairs.

However, having said that, I felt that the article lost its way in its goal of “shedding a little light� on the Steinlager Pure/Vincent Gallo saga.

It is important to understand that both the first two TVCs in this series were filmed offshore and featured name American actors [Harvey Keitel and Willem Dafoe], with dialogue to camera, in a foreign setting.

This third one was set in and filmed in New Zealand using an American actor who did not speak on camera at all and who, we understand, did not do the voiceover.

The immigration issue arose through NZ Equity’s responsibility as the body appointed by the Government to assist the Department of Labour in the processing of actor work permit applications. All our industry professional bodies – SPADA, Screen Directors Guild, Writers Guild, Technicians Guild et al – have this same responsibility in their field.

Equity’s concern arose because the casting briefs sent out for domestic NZ casting for this role bore little relation to what Mr Gallo brought to the role. The suspicion was that the local casting process was a sham and the intention was always to bring Mr Gallo in, irrespective of anything said or done in NZ. Foreign actors (or producers, directors etc) are allowed to work in NZ if they meet the Government’s criteria. The wish of a TVC (or film or television) creative to use a foreign person does not and can not mean that the immigration process can be ignored.

If the intention was to use Vincent Gallo from the start then the client, advertising agency and production house should have engaged with the immigration process early in the piece, honestly and inclusively. What actually occurred ended up being tawdry and left no one satisfied, with actors feeling sidelined and insulted, casting directors struggling to achieve an irrelevant task, and immigration officials confused and misinformed.

The article starts off clearly but then devotes an inordinate amount of space to the fact that the production company was Australian, something without any relevance as no concern was cited about this. The industry is very aware that CER permits trans-Tasman work, which on the whole benefits New Zealand. Similarly, the long interviews with advertising agency employees about their creative aspirations add nothing to the article’s professed investigation. Perhaps the article should have been entitled “explanations and justifications for Steinlager Pure’s creative decisions�.

My overriding concern is the lack of interest and concern in maintaining a pool of experienced actors available to the NZ industry. Every role in a domestic production (whether TV, film or TVC) that is given to a foreign actor is one less opportunity for a local actor to survive financially and one less incentive for them to remain available and/or resident. All industry professionals can only increase or maintain their skill and experience level through work.

Graham Dunster, Auckland Actors & Actors Agents Association of New Zealand

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Historic opportunity W

ith a series of Auckland City Council administrations seemingly hell-bent on turning it into a poor cousin of every other big city in the world, it is becoming almost impossible to shoot a period film in Auckland without having apartment blocks, mirror glass towers etc appearing in the background. And what historic buildings do remain are often painted in garish colours and plastered with signs. (Who, in their right mind, would paint a heritage brick or concrete building?)

However, now that they are going to restore the Rob Roy Hotel to its original site, a wonderful opportunity has presented itself to undo the ‘Britification’ carried out by Tony White and partner John Banks and restore the whole pub to its original condition. This would give Auckland at least one authentic hotel where a period film could be shot. And, rather than it being a burden on the taxpayers, with a little bit of vision and promoting, it could also be a wonderful attraction for visitors (along with the nearby Victoria Park Market and the now being restored Campbell Free Kindergarten).

As filmmakers, this is something we should lobby for and support, along with the Historic Places Trust, but it is essential that the project be researched and carried out properly. There are a lot of uninformed and unqualified opinions and plans being bandied about (ie, preserving and restoring the “original” Birdcage) and it would be so easy to get it wrong and turn the Rob Roy into a 21st-century caricature of itself.

Restoring the Rob Roy to its original condition shouldn’t be a difficult proposition, as the hotel has basically been gutted for the move and is a clean slate. Some of the original Freemans Bay and Ponsonby locals who used to drink there still live in the area and could provide a wealth of information, and there must be ample archive material and historic photos to work from too.

This faithful period restoration should also apply to the St James Theatre – if restored to its former glory, it would provide another theatre interior – along with the magnificent Civic – in which to film NZ historical dramas.

Our storytelling and preservation of our heritage is further under threat with the City Council planning to approve the construction of a tower block right in the middle of the Britomart Precinct, amid the last

remaining cluster of historical buildings in downtown Auckland.

Any assurances by developers that this would be done unobtrusively and in sympathy with the surroundings should be regarded with scepticism – you only need to look at the monstrosities behind the facades of the BNZ and the Queens Head Hotel in Queen Street, and other modern developments where the projects have been carried out “sensitively, and in sympathy with, and maintaining the character of, the surrounding buildings”.

It is ironic that Tony White and John Banks were allowed to turn the Rob Roy into their romanticised version of an English pub, when they wouldn’t have stood a chance in hell of doing the reverse to a historic pub in England, and would have been vilified by all and sundry had they tried.

(The Anglophile duo did the same thing with the historic Suffolk – built in College Hill in the 1880s when Ponsonby was called Dedwood – which they rebranded as the Cavalier.)

So before it’s too late, isn’t it about time New Zealanders – and Auckland filmmakers in particular – took a leaf out of the Brits’ book and lobbied to preserve our historic buildings before it becomes impossible to tell many great New Zealand stories on film for lack of locations? We certainly don’t have the luxury of huge American budgets to recreate (in expensive, purpose-built sets) what we already had and could have preserved.

If you think we deserve to retain the remaining historical buildings and areas in and around Auckland, and the ability they give us to film period dramas, you could ask the Super City political aspirants what their positions are on historic buildings and preserving what little of Auckland’s original character still remains.

Given that what used to be the beautiful old Salvation Army Citadel has been an asphalt wasteland for over two decades (knocked down to provide parking for council employees at the Civic Administration Building) it seems clear the Auckland City Council have not heard or heeded the prophetic words of Joni Mitchell: “Don’t it always seem to go/That you don’t know what you’ve got till it’s gone/They paved paradise and put up a parking lot.”

Rod Johns, Oakeshield Films, Auckland

NZ film artists in brief – a series Raewyn Turner

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rom 1975 to 1983 Raewyn Turner toured extensively with Split Enz in Australasia, Europe and North America, an experience of which she says, “I worked as a visual artist in collaboration with the band, using saturated coloured light, texture, after-image, and painted optical pattern slides and film loops to create synaesthetic experiences of music”.

Turner’s work with Spilt Enz involved light and set design for the band’s stage and television appearances. She also painted the cover for the 1979 Split Enz album Frenzy.

As an intermedia artist Turner explores the potential of new technologies to affect extra-and subsensory awareness in work that includes video, aroma, coloured light, artifacts, and live performances with orchestras, jazz, contemporary music, and dance.

Her film work includes Cycle Engines (1999), with sound by

Eddie Rayner. Here swirling patterns of abstracted cosmic imagery evoke notions of visual music in correspondences of sound and image.

People Sheep (2006) is based on an actual biogenetic experiment carried out in New Zealand in which sheep were implanted with a human gene to produce a pharmaceutical product. Once the experiment was deemed unsuccessful the sheep were incinerated.

Turner’s other films include, Turn and Run (2002), Sonnet 1-6-02 (2002), Lucky (2008), and a current work in progress titled Take My Shoes, edited with interactive software.

Turner is currently presenting Re/ Sense at the Moving Image Centre in Auckland. This collaboration with the Canadian electronic artist Diana Burgoyne presents atmospheric images of New Zealand and western Canadian environments placed alongside one another (the Pacific Northwest meets the Pacific Southwest).

Turner chose locations in North Taranaki, including those contaminated by the chemical company Ivan Watkins Dow around Paratutu in the late 1960s. In this work specific handmade perfumes are synaesthetically linked to specific colours engendered by specific environments, with perfume beads being placed on audio speakers whose sound vibrations caused the release of specific aromas.

Her intermedia art work explores the potential of new technologies to affect extraand sub-sensory awareness.

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Views

Something did happen that night David Baldock provides his perspective on a series of nights spent filming NZ’s emergency services at work.

A

fter reading Waka Attewell’s account of a night filming Emergency Heroes [‘Something happened that night’, Onfilm May 2010] I realised that, for all of us, something did indeed happen that night, or was at least highlighted.

Waka writes about returning to NZ to work on the gig because he needed to pay his credit card bill. He had been working on much more substantial stuff, a feature film script, but hey, you gotta live.

This illustrates for me in many ways the divide in which we work: his prevailing attitude is that feature film is the truly creative and worthy outlet, while television just pays the bills.

Waka quoted (although didn’t name) me as saying, after spending a harrowing evening that involved filming a fatal car accident, “We’re making great television.”

I make no apologies for that statement – we were making great television. Yes, it was raw, brutal and shocking. But that is the everyday reality for those who work in the emergency services.

Emergency Heroes was first produced in 1998, well before the term “reality television” was used. Back then it was referred to as “factual, fly-on-the-wall” programme-making and, in fact, the series was born from a documentary.

In 1997 we produced a 90-minute documentary for Inside NZ, funded by NZ On Air, called High Incident. We spent four days at the Manukau Police Station in the lead-up to Christmas. It was an explosive insight into policing in South Auckland. Crews were given unprecedented access to all areas.

Rather than just observe, we got to know and understand all of the officers involved, their motivation, insight and the pressures they faced on the frontline. The programme was summed up well by a beautiful young Ma¯ori woman at the end of shift saying, “I love my job and what I can do for the community, but each day, when it’s over, I want to put away my uniform and return to my normal life.”

The documentary was such a success that TV3 asked us to produce a series.

We expanded the brief to include the 8

september 2010

fire and ambulance services and, with the title Emergency Heroes, the series factually reflected the work our emergency services perform every night to protect and serve the community.

I

was also a director on the series and travelled with police in an ‘I-car’ – the vehicles that are sent to serious incidents. Like Waka, the experience left an indelible mark.

Filming the series, I realised that the heroes were not only those on the street but also the communications staff who relay the calls to the police I-cars, fire engines and ambulances and dispatch them to the jobs. The police communications operators have to assess the information coming in, oversee pursuits and, in some instances, marshall the I-cars to search for suspects.

While deeply unsettling for us crews, the night Waka wrote about was just an ordinary night in South Auckland for the police, fire and ambulance staff who attended.

So what is my and the programme’s perspective on that night?

A police pursuit had begun in central Auckland. We were following it from the communications centre, where dispatchers were receiving updates from the pursuing police – their speed, location and details of the other traffic and weather conditions.

With each call that came in you could hear the rumbling engine and wailing sirens. The tension was palpable but the communications operator remained coolly calm as she issued directives. The shift sergeant, ultimately responsible for the handling of the pursuit, also listened intently. As the two vehicles reached South Auckland, the stress began to mount. The pursuit was now weaving through suburban streets. Assessing the risk and danger as being too great, the sergeant called off the chase.

There was no response from the I-car.

Communications called again to stop the pursuit.

Again, no response.

It seemed like an eternity but eventually another I-car called in.

www.onfilm.co.nz

In our small industry, it is imperative we can work interchangeably within different genres and mediums. I am constantly saddened when one area is deemed more valuable than another.

The police pursuit car had crashed into a house and was overturned on its roof in the garden. An ambulance was urgently required.

Minutes later a call came for fire and ambulance staff to attend a car crash at an intersection just up from the police car accident. A car had run a red light and smashed into another car. Both drivers died at the scene. It was this crash that Waka filmed. In his article he appears to lament that, in the final cut, one victim “doesn’t rate a mention” while the other was “just shown in profile”.

The fact is, we chose not to dwell on these fatalities because, tragic though they were, the focus of the series was on the emergency services workers. If the series was simply ‘car crash voyeurism’ the focus would have been on the victims and the final cut would undoubtedly have featured gruesome close-ups of the carnage. As it was, we chose to focus on the stories of the police, ambulance and fire workers who were called to the crash.

F

or the past 41 years I have been totally committed to making fine television that, in the old terms, “informs, educates and entertains”. This could also be expressed as taking us to places we have not been before, giving us insight and greater understanding, and providing that information in a way that makes us want to watch it and come back to it next week.

I believe Emergency Heroes succeeded on every count of informing,

educating and entertaining. While the outcome of the night Waka filmed was undeniably sad, I believe it was “great television” because it captured in stark reality what our emergency services are coping with every night while we are safe in our homes. The risks, the rewards, the tragedies, the triumphs. While it was shocking to all who filmed it, these professionals endure similar scenes most nights of the year. Through filming and broadcasting this story we, and the public, learnt what it really requires to keep our streets safe.

In an industry the size of ours, it is imperative we can work interchangeably within different genres and mediums. This allows us to all learn from each other and gain invaluable experience. And, at the end of the day, having the flexibility to work in different areas allows us all to make a living.

But I am constantly saddened when one area is deemed more important or valuable than another.

I am proud of what we have all achieved with our productions – be they television, feature films, commercials or corporates. We all play our part and provide rich experiences and resources for each other and the public.

I hope that Waka’s Emergency Heroes experience helped him in his quest to bring his feature film characters to life. After all, it is real human tragedy and experience that usually inspires the greatest fiction.

A legal vie w Royalties and profit share Although the high-risk nature of the screen industry can make the prospect of genuine profit from a project seem a distant possibility, there are still issues that should be considered regarding any eventual financial return. David McLaughlin explains.

I

n the screen industry, payment for services or the use of intellectual property generally takes two forms: either a specific fee or an entitlement to share in certain future income.

This second method is normally described as either a profit share or an entitlement to royalties. Whereas a specific fee is very certain, a profit share or royalty is completely dependent on exactly what is agreed by the parties involved.

The first thing that both the paying and receiving parties need to come to an understanding on, with regards to royalties and profit share, is the income on which the payment will be calculated – there is a huge difference, for example, between gross profit (ie, the revenue before any costs have been deducted) and net profit (ie, after all costs have been deducted).

Although the difference between gross profit and net profit may be quite an obvious distinction to spot, you should never assume that what such terms mean in a contract is the same as in everyday usage. This is because the meaning of a commonly understood term can actually be altered in a contract – the term ‘gross profit’, for example, may be redefined in a contract to mean all income before the deduction of only certain costs, rather than all costs, so that the total income on which the payment in question is to be calculated is less than what may otherwise be expected.

As such, it is crucial to give your undivided attention to any related definitions the other party wants to

include in the contract, regardless of whether you are paying or receiving a royalty or profit share. As it is also not uncommon in the screen industry for one party’s profit share to be based on the profit share another party receives (a percentage of the producer’s net profit, for example), you also have to be very careful to clarify whether the way in which this precise type of profit is calculated will be subject to any further definition.

Although a lot of time is usually spent negotiating the actual profit share or royalty, many people often overlook the detail in terms of exactly how such a payment should be made.

A contract that fails to adequately address this issue – particularly when the paying and receiving parties have differing, though honestly held, expectations – is the fastest way to turn an otherwise positive relationship into a legal battleground. For both parties’ protection, a contract should clearly state the dates on which particular payments are going to be calculated and then the subsequent period within which these payments will be made.

Even if apparently clear descriptions are provided – that payments are to be made ‘quarterly’ or ‘six monthly’, for example – you should still clarify exactly which months these payment cycles relate to.

It is also a good idea to ensure that an appropriately detailed royalty statement or set of accounts will be provided so that the receiving party can be absolutely clear about how any money due to them has been calculated. This will help keep the relationship transparent, which

A contract that fails to adequately address exactly how such a payment should be made is the fastest way to turn an otherwise positive relationship into a legal battleground. benefits both parties. If you are the recipient you should also push to receive these statements or accounts even when no actual money is due to you on any given payment date.

The reason this is important is that such ongoing information will allow you to monitor how the project is progressing financially and whether there are any obvious issues with the accounting that need to be raised with the paying party.

Another issue that should always be considered is what type of rights the receiving party will have – to confirm that what they are being paid is accurate. This is most commonly dealt with by providing for a right of audit over the paying party’s accounts. These audit terms need to be balanced in a fair way to ensure that, while the receiving party has adequate access to the paying party’s records, the receiving party can only audit on certain terms that do not overly inconvenience the paying party. It is quite common, for example, that accounts for any particular

period can only be audited once and then only within a certain timeframe.

Although the initial costs of an audit will be the responsibility of the receiving party, it is also common to provide for some of the audit costs to be reimbursed by the paying party if the audit actually discovers a certain level of underpayment.

• David McLaughlin (david@mclaughlinlaw. co.nz) is the principal of McLaughlin Law (www.mclaughlinlaw.co.nz).

• Disclaimer: This article is intended to provide a general outline of the law on the subject matter. Further professional advice should be sought before any action is taken in relation to the matters described in the article.

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

www.onfilm.co.nz

september 2010

9

t r o h s e i d In

Earning his stripes Nicholas Henwood (pictured) talks about earning his first producer credit by making $8000 short Where Dad Walked with writer/director David Coyle.

And Where Dad Walked is your first producer credit?

Yes. The great thing about shooting Where Dad Walked was that, for many people involved (including myself), it provided that crucial opportunity to gain professional experience. Before Where Dad Walked, I had been making shorts for years. But they never gave me ‘professional’ experience. The urge to take that step up is what provided the impetus for Where Dad Walked.

At what point did you get involved with the project?

I came on board after the NZ Film Commission’s Short Film Fund turned it down. I was actually at the beach with David when he got the news. It didn’t take us long to realise that making this film ourselves was a real possibility.

Was the $8000 budget as much as you were able to raise or was this the amount you set out to raise as a result of working out the tightest possible cost structure?

It was a bit of both actually. We started with a budget that set the benchmark of what we needed to raise. But it was refined on various occasions so as to reflect the amount we could realistically raise in the time period we had.

Around $3000 came from crowdsourced funding where we sold executive producer credits for $500, and associate producer credits for $100. $2000 came from the Wellington City Council’s Creative Communities Scheme. And David and I added about $3000 between us.

How did you go about casting and crewing the short, given you had no budget with which to pay people?

Our principal actor, Matthew Sunderland, knew David through the short film Poppy [a CGI animated short Coyle wrote]. And most of our crew were people that either David or I had worked with in the past, or people that 10

september 2010

Photo: Rachel Brandon

What film and television-related training and education have you done?

I’ve never had any formal film or television training. I have, however, spent the past four years completing a law degree at Victoria University. Whilst this isn’t a conventional training path to take, it has proved to be a great complement to the skills required of a producer.

We are sending the film to festivals.

Hopefully it will have a world premiere internationally, before returning to New Zealand in 2011.

How useful do you think having this short under your belt will be?

I feel it’s been a good stepping stone in helping me begin my career in film.

The knowledge I’ve gained, and the people I’ve met and had the pleasure of working with, have made this experience worth more than I originally could have hoped for.

were recommended to us. The only instance in which we cast our net wider was in finding our child actor, Paul McDonald. For that, we held auditions with the help of a casting agent.

Our pitch to people was fairly simple. A lot of it revolved around people liking the story we wanted to tell.

But what I still find incredible is the amount of support we got.

Based on this experience, do you think $8000 is the absolute floor in terms of budgets for making a short film of this nature?

I think it depends on a lot of factors, particularly the standard of equipment you choose to use. For example, it would have lowered the budget even further if we’d chosen to have a less kitted-out camera (we used a Canon 5D and Carl Zeiss lenses).

What were your biggest challenges as producer leading up to the shoot?

The biggest challenges in pre-production involved practical issues. We only had two days to shoot. We had no rain cover. And by law, we could only shoot eight hours a day with our child actor.

Making an effective shooting schedule in these circumstances was daunting.

On the other hand, I really enjoy pre-production. The anticipation of the forthcoming shoot creates a great adrenalin rush.

It was a period that took about two-and-a-half months, beginning as a part time job and ending up with me working overtime in the last couple of weeks.

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How was the shoot?

Fortunately, it was a breeze. What I enjoyed most was actually getting to stand back for once and watch the film come to life.

Did relying on people’s goodwill demand things of you that wouldn’t have been the case if you were paying people?

Definitely. I realised this would be the case from very early on. I made it a mission to have the filmmaking experience be pleasurable. In fact, this was something that both David and I strived for. When relying on people’s goodwill, the least you can do is ensure that everybody has a good time.

Were you still able to enjoy the process during post production, or had it become something of a joyless grind by this stage?

I think with any film in post production, losing sight of the light at the end of the tunnel is a big issue. So keeping momentum going is important. As long as the momentum kept going, the process was still enjoyable. What was particularly enjoyable was seeing new cuts every week or so. It was refreshing.

How do you feel about the finished film?

I’m really pleased with the character of the film. It comes across as quite a unique – and somewhat quirky – perspective on a serious issue. Initially a lot of us were a little saddened by some of the scenes that needed cutting. But these things have to happen.

Would you be prepared to make another film under these kinds of restrictions, and would you recommend this approach to others?

If I really love a script, I may shoot another film in the same manner. But I’m really hoping to make a funded project next!

I’d most certainly recommend it to others, particularly those who don’t want to let go of an idea and want to see it translated onto the screen. It’s not that difficult a process. It just involves passion, and letting others share that same passion alongside you.

How many times do you reckon it’s possible and/or appropriate to make a film without sufficient budget to pay people for their services?

This is something which I’ve thought about many times since we wrapped shooting on Where Dad Walked. I perceive this industry to have a very generous and supportive attitude towards the making of short films, which I am truly grateful for. But outside of short films, people deserve to be paid. There comes a point when it’s time to give back.

What film projects are you currently working on?

I’m currently attached as a line producer to a team on Escalator, the NZFC’s $250,000 low-budget features.

I’m also working with a writer on a new short film we are hoping to have funded through the Commission’s Fresh Shorts scheme.

I am set on following the path of film producing. It is where my energy resides, and I want to see where it takes me.

• Find out more via Where Dad Walks’ Facebook page.

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w e i v r e t In

Matthew Weiner, the creator of Mad Men, was the undoubted star of last year’s SPADA Conference.

In anticipation of this year’s conference and the show’s fourth season finally screening on Prime, here’s a previously unpublished interview with Weiner by Jane Warren.

You were a staff writer on the fifth and sixth seasons of The Sopranos. Did you take some of the practice from that writing room to Mad Men? Yeah. One of the most important things I took is that I try to come in at the beginning of the season with how I want it to end. And with the story arcs for each of the main characters, not beat out specifically into stories, but certainly with a general beginning, middle and end for where they’re going to be. And I stick to them.

So how much of [lead character] Don Draper’s back story had you worked out when writing the pilot episode?

This is a story I’ve told before, but I think it’s encouraging for people to know. I worked on a spec feature script that was basically the story of someone who was going on a certain trajectory in the 20th century in America, and about this generation that was born in the Great Depression. It was called The Horseshoe and it had a kind of [The World According to] Garp feeling about it; it was about someone sort of falling through life in a series of coincidences and twists and turns. I got to page 80 and abandoned it.

Then about three or four years later I started writing the Mad Men pilot, after

12

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researching it for two years in my spare time. Basically this was in my “hopeful time” – whenever I wasn’t at work I was like, “I’ve gotta do something, I’ve gotta do something.”

I had a very good writing job on network TV at the time – I’d been working for six years before I wrote it, making a living in a job that only 300 people in the United States have. It was a very strange thing to be unsatisfied with that, but I was. I just wanted my own thing.

So anyway, I wrote the pilot and then two years later I’m on The Sopranos and a year after that [cable television channel] AMC executives see the script and they say, “We’re going to do 13 episodes, so what’s the story? What happens with this guy after this pilot, where do you see it going?” And I said, “I will get right back to you.”

And I set a meeting for three months later, I set a date on the calendar – I was writing on The Sopranos at the same time, which was a very time-consuming job – and I went home and got all my notes and everything, and as I was going through them I found this script, and I said, “Oh my god, this guy is Don Draper; I’ve been writing the same story for 10 years; I can’t deny it.”

I won’t tell you everything because I still use pieces of the script, but it ended

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with an amazing scene, which was Don going to his own funeral, having switched identities with this dead man.

The details all changed but that’s basically what it was, it was that Tom Sawyer moment of going to your own funeral.

When I told the network executives the story, by the end of the lunch they were like “Holy shit, oh my god, that’s great!” It was so organic, I wasn’t grasping at straws, I wasn’t looking for something to fill it out, it was literally like, “Oh course, this is the story I’ve been telling; this is the Gatsby part of it; that’s who this man is.”

And it’s in a long tradition, as I knew when I was writing the screenplay – it’s an American character, you know, I’m not the first person to do it. This guy who is a self-invented person – there’s lots of real ones and lots of fictional ones. So that’s where the back story came from, and I have a lot of it worked out.

I do feel there is an organic reality to it and, even if it’s preposterous on some level to people, they know it’s been like that since the first day of the show. The only thing I added to the pilot after I told them the story three years later was the thing about Don taking the Purple Heart out of his desk and then, when he goes and lies down on his couch, you hear bombs going off as he’s closing

his eyes – that was it. So people realised from the first episode that this is part of his life…

It’s why you love something like The Sopranos or The Simpsons, where there is a complete universe. There’s almost a comfort to the expectation that if Don punches a character in the face, or whatever, that the next time you see that guy, he might remember that Don punched him in the face. Right? I try to use that all the time. And also, half the plot is that these characters are actually impacted by the events that happen to them. Instead of that old TV thing, where nobody grows, nobody learns anything.

This kind of novelistic approach is a fairly new development for TV, and back story is a big part of it.

Absolutely. When I was writing for David [Chase on The Sopranos] I had this scene I had to write where Adriana, Christopher Moltisanti’s girlfriend/fiancé, had already been confronted by the Feds and she was supposed to have some conversation with this Federal agent, who was supposed to tell the story of why she’d got into the FBI. And that’s all that was in the outline. And so I had to make it up and it had to sound organic and they had to talk about it like it was really true. And honestly, on most shows they

would never do it. It’d be like, “Look, this is what Feds do – we’re watching out for this, we’re watching out for that.”

What an opportunity for the audience to get into a deeper place, even with an antagonist…

I know for a fact that if I had sold that pilot and gone into making Mad Men instead of getting a job on The Sopranos, the series would not be even close to as good as it is. I was so much better after watching David work and writing for him.

I mean, I wrote the pilot beforehand – I was good, I knew the voice of the show, I understood it – but the idea of sustaining a story and working out those things? Honestly, I said to David Chase at the end of my time working for him, “I’m terrified ’cos I’m going to have to be doing the story.” Anyone who works in television knows that it’s the last thing to come – there are very few people who come in and are great at story. They can be good at dialogue, they can be good at character, they can be good at writing certain kinds of drafts. I was very good at jokes right away.

Are structure and story closely linked for you, or is it more character-based?

I think the story is character-based and the story is event-based, and the structure is something that you just biologically understand.

Does it take time because TV structure is such a specific thing, because you have to work towards the breaks as well?

Oh, I don’t do that at all, I just do it straight, I do it just like we did it on The Sopranos. I’d never seen a one-hour script before I wrote the Mad Men pilot, I had no idea. No, I wrote it like a onehour movie.

I definitely think that the structure part of it is something you will hopefully biologically absorb from things that you like. I learnt a mechanical version of structure at film school, from watching Billy Wilder movies and having it explained to me by a great film professor…

Well, anyway, at the end of The Sopranos I said to David I was terrified about doing story and he said, “Oh, you’re really good at that.” And I was like, “I am?!?” And I loved the idea that what intrinsically felt to me like story was

right and validated. And lemme tell you, there are very few of the Mad Men scripts that follow any structural formula. But there’s catharsis and there’s satisfaction and there’s all those elements to it and I just try and do it from my gut.

Do you think what you’d previously learnt underpinned that gut feeling?

Oh yeah, you develop that. Everybody kept telling me, “Use your gut, use your stomach, you’ll know if it’s right.” And I’m telling you, for the first six months of being the show runner on Mad Men, I had one of the worst stomach aches I’ve ever had in my life and I kept thinking, like, “They kept telling me ‘trust your gut, trust your gut’ and my gut can’t handle it!” [laughs] I lost like 25 pounds, oh my god, it was terrifying – I was literally walking around saying, out loud, to my staff, “I don’t wanna fail!”

It wasn’t a fear of losing my job, I just didn’t want to be embarrassed, and I didn’t want to fail because I realised what an opportunity it was.

The style of the show is so intrinsic to it; could you see it in the script?

On the pilot I had a great production designer, I had a great cinematographer, I had a great director, I was able to cast everyone that I wanted to. I walked on to that set the first day and I was literally overcome with emotion. It was exactly – exactly – what I thought it would be. In fact, it was better. I can’t even explain to you the psychotic moment of seeing something you had imagined represented in three dimensions. The first time I saw Elisabeth Moss and Jon Hamm in that scene in the pilot where she puts her hand on his, I was just, like, “I can’t believe I’m living through this.”

To see it all come together like that in a collaborative environment, with so many people working to their top, and so many people making their personal contributions – it was one of the greatest joys in the world.

• Early bird tickets for the SPADA conference – 11-12 November – are on sale now (www. spada.co.nz).

• Season 4 of Mad Men will screen on Prime before year’s end.

• Jane Warren runs script writers’ agency Scriptease (www.scriptease.info)

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13

Awards 2010 Awards 2010 Awards 2010 Awar Awards 2010 Awards 2 s Awards 2010 d r a w A n o i s i v e l e ilm & TAwards 2009 tas FAwards n a Q 2010 Awards2 2010 Awards 2010 Awards TV finalists

The big winner in the general television category in terms of the number of trophies won was Great Southern Television’s The Cult, which took out six of the nine categories it was nominated in.

Award winners are indicated by the

TELEVISION NEWS AND CURRENT AFFAIRS Qantas Best News 3 News, TV3 One News, TV One Tonight, TV One

Best Current Affairs Series Campbell Live (TV3) Sunday (TV One) Willie Jackson’s NewsBites (Ma¯ori Television)

Hilary Barry, Mike McRoberts – 3 News, Aisling Symes John Campbell – Campbell Live, Tsunami Aftermath (TV3) Carly Flynn – Sunrise, Samoa Tsunami (TV3)

Best News Editing

John Hudson, Jane Skinner – Sunday, Child Brides (TV One) Karen McCarthy, Charlotte Purdy – 60 Minutes, Homocide (TV3) Janet McIntyre, Joanne Mitchell – Sunday, Discourse with a Dictator

Best Current Affairs Reporting for a daily programme Corinne Ambler – Close Up, Dwarf (TV One) Brook Sabin – Campbell Live, Darryl’s Recovery Natasha Utting – Campbell Live, Fraudster

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september 2010

Best Maori Language Programme in association with Te Taurawhiri i te Reo Maori and Te Mangai Paho AKO – Jeni–Leigh Walker, Pania Papa (Ma¯ori Television) E Tu Kahikatea – Maramena Roderick, TeNoni (Ma¯ori Television) Moteatea – Hinewehi Mohi (Ma¯ori Television)

Qantas Cure Kids Best Children’s/Youth Programme

Best Current Affairs Camera

Journalist of the Year

Best Current Affairs Reporting for a weekly programme or one off current affairs special

Master Chef New Zealand Series – Bettina Hollings, Darryl McEwen, Imagination Television (TV One) One Land – Greg Heathcote, Bailey Mackey, Eyeworks New Zealand (TV One) The Apprentice – Glenn Sims, Philip Smith, Great Southern Television (TV2)

Best Information/ Lifestyle Programme

Paul Hobbs – One News, TSU Funerals Lisa Owen – One News, Baker Hostage Rebecca Wright – 3 News, Drink Drive Fly Paul Hobbs, One News, TSU Funerals

7 Days – Jon Bridges, thedownlowconcept (TV3) The Jaquie Brown Diaries – Matt McPhail, Jaquie Brown, Gerard Johnstone, Young, Gifted & Brown (TV3) Pulp Sport – Jamie Linehan, Ben Boyce, Shonky Productions (TV3)

Michael Lacoste – 3 News, Maubisse, Haiti and Bangkok Steve Lawton – One News, Birds Daniel O’Sullivan – One News, Ice Energy

Martin Anderson – 20/20, Lost and Found (TV2) Ken Dorman – Sunday, Brave Choice Belinda Walshe – 60 Minutes, Braking Point Belinda Walshe – 60 Minutes, Drug Runner

Best News Reporting

Best Constructed Reality Series

Let’s Get Inventin’ – Luke Nola and Friends (TV2) Kaitangata Twitch – Christopher Hampson, Production Shed TV (Ma¯ori Television) Reservoir Hill – KHF Media (TV2)

Best News Camera

Best News or Current Affairs Presenter

Best Comedy Programme or Comedy Series

Kirsten Bolam – One News, Cavalcade Andrew Gibb – Breakfast, Spelling Bee (TV One) Paul Sparkes – One News, Opshop

Best Current Affairs Editing Andrew Gibb – Close Up, Apprentice Catherine Hallinan – Campbell Live, Darryl Vicky Harker – Sunday, Born to Dance

GENERAL TELEVISION Images & Sound Best Drama Programme The Cult – Great Southern Television (TV2) Go Girls – South Pacific Pictures (TV3) Outrageous Fortune – South Pacific Pictures (TV3)

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Fair Go – Graeme Muir, TVNZ (TV One) Radar’s Patch – Jane Andrews, JAM TV (TV One) South – Melanie Rakena, Marcus Lush, JAM TV (TV One)

Best Entertainment Programme Good Morning Sir Howard Morrison Special – Sally-Anne Kerr, TVNZ (TV One) Homai Te Pakipaki – Erina Tamepo (Ma¯ori Television) The Topp Twins & The APO – Diva Productions, Satellite Media (TV3)

Kordia Group Ltd Best Sports Broadcast Heineken Open Tennis Final 2010 – Steve Jamieson, TVNZ (TV One) International Netball Series 2009 – Barbara Mitchell, TVNZ (TV One) V8 Supercars Hamilton 400 – Nigel Carpenter, TV3 (TV3)

Best Observational Reality Series Intrepid Journeys – Dean Cornish, JAM TV (TV One) Neighbours At War – Sarah Kinniburgh, Greenstone Pictures (TV2) Piha Rescue – Eric Derks, South Pacific Video Productions (TV One)

Best Performance by an Actress Danielle Cormack – The Cult Kate Elliott – The Cult Siobhan Marshall – Outrageous Fortune

Best Performance by a Supporting Actress Lisa Chappell – The Cult Chelsie Preston Crayford – The Cult Miriama Smith – Kaitangata Twitch

Best Performance by an Actor Latham Gaines – The Cult George Henare – Kaitangata Twitch Kirk Torrance – Outrageous Fortune

Best Performance by a Supporting Actor Grant Bowler – Outrageous Fortune Matt Whelan – Go Girls Scott Wills – The Cult

Best Presenter Entertainment/Factual Programme Petra Bagust – What’s Really In Our Food?, Top Shelf Productions Limited (TV3) Marcus Lush – South Te Radar – Radar’s Patch

Best Script – Drama/ Comedy Programme Michael Bennett – Kaitangata Twitch James Griffin – Outrageous Fortune Rachel Lang – Go Girls

Images & Sound Best Director – Drama/Comedy Programme Peter Burger – Go Girls Gerard Johnstone – The Jaquie Brown Diaries David Stubbs, Thomas Robins – Reservoir Hill

Best Director – Factual/Entertainment Programme Jane Andrews – Radar’s Patch Melanie Rakena – South Belinda Simpson – Intrepid Journeys

rds 2010 2010 Awards 2010 Aw Awards Awards 2010 AwZds 2 Awards 2010 2010 S R E N N I W Awards 2010 & S T S I L A N I F Awards 2010 Awards s2010 2010 Awards 2010 Awards 2010 TV finalists

TV finalists

Kordia Best Multi Camera Direction

Best Contribution to Design

Steve Jamieson – Heineken Open Tennis Final 2010, TVNZ (TV One) Steve Jamieson – Takapuna Sprint Triathlon, TVNZ (TV One) Barbara Mitchell – International Netball Series 2009, TVNZ (TV One)

David Cooke – The Cult Katrina Hodge – Outrageous Fortune Sarah Voon – Go Girls

Best Cinematography – Drama/Comedy Programme

NZ On Air Best Popular Documentary

David Paul – Kaitangata Twitch Simon Reira – The Cult Marty Smith – Outrageous Fortune

Images & Sound Best Editing – Drama/Comedy Programme

Lost in Wonderland – Costa Botes, Lone Pine Film Donated to Science – Paul Trotman, PRNfilms (TV3) The Worst Offenders – Virginia Wright, Southern Screen Productions (TV One)

Eric de Beus – The Cult Bryan Shaw – Outrageous Fortune Mark Taylor – Go Girls

Best Arts/Festival/ Feature Documentary

Best Original Music Gareth Farr – Kaitangata Twitch Eden Mulholland – World Kitchen, Zoomslide Media (TV3) Rhian Sheehan – The Cult

Best Sound Design Tom Miskin, James Hayday, Steve Finnigan – Kaitangata Twitch Steve Finnigan, Tom Miskin, Mike Bayliss – Go Girls Carl Smith, Steve Finnigan, Mike Bayliss – Outrageous Fortune

Best Production Design Clayton Ercolano – Outrageous Fortune Gary Mackay – Kaitangata Twitch Gary Mackay – Go Girls

DOCUMENTARY

There Once was an Island: Te Henua e Nnoho – Lyn Collie, Briar March, On the Level Productions This Way of Life – Sumner Burstyn, Cloud South Films The Unnatural History of the Kakapo – Scott Mouat, ELWIN Productions

Best Director – Documentary Thomas Burstyn – This Way of Life Tearepa Kahi – The Flight of Te Hookioi, Monsoon Pictures International (Ma¯ori Television) Robin Shingleton – The Truth About Us, Project Melting Pot (TV One)

Best Cinematography – Documentary/ Factual Programme Thomas Burstyn – This Way of Life Briar March – There Once was an Island: Te Henua e Nnoho Marty Williams, Costa Botes, Gareth Moon, Zoe McIntosh – Lost in Wonderland

Best Editing – Documentary/ Factual Programme Prisca Bouchet, Briar March – There Once was an Island: Te Henua e Nnoho Cushla Dillion – This Way of Life Ken Sparks – The Worst Offenders

FEATURE FILM

Record-breaking box office hit Boy dominated the feature film category, taking home seven awards, having been nominated in 12 categories.

Qantas Best Feature Film

Best Director

Boy – Ainsley Gardiner, Whenua Films Home by Christmas – Gaylene Preston, Sue Rogers, Nigel Hutchinson, Doublehead Films Under the Mountain – Richard Fletcher, Matthew Grainger, Jonathan King, Redhead Films

Gaylene Preston – Home by Christmas Stephen Sinclair – Russian Snark, Godzone Pictures Taika Waititi – Boy

42BELOW Best Lead Actor Tony Barry – Home by Christmas Stephen Papps – Russian Snark James Rolleston – Boy

We thought we’d give the sound guys top billing, just for this special occasion.

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15

Awards 2010 Awards 2010 Awards 2010 Awa Awards 2010 AwardsAwards on si vi le Te & lm Fi as nt Qa Awards 2010 Awards 2009 S R E N N I W & S T Awards 2010 Awards 2010 AwardsFI2010 NALIS Awards TV finalists

42BELOW Best Lead Actress Alison Bruce – Life’s a Riot, Riot Productions Vera Farmiga – The Vintner’s Luck, Ascension Film Elena Stejko – Russian Snark

Best Supporting Actor Te Aho Eketone-Whitu – Boy Sam Neill – Under the Mountain Taika Waititi – Boy

Best Supporting Actress Keisha Castle-Hughes – The Vintner’s Luck Tina Cleary – Home by Christmas Stephanie Tauevihi – Russian Snark

Best Screenplay Dean Parker – Life’s a Riot Gaylene Preston – Home by Christmas Taika Waititi – Boy

Best Cinematography

Best Editing

Best Costume Design

Best Performance

Chris Plummer – Boy Ken Sparks – Life’s a Riot Paul Sutorius – Home by Christmas

Leslie Burkes-Harding – Home by Christmas Amanda Neale – Boy Beatrix Pasztor – The Vintner’s Luck

Tuhoe Isaac – Day Trip Aaron McGregor – Choice Night, POP Film Josh Thomson – Only Son

Best Make–Up Design

Best Screenplay

Steve Boyle, Jane O’Kane – Under the Mountain Angela Mooar – Home by Christmas Dannelle Satherley – Boy

Sam Peacocke – Manurewa Paul Stanley Ward – Choice Ryan Hutchings, Jarrod Holt, Nigel McCulloch – Only Son

Best Visual Effects

Outstanding Technical Contribution

Best Original Music Lukasz Buda, Samuel Scott, Conrad Wedde – Boy Victoria Kelly – Under the Mountain David Long, Stephen Gallagher – Russian Snark

Images & Sound Best Sound Design Tim Prebble, Gethin Creagh, Gilbert Lake – Under the Mountain Tim Prebble, Ken Saville, Michael Hedges, Gethin Creagh – Home by Christmas Ken Saville, Tim Prebble, Chris Todd, Michael Hedges, Gilbert Lake – Boy

Best Production Design Ralph Davies – Under the Mountain Grant Major – The Vintner’s Luck Shayne Radford – Boy

Alun Bollinger – Home by Christmas Adam Clark – Boy Denis Lenoir – The Vintner’s Luck

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september 2010

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Charlie McClellan – Under the Mountain Park Road Post – Russian Snark George Ritchie – The Vintner’s Luck

SHORT FILM Best Short Film Day Trip – Zoe McIntosh, Lone Pine Film Manurewa – Sam Peacocke, Robber’s Dog Films Only Son – thedownlowconcept, thedownlowconcept

Robert Key – Roof Rattling, Robin Murphy Productions Ginny Loane – Redemption, Isola Productions Gareth Moon, Jodie Stack, Chris Ulutupu, Kate Logan – Day Trip

s

Interview

The natural history of Michael Stedman II So you came back to New Zealand in 1987 to be the executive producer of the Natural History Unit as well as director of production for TVNZ. How long did you have those dual roles?

Okay, Julian Mounter, who was chief executive of Television New Zealand at the time, had sort of done a sniff around the world, looking for people he regarded as capable who he thought he should bring back. And he had a chairman at that time, Brian Corban, who had developed a vision for television in this country, which I thought was quite remarkable. When I was asked if I would come back and be part of that, I said I’d only come back if I could pick up Natural History and grow it, because while I’d been gone it had slipped away.

They would have preferred if I’d gone to Auckland and done something else, but anyway.

So I’d been here about bloody six months and they asked if I’d take over as director of production. And I said no. Then there was a lot of argy bargy backwards and forwards, and I eventually said I’d do it for six months. Of course, six months then turned into two years and at some point I stopped being able to do both – I could just do the director of production. Natural History was being looked after by somebody else, and during that period it got into some pretty serious trouble – the unit had over-invested in some productions, so things were difficult and it was not facing a very good future. As a result, the then-chief executive Brent Harman – Julian Mountier had gone by then – was faced with the very difficult choice of either putting me back in there or closing it, because it really had got into a fair amount of old poo.

So Brent Harman asked me if I’d go back to Dunedin and I pointed out I’d never left, because I still lived here, and he said, “I’ll give you a year to see if you can fix it and turn it around.” And that was the beginning of the modern era of my involvement with this place.

So what did you have to do to turn things around? Was there some initial slash and burn necessary?

No, there wasn’t a lot of slash and burn.

At the time [late ’80s/early ’90s] there had been a huge round of redundancies at TVNZ, so there was a group of people in Dunedin – I think about 35 – all waiting to be made redundant when I arrived back, because they knew things weren’t in a good state. And the first meeting I had with them I said, “Look, we’re all in the same boat. We’ll either all survive or we’ll all go. There’ll be no more redundancies.”

You see, I had a huge belief in the talent that was in Dunedin and my job was really to create a climate in which that talent could prosper and people could start making films. And part of that involved finding markets internationally, because I knew that the domestic market was not sufficient to rely on for our survival. So I started a process of (a) lifting the quality of the films and (b) internationalising the unit, which meant going to markets and meeting people from National Geographic and starting dialogues with the Discovery Channel. It was a matter of starting the whole process of pushing out and looking beyond New Zealand.

I was given a year and it took that time to start getting some traction.

I’ve often talked about how there were three words that were really important during this period. One of them was ‘vision’, another was ‘belief’ and the third was ‘adaptability’.

I had a vision that this group of people in Dunedin could stand tall on a world stage. I really, really believed that. So the vision was standing on the stage and the second thing was the belief they had the talent to do it. Belief’s really important, because without it the going gets a bit tough.

If you don’t have belief, you’re going to fail. I’ve talked about it as being like climbing a mountain – if you believe you can get to the top, you will, even if it can be bloody difficult and at times you wonder how the hell you’re going to make the next step. But if you doubt you’re going to get to the top, you’re probably going to fall off. So belief is really, really important – unshakable belief in the talent here. And when I say “here” I’m talking about Dunedin and New Zealand.

And the third was adaptability.

There had been the traditional way of approaching wildlife documentaries, but the world started to change and we had to change with it. And that’s been one of the hallmarks of this company from then until the present day – that ability to constantly adapt to a changing world market.

There was adaptability in terms of the approach to making films but also in terms of the people inside the organisation. For example, I remember when Neil Harraway, who has been here since day one, was the producer of a documentary about Antarctica called Under the Ice, he learnt to dive so he could go down with the underwater cameramen and do the lighting.

So there’s that adaptability in how we work. You know, I expected people to be multi-skilled and to lead and to lean into anything that was needed at the time.

In the early ’90s, as I recall, you realised that the global market for natural history programming was peaking and you needed to diversify the company’s portfolio.

Yeah. I remember going to some of the international natural history events and being stunned at the amount of money that was floating around and the amount of production that was going on. People could not get enough wildlife – it was extraordinary.

And we were right down the bottom of that foodchain – in the UK we were treated with mild amusement. They were very condescending, the Poms, about the idea that someone from New Zealand wanted to have a go internationally. Which was actually quite good, because there’s nothing like a bit of condescension to put fuel in your bloody system.

So we got a bit of that action but I remember thinking, “This could change, and we’re a one-trick pony. If people wake up one morning and decide they don’t want anymore wildlife in their schedules, we’re stuffed!”

That’s where that thing about adaptability comes into play. We looked at what our core skills were and we knew

Photo: Vicki Jayne

In this instalment of our interview with Michael Stedman, CEO of NHNZ and 2009’s SPADA/Onfilm Industry Champion, he talks about navigating the company through a concurrent change in its primary market and its ownership.

Natural habitat: The iconic façade of Dunedin’s 8 Dowling Street, the home of the Natural History Unit and then NHNZ for three decades, until the company outgrew the premises last year.

we didn’t have many of them. One of them was the ability to film in very specialised places – you know, we could film animals at the tops of mountains, we could film underwater, we could film inside sharks and record in vitro cannibalism; we could film in just about any place on earth and in any situation.

So the question was, “Okay, what else uses that?” “Well, adventure. Travel.

Science.” “Right. What else are we good at?” “Oh, we’re good at interpreting science.” And the third thing was, we could tell stories. So when you take those things and put them together, it’s “Okay, we can do science shows, we can do medical shows, we can do history shows, we can do travel shows.”

So we started broadening out the base, and we were one of the first companies in the world to see that shift and do it. And, as we thought it might, the

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Continued on page 18 september 2010

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Interview The natural history of Michael Stedman II Continued from page 17

natural history market did contract; it contracted significantly and many of the condescending English companies that had been so amused at our attempt to have a go on the world stage disappeared; some of the big companies in the UK and in the United States couldn’t adapt and collapsed.

Meanwhile, we had adapted and we continued to grow. Natural history declined and then later re-emerged but in a different form. The voice-of-god, David Attenborough-style documentary, which had been pretty much the standard film that everybody wanted to make, became less popular in the United States and a far wider range of approaches to storytelling was developed as a result. The Discovery Channel, which spearheaded a lot of this, realised there was not just one natural history market, there were many. So you started making shows for kids, and you made shows for males of a certain age, and females of a certain age, and so on. There were lots and lots and lots of different markets.

And in the midst of all these seismic shifts, you went through a change of ownership as well, which was something you actively sought. I remember you saying you were effectively on a street corner showing a bit of leg for quite some time before you were able to close a deal.

Well, going back to the conversations with the then-board of TVNZ [as recounted in the previous issue – Ed], there were three choices: close it, which they didn’t really want to do because it would’ve been a public relations nightmare; fund it, but they didn’t want to do that either, because they didn’t believe in it; leaving selling it as the only logical thing to do.

Now we shot off around the world – Graeme Wilson was involved in the process – showed a bit of leg and had interest in buying the Natural History Unit expressed by quite a lot of keen people. But the then-board of TVNZ was absolutely paranoid about the government’s reaction to selling off a piece of what was regarded as the jewel in the crown. Of course, we’d actually already sorted it out with the pollies via the backdoor – they were pretty comfortable with it; basically they couldn’t give a bugger as long as the idea was sold to the public in a way that was palatable.

So after messing around for bloody 18 months, it was finally sold.

It was sold to Fox, which wasn’t TVNZ’s first choice; it was our first choice. I was not going to have a bar of being sold off to the highest bidder, necessarily, just because it was good for TVNZ. We’d been done over by TVNZ and didn’t owe them any favours, and 18

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my job was to look after the best interests of the people who worked here, and to look to the future. Fox was the biggest bus going past the door and if you’re going for a ride, get on the biggest one. [laughs] To which there was the inevitable kneejerk reaction, Rupert Murdoch being widely considered to be the devil incarnate. Did that attitude last very long?

No, not very long. Look, I think over the years Murdoch has had a lot more bad press than he actually deserves, and a lot of it’s been by bitter English journalists who he sorted many, many years ago. [laughs] People were surprised, I think, at the Fox/News Corp connection but there were people inside Fox who we had known for a very long time and were good people.

And I gotta say the difference between working for Fox and working for TVNZ was like night and day. The board of TVNZ knew nothing really about the industry and therefore didn’t and wouldn’t make decisions. Whereas the people we reported to when we went to Fox absolutely understood the industry, they were the industry, and so the decisions we got were extraordinarily fast and we were just told to get on with it. The handbrake of mindless bureaucracy was gone.

I remember a time when we had the desperate need for some money to be spent on the place. To make capital expenditure under TVNZ, we had to write these bloody papers for the board – the papers would go up and the board would come back: “We want more information.” So we’d have to provide more information and send it to the next board meeting, and they’d come back, “Oh we need more detailed information.” “Yeah, well, how much information do you want on a camera, for god’s sake?” Their requests for detailed information were a way of not making decisions. So we went for years without anything, we were still working with equipment that anywhere else in the world was in museums, it was that archaic. Then we became part of Fox and capital expenditure was approved in a matter of weeks. And we were given an immense amount of freedom, just to get on and grow the company. It was just chalk and cheese.

Would I be right in thinking that what you find comfortable and rewarding about your relationship with NHNZ’s parent company is reflective of your approach to managing the people under you, in that you hire people you feel are capable, give them all the resource as you can and then get out of their way as much as possible?

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The Poms were amused that someone from New Zealand wanted to have a go internationally. Which was actually quite good, because there’s nothing like a bit of condescension to put fuel in your bloody system.

Yeah, look, I don’t know what I’m like to work for, actually, because no-one will be honest with me. [laughs] They all come in tugging their forelocks and going “Yes sir”, “No sir.”

Actually, there was something I once read years ago that really resonated with me: “Management are a resource of those managed.” My job as I saw it – and still see it – was to create the best possible environment I could – and can – in order for people to make terrific films. That’s really my job. It’s pretty simple in that sense, and I think if you take that approach, then you’ll probably do okay.

I presume your ability to manage both the company as a whole and the individuals within it is greatly helped by the fact that you have a great deal of experience actually doing the work yourself? Because it does strike me that the idea that managers can just apply the same management template to any old company, regardless of what its business is, is one of the maladies of modern management.

Yeah, I think that, especially in the early days, the fact I was not only running the company but was also the executive producer of everything that went through the place really helped. I think it would have been much, much harder had I not had a reasonable amount of experience in production.

That said, I think we’ve got to be a wee bit careful that we don’t pretend television is some sort of magical industry that only people with great insight and understanding can manage. I say to the people here, “At the end of the day, we’re manufacturers, we’re manufacturing stories.”

I think why we have succeeded where many other companies have failed is that right from the beginning we built an incredibly strong business foundation. So we had moved past that sense of a creative hobby wonderland to a place where the bottomline was important, budgets were important, delivery quality was important. One of our mantras is “On time, on budget and always better than the client expects.”

It is an industry, and in that sense good management is important. The fact that I also had skills in production was

immensely helpful but I do think some of the things that drive me forward in terms of management style are universal. It’s about respect, it’s about giving people freedom; there’s a whole lot of things that would apply to any industry.

You know what I mean?

Yeah, “do unto others” seems to underlie a lot of good management practice.

That’s right. You pick up little nuggets through life that, when you look back, are quite significant. I remember when I was a producer, the then-station manager said, “You know, you can say anything to anybody about their performance, as long as you leave them with their self-respect.” And I always remembered that, it was one of those little gems. It was about respecting others, and self-respect, and it was about helping people succeed as opposed to controlling people.

A couple of the other things were the ability to say no, and the ability to change your mind. So many managers will make the decision and that’s it.

Fred comes along the next day and says, “Hey look, I’ve discovered that…”

“I don’t care what you’ve discovered, I’ve made the decision!” You know, new information – why wouldn’t you look at it? So that ability to change your mind and also to acknowledge you’re wrong is important. That really comes down to honesty.

One of the things we did a lot of, especially in the early days when we were trying to ensure this place survived, was share all the information with staff.

Everybody knew how bad it was or how good it was, because where there’s a lack of information, mistrust grows; and where there’s mistrust, all sorts of conspiracy theories fester – if there’s a vacuum, people start filling it.

So from the very early days, everything was shared. Some people said, “Oh, you’re giving them a bit much information.” But where’s the line? And the other thing is, if you say to people, “Look, I’m going to share this with you but please respect that it’s in confidence,” they’ll respect that. I was never once let down. Ever. People respected the straight-forwardness and insight, and it never bit me in the bum.

Training & Educatio n

The tea test and other lessons Producer Glenn Elliott of ButoBase and director Simon Raby take time out from finishing science show Ever Wondered? to provide advice for people considering a career in the NZ screen industry.

Tell us your tea test anecdote, Simon – it’s always struck me a vivid illustration of what new entrants to the industry should know and expect.

Simon Raby: Okay. I was asked to teach at an initiative held at Devonport a long time ago now. Creative NZ was trying to help creative people get full time employment and this particular talk was about how to get into the film industry.

I think about 200 people turned out, and a lot of them were – well, the film industry tends to attract people who are optimistic, and there’s a certain kind of dreamer mentality that comes with people who think the industry is a glamorous, cool thing to get into. Of course, when you’re actually in the film industry you realise it’s just a whole lot of hard graft with not very much glamour at all.

So anyway at this talk I basically asked for a volunteer: “You want to be in the film industry? I’m looking for a volunteer.” No-one put their hand up.

“Is anyone going to volunteer?” Finally this one woman did put her hand up.

“Okay, great – what’s your name?” She said what her name was. “Great. You’ve learnt the first lesson about how to be in the film industry – put your bloody hand up!” [laughs] You know? If you don’t put your hand up, no-one’s going to know you’re there! Then I said, “Now that you’re standing up, here’s what you volunteered for. I want you to go into the kitchen and I want you to make me a cup of tea. I have it in this cup, which has to be pre-warmed before you put the water in; the water has to be boiling when it hits the cup; I have half a teaspoon of sugar and some milk, not trim.” She stood and looked at me stunned for a moment, and there were 200 people in the room looking at me like, “What the?”

Anyway, I said, “Off you go,” and so off she trots to the kitchen to make me a cup of tea. And I said to the rest of the room, all still sitting there in stunned silence, “Okay, who thought that was a demeaning act? Who thought that was a not very cool thing for me to do, to get her to make me a cup of tea?” And about half the room put their hand up.

Frank advice: Ever Wondered? director Simon Raby (left) and producer Glenn Elliott (right). Tune in next issue to find out more about the duck…

And I said, “Well, you better get used to it because it’s probably the first thing you’re ever going to be asked to do on a film set.”

Getting a newbie to make you a cup of tea serves a couple of functions. First of all, the tea itself will make you feel a bit better. But you’re also going to find out if that person can follow instructions via a harmless act that’s not going to have an impact on the film itself. Plus it’s also to see, is that person too proud to make a cup of tea? Are they humble enough to do a job they consider beneath themselves?

You see a lot of film students after they’ve graduated and their levels of arrogance are astounding, you know.

Youth is part of that – they have this big dream of, “I’ve got this great feature film in my head that I’ve dreamt about for two years while lying in bed and staring at the ceiling.” But having all those great, cool shots in your head means nothing at all – nothing about film etiquette, nothing about structure…

Glenn Elliott: Can I add my two cents worth to that?

Yeah.

SR: Yeah.

GE: you know, I’m in a slightly different position, being more on the production/producer side of it, but I agree 187% with that.

The whole tea analogy and following instructions, that’s a little bit different because that’s coming more from Simon’s coalface perspective on the film set, right? But from my perspective, right, all these people who think, “Oh, if only I can get the most perfect shot” or “If I’m the most genius at this or that”…

You know what? That’s important, but when I’m hiring a cameraman or director, that’s actually fucking taken for granted, that you’re going to be able to do that. You know what I’m saying?

The point being, you actually have to be somebody who will totally run around and sort out any kind of shit and be like, “Yes, how can I help? Yes, how can I solve that?” And do that without grunting or looking pissed off or “whatever”ing. Because the whole thing’s a bunfight, man, and you cannot work with somebody that’s disgruntled or grumpy, you know.

The people who have been “Yep, sure” are the people who I’ve actually supported for years and they’ve all gone on to do really good stuff.

SR: That’s true, the ones who make it through are the ones with the tenacity and the willpower and the ability to get on with it. Anyone who’s gone through like a decent film course understands that filmmaking is quite hard work.

Several friends of mine are finishing off their film degrees, and it seems like they’re really good courses – they’re put through their paces, they work bastard hours, they all help each other with their projects. I don’t think film schools are doing the wrong things at all, but I do think – largely because of the age group and the sense of glamour around the industry itself – some people come out with slightly incorrect idea about how easy it’s going to be to do the job.

GE: They think it’s all about being some kind of genius or idiot-savant or whatever, but actually it’s not. You know what? It’s actually about, “Do I want to work with this person? Is this person easy to work with?”

SR: That’s right, you do cast your crew, just like you cast actors: “Who is the person I can live with for three months on this show?”

GE: Yeah, like I said, if I’m hiring a cameraman, for instance, I assume they’re going to come back with wonderful shots. Otherwise, why the fuck have they put ‘cameraman’ on their bloody CV and sent it to me? You know? It’s more like, “Are they an arsehole?”

SR: And know your gear. When you do come on to a job, do you know how to use this piece of equipment? If you don’t, don’t bluff it. Never bluff it, because if you bluff it and screw it up…

GE: For god’s sake, spend a weekend practising! Come in and see me the week before you start.

SR: Say, “I don’t know how to use this camera, can I spend a few hours going over it?” “Yes, sure, here you are, take it away – here’s the instruction manual.”

Bluffing always gets you in the end.

GE: And by the way, if you do put your hand up like that, you’ve got the job and you’ll probably get the next one because you came in and stepped up, you know.

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Continued on page 21 september 2010

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& g n i n i a Tr n o i t a c Edu

Training scheming

As with the rest of its suggestions, the recommendations of the Review of the New Zealand Film Commission regarding training and professional development are subject to consultation and negotiation. By Peter Parnham.

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f the inhabitants of a parallel universe to our own decided to undertake a review of their Film Commission, it’s quite possible a couple of eminent, highly qualified people would be appointed to consult with all the relevant parties. They would mull over the information they gleaned and write a list of recommendations that would then be followed.

However, in the case of the Review of the New Zealand Film Commission, which authors Sir Peter Jackson and David Court delivered in June, things are not so simple. It doesn’t matter who wrote it, or how many people they consulted with, the suggestions it contains aren’t going to be automatically adopted – that’s just not the way things are done in this world of ours.

The Film Commission falls within the portfolio of the Minister for Arts, Culture and Heritage, Christopher Finlayson. While the Review is about the Film Commission, it was written for him and it would be pointless for the Commission to scurry up a blind alley with changes he didn’t like.

Graeme Mason, the Film Commission chief executive, explains. “For a lot of people the Review is going to be a starting off point. We, the guilds and other interested parties give feedback to the Ministry officials and they look at it. Some of it involves decisions that need to be made by Government and some of it is operational.

“With the operational stuff, I think the minister has said quite clearly he will leave that to us, once we have looked it through and talked to the industry.”

The training and professional development section – page 80 of the 82 page report – is a case in point.

According to Jackson and Court, training is “obviously crucial to the industry’s growth and development”, but it’s not something the Film Commission should be concerning itself with: “We believe the Commission is neither the best nor the logical home for this function. For the Commission it will always be a subsidiary function, and arguably a distraction from its core function of building a talent partnership with New Zealand film makers.

The Commission is too small an agency to carry out diverse, expert functions, without spreading itself too thin.”

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Instead, the authors suggest folding the training function into an existing organisation (without suggesting which one), or forming a new training entity and giving it a grant.

They also write that it would be logical to involve the industry guilds in exploring “alternative, possible homes for [the Commission’s] train-

$560,000 training allocation is routed through guilds and Script to Screen, a charitable trust that runs screen writing courses and programmes with the aim of developing “the craft and culture of storytelling for the screen” in NZ. As it happens, writers get special mention throughout the review – and

Jackson and Court suggest folding the Commission’s training function into an existing organisation, or forming a new training entity and giving it a grant. ing function”, and in the administration of whatever new training entity that is formed.

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ason – while being guarded about it before the minister makes his call – admits the administrative layer of a new body would eat into the actual training funds, while pointing out the Commission would need to oversee it in any case, just to keep an eye on the public money involved.

In any case, unless the minister sees it differently, the new training entity idea is not going to fly because the relevant industry guilds are against it.

A working party formed by the Screen Production and Development Association, The Screen Directors Guild, The Writers Guild, Nga Aho Whakaari, and Women in Film & Television has written to the minister in response to the Review, and one of their bullet points says a new entity is not the way to go.

These guilds have an interest in how all this turns out, because increased training and development funding could be channelled through their organisations. Already a chunk of the Commission’s

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its authors spell out why: “Our feature films are often let down by the quality of their scripts – it’s the industry’s weakest link.”

In the new world envisaged by Jackson and Court, the Film Commission’s job would be to spot those writers that have the screenwriting gene (they reckon it’s a talent you’re either born with, or not) and then nurture them.

“Film making skill is so rare, and screenwriting talent even rarer, that anyone showing signs of potential ability must be targeted and supported,” they write. “They should receive training, in the form of workshops, script courses and one-on-one tuition to either realise that potential, or move on.”

Evidently they think the Commission’s $560,000 training budget will not be enough for what they have in mind, because they suggest a training levy as well.

They calculate that a levy of 0.15 percent of production expenditure of films with budgets over $500,000 would have raised about $500,000 in the year 2007-2008 (presumably on the assumption of everyone paying).

This would give the Film Commission (or a new entity) a training budget at

$1 million or so, and in the year The Hobbit is shot, probably a lot more.

The guilds’ working party likes the idea, but isn’t so shy – its letter to the minister proposes a rate of 0.5 percent of production expenditure, a figure based on the UK industry levy. This would raise more than three times as much from the industry, taking the Commission’s training budget into the $2 million league.

Perhaps aiming high is necessary – in the UK the levy has delivered only about $9 million over 11 years, sparking calls from the UK industry to make it mandatory. While the minister ponders whether Jackson and Court meant a voluntary or mandatory levy, Mason is already on the case, working out how to get the best value from whatever money does make it into the pot.

“This is my second year in the job and my focus was going to be on training anyway,” he says.

“We need to be more targeted because I look at all the money that has been spent over the preceding 10 years and I guess there is a real fear that it hasn’t delivered the reward that one would have hoped. In particular we don’t have these very experienced producers or writers that one would have hoped for after spending $560,000 a year for a decade.”

Mason is not the only one thinking about Plan B. Steven Gannaway, executive director of the Writers Guild – the trade union that represents and supports script writers, mainly in the business side of their careers – says the levy is a great idea, but he wonders about the wisdom of taking money off productions at a time when extra funding is just not there.

“The other way is to say that each production must have an intern position for a writer,” he says.

“A budding screenwriter could follow an assistant director around to get an idea of what happens between the script being written and appearing on the screen – what are the factors that work and the ones that don’t work?”

He says this kind of programme could be introduced quickly and be made a condition of Commission funding or other government incentives.

Extra money or not, like the other guilds, Gannaway sees the review as a

The tea test and other lessons Continued from page 19

new opportunity to work in partnership with the Commission.

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f the minister and the Commission embrace the new talent-partnership model they will be adopting a central recommendation of the Review, with implications that Jackson and Court are very clear about.

“Philosophically,” they write, “being talent-focused means concentrating resources on the few.”

They even put a number on it, arguing there might be no more than 25 or 30 truly talented screen writers and directors working in a country the size of New Zealand.

If that estimate proved to be accurate, it would leave a lot of alsorans – to give an indication, Script to Screen’s database contains 1600 writers, directors, and producers.

From this group Mason says the Film Commission gets about 250 project proposals each year, all of which need careful un-biased attention under the current paradigm.

Given these figures it seems unlikely – until a blood test for the screenwriting gene can be developed – that the commission could tackle the job of spotting talent by itself, even with the extra staff proposed by the review.

This hands an important role to broad-based New Zealand-wide development programmes like those run by Script to Screen, and gives a reason for them to continue. They will be needed to provide the first level of talent screening, helping story tellers and their projects weed themselves out to a number that the Commission’s partnership talent spotters can consider.

“Getting writers to swap scripts and give each other feedback is fantastic,” says Mason. “I love the fact that it is being done totally away from us, that there is another game in town – it isn’t just the Film Commission saying the script isn’t very good.

“With the guilds and Script to Screen you’ve got the industry taking an active role in its own work, leaving it much more clearly for us to come down to the pointy end of the whole equation.”

And Mason has no illusions about life at the sharp end.

“We might set up a course where I choose five writers and five producers and give them an accelerated scheme.

It works in the UK and I was very familiar with it. That has potential because it is doing what the Review is saying – backing talent.”

And that’s when a lot of the goodwill might dissipate? “Exactly.”

SR: So get hard, people, get hard! [laughs] GE: I guess what we’re saying is it’s like anything, man, it’s the human side to it, isn’t it, Simon?

SR: Yeah. It is an industry where lots of people are trying to do the same thing and there aren’t really enough projects around for everyone. So at the end of the day the people who are going to get used are the ones who prove themselves like that.

Word of mouth is really important.

“Who’s around, who can I use?” And if I don’t know, I’ll ask someone else who I know and trust: “Do you know someone who’s good at this?” So it’s really vital that you actually make a good impression on people if you’re going to be part of that word-ofmouth scene.

GE: But look, if you’ve got a dream to do film or TV, give it a nudge – what the hell. It doesn’t necessarily mean it’ll work out, but it might do. Or you might end up disappearing off to do something else. I had a student years ago who tried to make some Super8 film and she worked as a runner on

Training & Educatio n film sets so she could work her way up the ladder, and at the end of the day she was like, “You know what? This is fucking rubbish!” And she went off and became a marine biologist. And now she’s as happy as a mud shark!

SR: Some people do actually discover they don’t want to spend four or five months of the year unemployed and the rest of the time scrambling around trying to get crappy arse work because – GE: Hey, leave me out of this, Simon! [laughs] SR: A lot of television work in this country is not glamorous, it’s just pseudo reality-show stuff, but that’s the bread and butter of the New Zealand film industry, so if you don’t like reality TV shows then you better start to learn to pretend to like them – at least a little bit.

GE: But they’re still stories, though, you know.

SR: Oh yeah, absolutely. And that’s the reason they work, because they all have stories. And you still have skilled professionals who are writing them, shooting them, making them all.

GE: Even if they’re sitting on their couch in the dark at the end of the day,

drinking wine and sobbing into their hands. [laughs] But why do you stay in this lousy racket then, Simon?

SR: I’m not good at anything else. [laughs] And it’s that deep, driven desire for revenge, with success being the revenge I’m seeking. [laughs] And what about you, Glen, what’s your motivation?

GE: It’s a funny old thing because in my racket it’s like you’re in a fight but you don’t actually know whether you’ve won or lost for like three months. It’s weird. But the thing that really makes me keep going is I just love being able to create a space where people can really have the chance to step up to the plate; I try to make a space around them to see how big they can be and how far they can go.

• See Onfilm’s October issue for an interview with Elliott and Raby about making science series Ever Wondered?, which highlights, explains and celebrates the scientific work being done in NZ. • Ever Wondered? is currently screening on TVNZ7 and can also be watched via ondemand (tvnz.co.nz/video).

Choosing the best course for you The following are pertinent questions that prospective film & television students (and their parents) should ask of institutions when deciding which course would be most appropriate to attend...

• Who are the tutors and what experience does each have as (a) a teacher and (b) a film & television practitioner?

• What does the course cost, what is included in the cost, and what other costs can I expect to have to meet?

• What are the class numbers in each year of the course and in each teaching module? (Note: 40 people in a history class is okay; more than 10 in a camera class can be a serious compromise.)

• To what degree does the programme facilitate personal exploration (versus being predominantly reliant on prescribed exercises)?

• Is there a dynamic interplay between practical application and the reflective critiquing of outcomes?

• Does the programme encourage students to collaborate creatively?

• Is there a flexible mix of core and elective courses?

• To what degree are pre-eminent practitioners involved in the course and how regular is their input?

• What is the relationship between the course and potential employers such as production companies and television networks?

• What are the entry criteria?

• How are entrants selected?

• How can I best prepare myself to be successful in the selection process?

• What selection processes operate later in the programme that might affect my ability to pursue areas of specialisation in which I have an interest?

• What equipment does the programme utilise? (Note: this is a very thorny issue as the mechanisms for facilities management, technical backup, and, above all, access to equipment for self-driven work – and not just class exercises- are just as important as the particular formats on display. For example, many schools have the latest AVID editing machines but not enough associated media storage and/ or inefficient media management systems. The result is that for most students the AVIDs might as well not be there.)

• What is the daily working relationship between the course and industry providers of film and video stock, laboratory services, and production and postproduction facilities?

• Do students retain the rights to work they create during the course and what are the restrictions on exhibition of stu-

dent films and videos?

• How much will I learn about the history and analytical traditions that underpin moving image culture?

• Will the course give me sufficient understanding of new media and probable future developments in moving image technologies and practices?

• What proportion of course time is devoted to film & video versus other indirectly related areas?

• Does the student body have a voice in course management and development?

• What are the plans for course development over the period of my involvement and what can I do if the course changes significantly before I complete my qualification?

• What are graduates of the course doing now and can I speak directly to any of them?

• What affiliations does the programme have with other film & video training institutions in New Zealand and overseas?

• Prepared for Onfilm as a guideline by Bruce Sheridan, chair of the film & video faculty at Chicago’s Columbia College.

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Trainingn&Guide Educatio in consultation with media and communication professionals; they give a thorough grounding in theory and practical skills.

UNIVERSITY

AUT University

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

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

Qualification: BCS Cost: Approximately $4842 NZQA registered: Yes Duration: 3 years Available: Full-time Prerequisites: Contact for details Key tutors: Diane Musgrave, Eileen Lavranos, Julian McCarthy, Gilly Tyler, James Nicholson, Danni Mulrennan, Jim Marbrook, Format: On campus Description: Television major students research, write, direct, production manage, and edit their own work as well as assisting other students through presentation, camera operation and sound recording. Students also undertake an advanced television studio production.

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

Qualification: BCS Cost: Approximately $4842 NZQA registered: Yes

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

Duration: 3 years Available: Full-time Prerequisites: Contact for details Key tutors: Ross Brannigan, Greg Bennett Format: On campus Description: Digital Media students work both individually and in project teams on a range of briefs including live projects for external clients.

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

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

Qualification: BCS or Graduate Diploma in Advertising Creativity Cost: Approximately $4842 NZQA registered: Yes Other accreditations: D&AD (International); CAANZ (NZ) Duration: 3 years (BCS); 1 year (Graduate Diploma) Available: Full-time (BCS); Full-time and Part-time (Graduate Diploma) Prerequisites: Contact for details Key tutors: Paul White, Jane Berney, Dave Brown Format: On campus and competitive, short internship Description: Students have the chance to work on live briefs, to write and design real ads for real products. There may also be the opportunity for some students’ work to be published in the media.

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

Qualification: BCS (includes National Diploma in Journalism) Cost: Approximately $4842 NZQA registered: Yes Other accreditations: New Zealand Journalists Training Organisation Duration: 3 years Available: Full-time Prerequisites: Contact for details Key tutors: Martin Hirst, Greg Treadwell, David Robie, Allan Lee, Allison Oosterman, Helen Sissons Format: On campus Description: Study includes newspaper editing and design, bi-cultural reporting, media law and ethics, public affairs reporting, broadcast journalism, magazine journalism, photo journalism, new media journalism, and news production. Graduates also qualify for the National Diploma in Journalism.

University

Massey University Institute of Communication Design

Qualification gained: Bachelor of Design, Visual Communication Design Major, specialising in Advertising Design

One year programme: Intakes in February and July.

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

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Course contact: Euan Robertson Email: E.B.Robertson@massey.ac.nz Phone: 0-4-801 2794 Fax: 0-4-801-2799 Website: http://creative.massey.ac.nz Suitable for: Those with compelling ideas that want to engage in the expansive field of advertising creativity.

Prerequisites: University entrance plus a portfolio of work.

Duration: 4 years Key staff: Euan Robertson, Steven Smith.

Description: Papers offered in this programme concentrate on the cultivation of innovative ideas and strategic thinking. Practical creativity and theoretical frameworks are studied concurrently as students engage in all aspects of advertising.

Students are exposed to a wide variety of live briefs, theoretical assignments and media selections. Students majoring in advertising often supplement their course of study with papers offered by other disciplines within the College of Creative Arts. Students graduate with portfolios that enable them to confidently enter the industry at various levels.

Other relevant information: The advertising programme has been running for over 20 years with a considerable number of graduates employed nationally and internationally as senior creatives, communication strategists and Creative Directors in advertising agencies as well as associated industries. We maintain close links with the advertising industry, creatives being involved in various levels of the programme to both critique and provide expertise. Massey also offers opportunities for postgraduate study through the Master of Design and PhD degrees.

Planning methodologies and case studies will be covered that are timeless and generic to all organisations.

Private Training Establishment

Natcoll Design Technology

National Office Level 6, 151 Kilmore Street, Christchurch 8013 PO Box 13824, Christchurch 8141 Ph: 0-3-377 4328, Fax: 0-3-377 4329 Email: principal@natcoll.ac.nz Website: www.natcoll.ac.nz Auckland Campus Level 4, 105 Symonds Street, Auckland 1010 PO Box 68011, Auckland 1145 Ph: 0-9-303 3120, Fax: 0-9-302 4124 Email: info.auck@natcoll.ac.nz Wellington Campus Level 2, 20 Kent Terrace, Wellington 6011 PO Box 6845, Wellington 6141 Ph: 0-4-384 9624, Fax: 0-4-384 9626 Email: info.wgtn@natcoll.ac.nz Christchurch Campus Level 2, 151 Kilmore Street, Christchurch 8013 PO Box 130014, Christchurch 8141 Ph: 0-3-377 1978, Fax: 0-3-377 3232 Email: info.chch@natcoll.ac.nz Organisation Statement: Whether your passion is for animation, digital video, web development, interactive media or graphic design, Natcoll will teach you to master the tools of creative digital design. Natcoll provides a gateway to exciting creative career opportunities in digital media.

Courses: Certificate in digital media (icreate) A fun and practical way to get a taste of digital media design and gain the skills to move on to further diploma level study.

Cost: Domestic students $995 (incl GST); International students $4,900 Qualification: iCreate Foundation Certificate.

NZQA registered: Yes Duration: 15 weeks Available: Fulltime Prerequisities: Entry is based on application and interview. There are generally no restrictions to entry. No previous computer experience is necessary.

Spaces available: Maximum 20 per course Key tutors: Natcoll tutors Description: Using digital still and video cameras

Training & Education Guide and computers, students produce a wide range of original art that combines traditional and digital media. Learn digital illustration techniques and how to create images and pages suitable for web publication. This work is complemented by a wide range of art and creative practices to further enhance a student’s skills base.

Diploma of Animation and Digital Video – Level 5 Fascinated by the sight and sound of moving images or inspired by 3D imagery? Want a career in 3D animation or digital video production? Then the Diploma of Animation and Digital Video is the ideal launching pad.

Cost: Domestic students $5,995 (incl GST); International students $17,500 NZQA registered: Yes Other accreditations: Graduates can get credit for one semester towards Royal Melbourne Institute of Technology’s 3-year Bachelor of Arts (Animation and Interactive Media) Duration: 35 or 41 weeks Available: Fulltime Prerequisities: Required to show creativity by submitting some examples of work in a medium of the applicant’s choice. A working knowledge of digital imaging software such as Photoshop and illustration software such as FreeHand or Illustrator would be an advantage.

Spaces available: Maximum 20 per course Key tutors: Natcoll tutors Description: Learn all aspects of animation and video production from idea to reality. Develop storytelling and design skills, learn to shoot, capture and edit digital video, record voiceovers, edit music and create soundtracks.

This course also covers the latest industrystandard techniques for 3D modelling and animation as well as post-production finishing touches. By successfully completing this course students have the necessary core skills to maximise their learning potential in the Diploma of Digital Filmmaking (Advanced).

Diploma of Computer Graphic Design – Level 6 Learn how to combine creativity with technology to communicate ideas and information in an attractive, clear and concise way.

Cost: Domestic students $5,995 (incl GST); International students $17,500 NZQA registered: Yes Other accreditations: Graduates can get credit for 1 semester towards Royal Melbourne Institute of Technology’s 3-year Bachelor of Arts (Animation and Interactive Media).

Duration: 35 or 41 weeks Available: Fulltime Prerequisities: Required to show creativity by submitting examples of work in a medium of the applicant’s choice.

Spaces available: Maximum 20 per course Key tutors: Natcoll tutors Description: Study the principles of page design. Learn how to use image capture and manipulation to bring text and illustrations together. Become proficient in a range of digital illustration and editing techniques to create a variety of printed material – from newsletters and posters to magazines, brochures, packaging and advertising media.

Diploma of Interactive Design – Level 6 Learn about creating the rich media interfaces that drive the digital world.

Cost: Domestic students $6,300 (incl GST); International students $17,500 NZQA registered: Yes Other accreditations: Graduates can get direct entry to year 2 of either of the Royal Melbourne Institute of Technology’s (RMIT) 3-year Bachelor of Arts (Games Graphics Design) or 3-year Bachelor of Arts (Digital Arts).

Duration: 41 weeks Available: Fulltime Prerequisities: Required to show creativity by submitting examples of work in a medium of the applicant’s choice. A working knowledge of digital imaging software such as Photoshop and illustration software such as FreeHand or Illustrator is required.

Spaces available: Maximum 20 per course Key tutors: Natcoll tutors

Description: Develop abilities in generating ideas, communication, research and development; learn digital imaging for interactive design; produce and edit audio and video content for use in interactive projects; design and produce interactive animated components for use in a wide variety of different media. Students will create the look, use and feel of a comprehensive range of digital media projects to enhance their portfolio and demonstrate their skills.

Diploma of Web Development – Level 6 Learn the technical skills required for dynamic and interesting web development.

Cost: Domestic students $5,800 (incl GST); International students $17,500 NZQA registered: Yes Other accreditations: Graduates can get direct entry to year 2 of either the Royal Melbourne Institute of Technology’s (RMIT) 3-year Bachelor of Arts (Games Graphics Design) or 3-year Bachelor of Arts (Digital Arts).

Duration: 41 weeks Available: Fulltime Prerequisities: Provide evidence of interests and skills relevant to this course – for example, previous experience with a computer programming or scripting language, logical thinking and/or problem solving. To do the optional advanced usability component, applicants may need to demonstrate creativity by submitting examples of work.

Spaces available: Maximum 20 per course Key tutors: Natcoll tutors Description: Learn how to apply the principles of visual design to the web and how to master the programming languages that support clientside and server-side development. Learn how to research, design, write and host dynamic websites and web applications. Students gain a comprehensive base of knowledge and an online portfolio to showcase their design and technical skills.

and Digital Video is designed as an excellent pathway into this course. However, students are still eligible for direct entry if they can demonstrate a range of video production skills.

This will require submission of examples of completed video projects for consideration.

Spaces available: Maximum 20 per course Key tutors: Natcoll tutors Description: Teaches the whole process from concept and planning to delivery. Learn how to turn raw footage into a work of art using editing, effects, motion graphics, compositing and more.

Uses the latest industry production tools to unlock the secrets of effective video and audio processing, and produce a showreel to impress prospective employers.

Diploma of Digital Media (Advanced) – Level 7 For people who have strong technical skills in either print, web, motion or interactive media and want to hone design skills.

Cost: Domestic students $6,300 (incl GST); International students $17,500 NZQA registered: Yes Other accreditations: Graduates are able to apply for entry into: Whitecliffe College of Arts and Design’s year 3 of the Bachelor of Fine Arts degree; Whitireia Community Polytechnic’s final year of the 3-year Bachelor of Applied Arts (Visual Arts & Design); Waikato Institute of Technology’s (Wintec) final year of the 3-year Bachelor of Media Arts (Visual Arts) degree; Royal Melbourne Institute of Technology’s (RMIT), 1-year Bachelor of Arts (Multimedia).

Duration: 35 weeks Available: Fulltime Prerequisities: Applicants may have completed a Natcoll diploma, or similar course at another tertiary institution, or may have experience in a

related industry. A high level of technical skills in digital media software is required. All applicants are required to attend an interview and present a portfolio of their work.

Spaces available: Maximum 20 per course Key tutors: Natcoll tutors Description: Develop visual communication skills, learn how to think critically and creatively, build design awareness and confidence, innovate, experiment and refine technical, research and presentation skills. Study art and design history, work in a dedicated studio environment, solve authentic design dilemmas. The course has time dedicated to developing practical career skills, such as how to write a CV, how to present work at interviews and put together a portfolio that gets noticed.

Private Training Establishment

South Seas Film and Television School

3/75 Ellice Road, Glenfield, North Shore City, Auckland PO Box 34579, Birkenhead, 0746, Auckland Ph: 09-444-3253 or 0508-768-847 Fax: 09-444-7821 Email: info@southseas.co.nz

Diploma of Animation (Advanced) – Level 6 Combine artistic skills with the mastery of the latest computer technology.

Cost: Domestic students $6,300 (incl GST); International students $17,500 NZQA registered: Yes Other accreditations: Graduates can get direct entry to year 2 of either of Royal Melbourne Institute of Technology’s (RMIT): 3-year Bachelor of Arts (Animation and Interactive Media); 3-year Bachelor of Arts (Games Graphics Design); 3-year Bachelor of Arts (Digital Arts) Duration: 41 weeks Available: Fulltime Prerequisities: Natcoll’s Diploma of Animation and Digital Video is designed as an excellent pathway into this course. However, students can still be accepted if they can demonstrate equivalent 3D modelling and animation skills.

Spaces available: Maximum 20 per course Key tutors: Natcoll tutors Description: Teaches the skills to turn creative ideas into compelling images, capturing the essence of movement and bringing a character or a scene to life. Learn how to develop a storyboard, work through pre-production to character design, modelling and rigging. Use visual effects and postproduction techniques to create a showreel.

Diploma of digital filmmaking (Advanced) – Level 6 Post production is the magic that turns raw footage into finished film, television, music videos or commercials.

Cost: Domestic students $6,800 (incl GST); International students $17,500 NZQA registered: Yes Other accreditations: Graduates can get credit for 1 semester towards Royal Melbourne Institute of Technology’s 3-year Bachelor of Arts (Animation and Interactive Media). Graduates can enrol for one year only in International Academy of Film and Television’s (IAFT) 2-year Crazy Filmmaking Programme and work on commercial projects alongside industry professionals from around the world.

Duration: 41 weeks Available: Fulltime Prerequisities: Natcoll’s Diploma of Animation www.onfilm.co.nz

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Trainingn&Guide Educatio MISSION – Nga¯ Wha¯ inga: To create career pathways into the New Zealand Film, Television, Animation and Media Industry through the provision of professional, industry related, training using a “He ako kei roto i te mahi ~ Learning through Action” philosophy.

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

COURSES: DIPLOMA IN FILM AND TELEVISION PRODUCTION (1 year full-time) Emphasis: A practical training course in Television/ Video Industry related production skills and an introduction to Film related skills including camera operating; lighting; sound recording; post-production editing; production planning; programme directing; studio production; script writing; interviewing/presenting and on-screen acting.

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

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

Entry criteria/Prerequisites: Applicants must

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

Costs: $15,295.50 (inc 15% GST) for 1 year (43 weeks) full-time course fees for NZ students.

Ministry of Education EFTS subsidy of $6135.50 is available for eligible NZ students which reduces the course fees to $9160 (inc 15% GST).

For International students the cost is NZ$22,724 (inc 15% GST).

Student Loans and Allowances are available for NZ students.

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

Work experience: N/A. Job search help: Yes. Application closing date: 7th December 2010 No of NZ places: 100 Description: An intensive one-year, full-time highly practical industry relevant training course designed for people with little or no previous production experience but who have the potential to establish careers in the film or television industries. South Seas is a New Zealand Qualifications Authority and Ministry of Education accredited private training establishment.

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

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

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

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

Cost: $14,846.50 (inc 15% GST) per year for 2 year full-time course fees for NZ students.

Ministry of Education EFTS subsidy of $6,135.50 is available for eligible NZ students which reduces the course fees to $8711 (inc 15% GST).

For International students the cost is NZ$17,950 (inc 15% GST).

Student Loans and Allowances are available for NZ students.

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

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

Work experience: N/A. Job search help: Yes. Application closing date: 7th December 2010 Students per intake: 14-16 per class Duration: 2 years (2 x 47 weeks) DIPLOMA IN ON SCREEN ACTING (1 year full-time) Emphasis: A practical training course in Screen Acting. The emphasis throughout the course is on practical skill development and work experience.

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

Key Staff: Full-Time: Johnny Givins. Part Time: Maya Dalziel, Ben Crowder, Linda Cartwright, Louise Britzman, John Sweetman, Ruth Dudding, Di Rowan.

Entry criteria/Prerequisites: Applicants will have either completed the one year full time film and television production course at South Seas, achieving the required skill levels in On Screen Acting, or demonstrate through an audition process the intrinsic qualities necessary to achieve a high level of Screen Acting skills.

Minimum age 18 years.

Costs: $12,822. 50 (inc 15% GST) for 1 year (43 weeks) full-time course fees for NZ students.

Ministry of Education EFTS subsidy of $6,135.50 is available for eligible NZ students which reduces the course fees to $6687 (inc 15% GST).

For International students the cost is NZ$18,000 (inc 15% GST).

Student Loans and Allowances are available for NZ students.

Work experience: N/A. Job search help: Yes. Application closing date: 7th December 2010 Students per intake: 18-20 per class Description: Through classroom and practical situations, students will be challenged to break through individual blocks, discover and deepen a sense of truth and develop creative individuality.

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

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

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

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work professionally in the overall field of digital photography.

Key Staff: Full-Time: Marco Hidalgo.

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

Costs: $15,225.50 (inc 15% GST) for 1 year (43 weeks) full-time course fees for NZ students.

Ministry of Education EFTS subsidy of $6,135.50 is available for eligible NZ students which reduces the course fees to $9090 (inc 15% GST).

For International students the cost is NZ$18,640 (inc 15% GST).

Student Loans and Allowances are available for NZ students.

Work experience: N/A. Job search help: Yes. Application closing date: 7th December 2010.

No of places: 16.

Description: An intensive one year, full time highly practical industry relevant training course designed for people with little or no previous photography experience but who have the potential to establish careers in the photographic industry. South Seas is NZQA and Ministry of Education accredited private training establishment.

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

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

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

Tutors: Ben Jones, Jenny Stark, Bernadette Kelly.

Facilities: As per TV Production course.

Entry criteria: Minimum age 15 years.

Cost: $345 (inc 15% GST).

Practical experience: 1 practical project per day.

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

Students per intake: 16-18 per course.

Emphasis: Course offers 3 days of practical exercises giving students the opportunity to present and see themselves on screen. We explore television commercials and simple drama scripts looking at sub-text and how it is communicated through the lens whilst giving students a basic introduction to camera techniques and script analysis. This short course gives a good insight into the content, techniques and training practices of our 1 year full time On Screen Acting Course.

Tutor: Johnny Givins.

Facilities: As per on-screen acting course.

Entry criteria: Minimum age 15 years.

Cost: $230 (inc 15% GST) Practical experience: 1 practical project per day.

ANIMATION INTRODUCTORY COURSE Duration: 1 week (5 days) Commencement dates: Available in July, September and November.

Students per intake: 14-16 per course.

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

Tutor: Greg Chapman.

Facilities: As per animation course.

Training & Education Guide Entry criteria: Minimum age 15 years.

Cost: $345 (inc 15% GST) Practical experience: 1 practical project per day.

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

Students per intake: Maximum 8 per course.

Tutors: South Seas Editing Tutor and Industry Tutors.

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

Includes introduction to Avid Editing Suites.

Students per intake: Maximum 8 per course.

Tutor: Full-Time: South Seas Editing Tutors.

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

Emphasis: Specialist and advanced industry workshop courses including Film Camera Assisting, Clapper Loading, Focus Pulling and Computer Motion Control Operating. Courses delivered in January and mid year holiday periods or when required.

Tutors: Selected Industry and South Seas tutors.

Cost: On application.

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

Institute of Technology

Southern Institute of Technology – SIT

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

Key personnel: •K arl Hart, Programme Manager – Digital Media, karl.hart@sit.ac.nz • T eri McClelland, Head of Faculty, SIT2LRN, teri.mcclelland@sit.ac.nz Organisation statement: Southern Institute of Technology (SIT) situated in Invercargill, New Zealand offers degree, diploma and certificate programmes, as well as SIT2LRN Study Anywhere options.

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

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

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

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

NZQA registered: Yes Duration: Three years (full-time) Available: Full-time, Part-time Prerequisites: University Entrance required – for more details go to www.sit.ac.nz Spaces available: 30 Key tutors: Karl Hart, Rachel Mann, Peter Skerrett, Patrick Winter Format: On campus (Invercargill) Description: This programme aims to give students not only solid technical skills, but also to expand their creative skills and to give them the ability to adapt in a rapidly changing industry. In 10 years’ time, the technology we use today will be obsolete, but skills in storytelling, critical thinking, composing images and relating them to one another will be necessary and relevant irrespective of future technology. While the technical side is an important part of the programme, the primary focus is on bringing creative ideas to life.

A wide range of subjects are covered, including

video production and editing, screenwriting, 2D and 3D animation, stop motion, motion graphics, and business and legal skills.

Diploma in Animation (L6) Suitable for: students seeking the opportunity to work with some of the most advanced digital software in the market. We include programmes like Massive, Toon Booms and Maya in our ever-expanding course which has led to SIT Animation graduates winning places in the leading animation studios in Australasia. Our dedication to a quality learning experience is combined with a “low cost to students / high expectations” philosophy. This ideally positions the graduating student for entry into the industry. We promote an atmosphere of creative freedom which is balanced by delivery of real-world transferable skills and an attitude of quality through effort supported by quality hardware.

Cost: The Zero Fee Scheme means you only pay for the direct material cost – approximately $950 per year (estimate based on 2010 prices).

NZQA registered: Yes Duration: Two years (full-time) Available: Full-time, Part-time Prerequisites: Contact us for details or visit www.sit.ac.nz Key tutors: Karl Hart, Rachel Mann, Patrick Winter Format: On campus (Invercargill) Description: Papers include Video Craft, Screenwriting, Video Editing, Communications, Media Culture, 2D/3D Visualisation, Animation and Interaction, Audio Techniques, Fundamentals of Research, 3D Animation, 3D Character Animation, Motion Graphics and Compositing, Business and Legal Studies.

Learn from award winning writers MASTER OF CREATIVE WRITING The Master of Creative Writing is designed for writers wanting to take their craft and creativity to the next level.

Our staff are award winners for both their literary prowess and their teaching skills.

This unique programme features a residential course bringing writers, artists and publishers together.

0800 MASSEY www.massey.ac.nz

www.onfilm.co.nz

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Trainingn&Guide Educatio Diploma in Digital Film (L5) Suitable for: Students interested in making films on digital video. This SIT2LRN Study Anywhere programme is right for students who want to get their creative genius going and build up to the production of their own short film.

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

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

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

Private Training Establishment

The New Zealand Film and Television School

86 Vivian Street, Wellington PO Box 27044, Wellington Ph: +64 4 939 2954 Fax: +64 4 939 2951 Email: info@filmschool.org.nz Website: www.filmschool.org.nz Key personnel: • T ommy Honey, Director, 021-744 531, tommy@filmschool.org.nz • J ohn Reid, Head Tutor, john@filmschool.org.nz Organisation statement: The course is run by the film industry for the film industry. It covers all major aspects of film production: scriptwriting and direction; camera operating and lighting; sound recording; production management, assistant director work and scheduling; art department; post production including film and digital editing and sound post.

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

Cost: $12,500 (plus GST) NZ students; $30,000 (inc GST) for international students Qualification: Certificate NZQA registered: Yes Duration: One year, 2 intakes: February and July Available: Full-time Prerequisites/Entry criteria: Minimum age 18 years, driver’s licence desirable. Experience in a related discipline useful but not essential.

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

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

Private Training Establishment

Photograph by Kerrilee Beetham

Toi Whakaari: NZ Drama School

MA

in Scriptwriting Seeing things? Hearing voices?

Starting to think there’s a plot?

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

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

Learn more at: www.victoria.ac.nz/scriptwriting Applications close 1 November For information, application forms and course dates, please contact:

FHSS0034

International Institute of Modern Letters Victoria University of Wellington PO Box 600 Wellington New Zealand

26

Phone Email Website

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

september 2010

www.onfilm.co.nz

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

Ruth, Director, Faculty: Management, annie.ruth@toiwhakaari.ac.nz • Christian

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

Robertson, Head of Entertainment, Technology and Performing Arts Management, Faculty: Technology & Management, kate.robertson@toiwhakaari.ac.nz •K aarin Macaulay, Head of Costume Construction, Faculty: Technology & Management, kaarin.macaulay@toiwhakaari.ac.nz Organisation Statement: Toi Whakaari: NZ Drama School is New Zealand’s foremost and largest dedicated training provider for the screen and dramatic arts. Our vision is to be a global leader for innovation in theatre and screen education and research. We are committed to excellence in teaching and leading. In particular Toi Whakaari’s aim is to ignite the creativity in each student and provide them with the skills of their craft to effectively tell the stories of Aotearoa and beyond.

The school’s philosophy is to provide talented students with the skills to apply their imagination and intelligence to the realities of a career in the performing arts – producing uniquely ‘New Zealand’ graduates. This requires dedication to excellence in training and continual striving to maintain the high

standards the industry and students have come to expect. Our tutors are some of New Zealand’s most respected actors, technical specialists and directors.

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

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

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

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

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

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

NZQA registered: Yes Duration: Two years Available: Full-time Prerequisites: Must turn 18 prior to first year of study Spaces available: up to 4 per year Key tutors: Kate Robertson, Lisa Maule, Pam Hindmarsh

Format: On campus Description: Designed to provide students with an understanding of and competence in all forms of technical theatre production.

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

UNIVERSITY

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

Private Bag 92019, Auckland Ph: 09 373 7599 x 87464 Email: screen@auckland.ac.nz Website: www.arts.auckland.ac.nz/screen KEY PERSONNEL: • Professor Annamarie Jagose, Head of Department • Vanessa Alexander, Director of Graduate Production (Drama) • Dr Shuchi Kothari, Graduate Production Advisor (Screenwriting) • Dr Annie Goldson, Associate Professor (Documentary)

ORGANISATION STATEMENT: The Department of Film, Television and Media Studies at the University of Auckland offers the leading graduate-level film production programme in New Zealand. We offer an intensive film-school-style experience for future writers, directors and producers of drama and documentary films.

Student works have screened at major international A-list festivals including Venice, London and New York and make regular appearances in both the New Zealand International Film Festival and DocNZ. The University of Auckland prides itself on the high percentage of our students who go on to work in the industry. As most of our staff members are working practitioners our courses are closely informed by trends and shifts in the professional industry. This is reflected in the industry accreditation of our MA Screen programme and our recent purchase of a top-of-the-line digital RED camera for MA-level work.

COURSES: Graduate Programme in Screen Production Suitable for: Individuals with a BA degree, a strong creative vision as either a writer, director, or producer, and the potential to become

a creative leader in the film and television industries.

Cost: Please contact fees@auckland.ac.nz Qualification: BA Hons/MA NZQA registered: Yes Duration: Up to two years Available: Full time Prerequisites: BA in a relevant subject with a B average at stage three Spaces available: 15 (Competitive entry on the basis of work submitted with application) Key tutors: Vanessa Alexander, Annie Goldson, Shuchi Kothari, Sarina Pearson, Margaret Henley, Annamarie Jagose, Peter Simpson, Martin Hansen BA (Honours) or Postgraduate Diploma in Screen Production During this year, students can expect an intensive individual and group learning experience. Starting with basic production management, shot composition and editing, we take students all the way through interviewing documentary subjects to advanced blocking and camera movement. Students can expect to direct actors in front of the class, pitch documentary ideas and cut trailers as part of the many assignments. Students learn AVID, EP Scheduling, and Final Draft. The year ends with a production project, where, depending on their area of focus, students will complete their own 10-minute short film, documentary and/or write a feature screenplay.

Competitive entry by submission of previous work.

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

Less class- and exercise-driven than the BA (Honours) year, an MA allows students to choose a project in screenwriting, producing or directing (drama or documentary) and work closely with a supervisor to realise their vision.

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

Competitive entry by submission of previous work.

Creative careers begin at

If you’re into film and television and have always wanted to make movies and music videos then Natcoll’s Diploma of Digital Filmmaking (Advanced) is the perfect place to start.

This course covers the movie-making process including idea generation, scriptwriting, production design, planning, legal issues, lighting and cinematography.

You get to direct and shoot your own short film and really polish your work using advanced digital post-production techniques such as editing, audio mixing, motion graphics, compositing, VFX and DVD authoring.

You’ll finish with a reel to impress prospective employers and the practical skills you need to work in the exciting industries of film, television or video post-production.

Get in touch today on 0800 66 55 44 or visit our website at natcoll.ac.nz

UNIVERSITY

The University of Waikato, Screen and Media Studies Programme

Private Bag 3105, Hillcrest Road Hillcrest, Hamilton Ph: 0-7-838 4543 Fax: 0-8-838 4767 Email: screenandmedia@waikato.ac.nz Website: www.waikato.ac.nz/film/

KEY PERSONNEL: • Dr Alistair Swale, Chair of School of Arts, Screen and Media Studies, Faculty of Arts and Social Sciences, alexei@waikato.ac.nz • Professor Dan Fleming, dfleming@waikato.ac.nz •C arolyn Henson, Manager, School of Arts (for undergraduate enquiries), Screen and Media Studies, School of Arts, Faculty of Arts and Social Sciences, henson1@waikato.ac.nz •D r Ann Hardy, Convener, Screen and Media Studies hardy@waikato.co.nz, •D r Geoff Lealand, Graduate Advisor, Screen and Media Studies ORGANISATION STATEMENT: The University of Waikato/Te Whare Wananga o Waikato seeks: To create and sustain an institutional environment in which excellence of performance is encouraged and recognised; people are understood, appreciated and consulted; Mäori customs

Diploma of

Digital Filmmaking Full time, 41 weeks, Level 6, NZQA

approved

(Advanced)

0800 66 55 44 natcoll.ac.nz

www.onfilm.co.nz

september 2010

27

REAL

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0800 10 95 10

28

september 2010

www.unitec.ac.nz

www.onfilm.co.nz

and values are expressed in the ordinary life of the University and the Treaty of Waitangi is clearly acknowledged in the development of programmes and initiatives based on partnership between Mäori and other New Zealand people and which is characterised overall by: • A spirit of cooperation.

•K eenness to meet and respond to new challenges.

•F reedom in the exchange of ideas and information.

COURSES: SCREEN AND MEDIA STUDIES (UNDERGRADUTATE AND GRADUATE PROGRAMME) Undergraduate papers include: Digital Screens; Media Cultures; Video Production; New Zealand Screen; Media & Society, Topics in Media Representation, Small Studio Production, Screen Studies; Digital Practices, Television, Medium, Narrative and Audience; Introduction to Media Research; European Media American Media; Screen Theory; Writing for Screen Media; Marketing the Arts; Media Ethics; Screen, Spirituality and Culture, Animation Studies; Documentary Screen and Games Studies.

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

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

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

Qualifications: BA (Screen and Media Studies); BMCT (Bachelor of Media and Creative Technologies); BA Hons, MA; PhD Cost: Tertiary student fees Course contacts: Carolyn Henson, School of Arts Manager (for undergraduate enquiries), henson1@waikato.ac.nz; Dr Ann Hardy, Convener, Screen and Media Studies hardy@waikato.ac.nz; Dr Geoff Lealand, Graduate Advisor lealand@waikato.ac.nz Description: New Zealand’s number one Media Research programme (2006 PBRF rating) is a centre for innovative teaching and learning, integrating hands-on creative work and the intellectual challenge of critical thinking. Specialisations include Creative Industries, Video Art, Media Policy, Audience Research, Games, Animation, New Media and Democracy, Religion and Media literacy, Digital Cinema Production & Development.

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

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

Institute of Technology

Unitec Institute of Technology

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

KEY PERSONNEL: Athina Tsoulis, Head of Department, Performing and Screen Arts, Faculty of Creative Industries and Business, 021-613 372, atsouslis@unitec.ac.nz ORGANISATION STATEMENT: Unitec has acquired a reputation for excellence in vocational and professional education. All our programmes have a large practical component allowing students to learn about filmmaking by producing work for the screen.

COURSES: Graduate Diploma in Creative Practice (Screen and Theatre) Suitable for: Those who have a background in the film and theatre industry and who want to move into scriptwriting, directing for screen or theatre and screen or theatre design.

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

Bachelor of Performing and Screen Arts (Screen Arts) Suitable for: Those interested in screen development and production, and screen technologies (camera/editing/sound and design) Cost: Approx $7581 NZQA registered: Yes Duration: 3 years Available: Full time Prerequisites: Interview required Spaces available: 50 Key tutors: Athina Tsoulis, Alan Locke, Larry Justice, Alan Brash, Gary Henderson, Victor Grbic Format: On campus Description: We provide graduates with a thorough knowledge of filmmaking and television from conception to production, with the opportunity to specialise in script development, production managing/assistant directing, directing, camera, cinematography, editing, sound recording/design in the later stages of the degree and in preparation for postgraduate work.

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

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

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

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

In your second year you will take part in an industry placement.

UNIVERSITY

located at four campuses around Wellington.

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

Course: in Creative Writing (Scriptwriting) Suitable for: Graduates with previous experience in scriptwriting Cost: Approx $6037.20 in 2010 Qualification: MA NZQA registered: Yes Duration: One academic year (Late Feb to November) Available: Full time Prerequisites: A degree in any subject, and/or an appropriate standard in scriptwriting.

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

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

Institute of Technology

The International Institute of Modern Letters, Victoria University of Wellington

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

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

Waikato Institute of Technology, School of Media Arts Tristram Street, Private Bag 3036, Waikato Mail Centre, Hamilton Fax: +64-7-858 0246 Email: info@wintec.ac.nz Website: www.wintec.ac.nz

KEY PERSONNEL: • John Mandelberg, Head of Moving Image Department, School of Media Arts, 027-160 2074, John.Mandelberg@wintec.ac.nz • Paul Judge, Moving Image Tutor, School of Media Arts, 027-258 8391, Paul.Judge@wintec.ac.nz ORGANISATION STATEMENT: The School of Media Arts provides innovative, interdisciplinary education that prepares students for a future in the creative industries.

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

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

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

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

COURSES: Bachelor of Media Arts (Visual Arts) (Moving Image pathway) Suitable for: People interested in training for a career in Moving Image Cost: $4809 approx (per year) NZQA registered: Yes Duration: 3 years Available: Full-time, Part-time Prerequisites: • NCEA Level 2, at least 60 credits across four subjects including English, or • The criteria for entrance to a New Zealand university; or • An equivalent qualification approved by the Media Arts Programme Committee; or • Reached an age of 20 years prior to the first year of entry into this programme and can demonstrate the acquisition of the above skills since leaving secondary school.

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

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

The Moving Image curriculum provides you with grounding in industry technology and practices, and support for you to create your own work.

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

writing, and the process of video production and post-production.

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

Cost: $4809 approx (per year) NZQA registered: Yes Duration: 1 year (if full-time) Available: Full-time, Part-time Prerequisites: • Bachelor of Media Arts (Visual Arts) with a grade average of B or better in the final year of full-time study (or equivalent in part-time study), or, • Alternate Undergraduate Degree specialising in Communication, Graphic Design, Painting, Moving Image, Sculpture, Photography, Digital Media Design or Music, with a grade average of B or better in the final year of full-time study (or equivalent in part-time study), or, • A history of professional experience in Communication, Graphic Design, Painting, Moving Image, Sculpture, Photography, Digital Media Design or Music, with the ability to undertake independent practical and theoretical research at a level equivalent to that which would be possessed by graduates of the Bachelor of Media Arts with a grade average as specified above. Relevance of professional experience will be determined on the basis of an interview and portfolio.

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

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

Recent Moving Image projects produced in Honours include dramas, screenplays, animations and documentaries. You will have frequent formal and informal meetings and critiques with other staff and students to discuss your work, helping you to frame and respond critically to issues surrounding your practice at the level required by the professional world. The learning environment is good-humoured, varied and active, encouraging input from staff and students equally. Facilities and equipment in the School of Media Arts are made available to you as determined by the nature and requirements of your project.

COMPOSITION ZERO FEES

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september 2010

29

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

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

• Please also note that, when there is not enough room in the magazine, excess listings that have previously run in the same category will be published on www.onfilm.co.nz. The productions listed on the website this month are: Animal Academy, Antarctic Whale Expedition, Asia Down Under, Attitude - 6, Back & Beyond, Beyond The Darklands 4, Clinical Years, Country Calendar, Double Happy, Eco Ark, Fire Warfare, Go

FILM

gaffer David Brownjohn cam asst Philip Kehm steadycam op Glen Maw snd Miguel Ruiz boom op Alex Lee scrpt sup Sophie Cherry m/up Renei Bailey grip Jared O Neale unit Charlette Potts cast Hayden Weal, Rowan Bettjeman, Aroha White, David Brownjohn, Faalii Alaimoana, James Simpson, Daley Tapa, Florence McFarlane, James Blake

IN PRODUCTION SHANTYTOWN HOLOGRAM 12min prod co 3DLive dir Mike Firth prod Ronel Schodt holographic DP Karl Schodt ed/compositor Wayne Johnstone scrpt Bridget Ellis Pegler

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

CURRY MUNCHERS Feature prod co Mahayana Films prod Rajendran Naidu dir Cristobal Araus Lobos s/play dev Anand Naidu s/play writer/sup Padma Akula DP Karl Schodt snd Ande Schurr mus Allen Jensson grip Anton Leach tech dir/post prod Media Networks Corporation exec prod Shanta Naidu line prod Gaurav Gupta asso prod Paul Marshall marketing mgr Graham Rogers 1AD Jordan Mauger 2AD Rowan Sharp loc mgr Eddy Fifield unit mgr Steven Baker prod assts Rowan Sharp, Amit Sharma, Sophiya Elisabeth, Rosemary Abel grip asst Corei gaffer Matt Johns b/boy Ken Stratton b/girl Aleisha Frazer f/puller Matthew Gerrand cam asst Priscilla Northe snd mixers Ben Vanderpoel, Nikora Edwards boom op Chanel Simpson m/up Powder Puff Inc w/robe Laura Schneemann, Sarah Koopu prod des Robin Charles art dir Haley Williams art assts Angela Gray, Courtney Sanft art dept runner Josh Finnigan runners Ashley Pitman, Christopher Pretty, Lydia Stott cast Aunanda Naaido, Alison Titulaer, Ajay Vasisht, Leela Patel, Ben Mitchell, Rajeev Varma, Tarun Mohanbhai, Vidya Venugopalan, Bhavnesh Soni, Jenny Li, Lisa Robinson, Dwayne Cameron, D. Mark Harrison, Sophia Elisabeth, William Wallace, Amit Odhedar, Jazeel Mistry

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

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

RED ALERT

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

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

HOT ROB

TAKU RAKAU E

Self-funded action comedy short dir Andy Campion DP Marty Lang vfx ed Caleb Carr 1AD Johnny Eagle

12min short 35mm prod co StanStrong Ltd prod Merata Mita dir/writer Kararaina Rangihau prod

GIRL MEETS BOY

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september 2010

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Girls 3, Good Morning 2010, Grass Roots Rugby – Te Whutupaoro-A-Rohe, Haa, High Country Rescue, Holy Roller, Homai Te Pakipaki, I Know A Sheila Like That, I Survived 3, I Survived... Beyond And Back, Indigenous Insight, Kaitiaki 3, Kete Aronui 8, Marae Diy 7, Marina Bay Sands, Meathead, Meet The Locals: Conservation Week Special, Megastructure: Singapore’s Vegas, Megastructure: World’s First High Performance Building, Men In Black, Minority Voices, Native Affairs, New Year’s Eve Special, Nga Iwi Whakapono, Nga Taonga Whitiahuia, Ngati Nrl 9, Outrageous Fortune, Pacific Beat St, Pill Poppers, Poles Apart, Police Ten 7, Praise Be, Proposal, Russian Snark, Saving Grace, Shortland Street, Tangaroa With Pio, The Missing 2, The Fall Guys, The Flat, To Make A Doctor, Toi Whakaari, Tribal Hunt, Unclaimed Luggage, Venom Lab, Volunteer Power, Wairua, What Now, Xeno, Young Prey.

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

THE DEVIL’S ROCK Feature WWII Horror prod co The Devil’s Rock dir Paul Campion prod Leanne Saunders writers Paul Finch, Paul Campion, Brett Ihaka asso prod Richard Matthews script consult Kathryn Burnett mäori consult Tainui Stephens kaumatua Rangimoana Taylor line prod Melissa Dodds prod coord Tom Kelly prod asst Bonny Crayford prod acct Lyndsay Wilcox legal/bus affairs Matt Emery, Emery Legal casting dir Mike Dwyer, Barefoot Casting DP Rob Marsh cam op Ulric Raymond 1AC camA Phil Smith 2AC camA Joe Michael 1AC camB Angus Ward, Matt Tuffin 2AC camB Martin Lang, Kim Thomas cam trainee Jared O’Neale 1AD sched Dave Norris 1AD Richard Matthews 2AD Kendall Finlayson 3AD Jonny Eagle casual AD Jules Lovelock prod des Mary Pike art dir Zoe Wilson constr mgr Colin Davidson constr Paul McInnes constr assts Adam Crighton, Joseph Auslander stdby prps Richard Thurston ld prps maker Ben Price prps maker Alex Falkner lead set dec Laki Laban set dec Nathan Gray set paintrs Dordi Moen, Shari Finn paint hand Fraser Anderson gfx des Pete Wellington illustr Les Edwards title des Krystian Morgan art dept asst Lyndsay Crummet kayak constr Peter Notman arm Hamish Bruce cost sup Tristan McCallum cost stby Paul Hambleton, Coco Miles UK cost consult Josie Thomas m/up sup Davina Lamont m/up art Deb Watson Dara Wakely m/up asst Hayley Ness on set m/up/ fx/ prosth sup Sean Foot on set prosth techs Dordi Moen, Jade Jollie weta wkshp prosth sup Richard Taylor weta wkshp spec prosth m/ up art Sean Foot weta wkshp prosth tech Jason Docherty, Frances Hawker weta wksp sculpt Gary Hunt weta wkshp prosth painter Sourisak Chanpaseuth, Dordi Moen weta wkshp coord Danielle Prestidge weta wkshp sup Rob Gillies script sup Pete Wellington snd rec Nic McGowan boom op Joel Anscombe Smith snd trainee Nick Tapp gaffer Adrian ‘Wookie’ Hebron key grip Byron Sparrow lx asst Chris Murphy casual lx asst Andy Ayrton, Simon Oliver, Mark Newnham, Ben Thurston, Hayden Rowe gripB Maurice “Moose” Kapua add grip Graeme Tuckett gene op Hansel Verkerk stunt coord Augie Davis safety coord Andy Buckley safety off Richard Thurston add safety Conrad Hawkins vfx sup Frank Reuter, Jake Lee matte paint Max Dennison loc mgr Peter Tonks unit mgr Gabe Page unit asst Hamish McDonald-Bates AD/unit assts Kura Scott, Claire Watson, Brendan Schenk catering Billionaires Catering security sup Kevin Magill add security Mark Matchett, Kevin Armstrong, Avele “Val” Moreli stills Gareth Moon add stills Matt Mueller, Roger Wong EPK Mike Roseingrave EPK add Jed Soane, Mark Tantrum ed Jeff Hurrell ed trainee Wes Thorpe snd

des James West, Lloyd Young snd des trainee Jordan Muzio comp Andrea Posse ed facility Martin Square lab facility Laurence Alexander, Rubber Monkey cam Rubber Monkey Rocket Rentals lx Gunmetal insurnc Crombie Lockwood int sales NZFilm NZ distrib Vendetta thx to Portsmouth, L’Affare, HELL & Film Wellington Nicci Lock cast Craig Hall, Matt Sunderland, Gina Varela, Karl Drinkwater, Luke Hawker, Jess Smith, Nick Dunbar, Hayden Green, Jonathan King

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

ICE Feature prod cos Power UK & Screentime NZ exec prods Philly de Lacey, Justin Bodle, Ewa Radwanska dir Nick Copus scrnply Tim Prager, Dominic Morgan, Matthew Harvey, Ray Harding based on a book by James Follett prod Ric Pellizzeri line prod Judith Trye DP Richard Bluck prod des Tim Ferrier art dir Miro Harre set dec Milton Candish 1AD Simon Ambridge 2AD Eamon O’Sullivan 3AD Hannah McKenzie prod mgr Annie Dodman prod coord Rebekah Kelly asst prod coords Emma Coory, Andrew Marshall, Karla Wallace prod sec Sarah-Jane Vercoe prod acct Barbara Coston set dress Kirsty Van De Geer on set dress Gareth Mills swng dress Seamus Butt prop mst Petelo Vaihu prop byr Paul Dulieu strybrd Gareth Jenson cam op Dana Little f/pullers Angus Ward, George Hennah c/loadr Garth Michael red cam sup Gareth Daley vid splt op Dean Thomas cam asst Alex Glucina snd rec Chris Hiles boom Sam Spicer cost des Pauline Bowkett cost sup Brett Garton m/up sup Davinia Lamont key m/up art Tracey Reeby m/up art Michele Barber cont mgr Bryan Gravatt ld hnd Rainy Healy scnic art Danny Strachan key grip Jay Munro gaffer Greg Nalder loc mgrs Phil Aitken, David Walker sfx Richard Schuler sfx armr Gunner Ashford stunt coord/2 unit dir Lawrence Woodward post prod Toybox ed Margot Francis vfx Sauce 2 unit DP Andrew Stroud UK cast Gary Davy NZ cast Terri De’Arth Aus cast Ann Fay epk prod Steve King epk dp Richard Parsonson pub Lisa Cruse stills Matt Klitscher cast Richard Roxburgh, Frances O’Connor, Claire Forlani, Ben Cross, Simon Callow, Patrick Bergin, Stephen Moyer, Sam Neill, Nathaniel Lees, Brooke Williams, Erin Mullally, Gareth Reeves, Werner Daehn, Jaime Passier-Armstrong, John Leigh, Mark Wright, Daniel Sing, David Woodley

THE INSATIABLE MOON Feature drama prod cos Holy Bucket Productions, Blue Hippo Media exec prods Tim Sanders, David Ball prods Mike Riddell, Pip Piper, Rob Taylor asso prods Tom Burstyn, Anton Steel dir Rosemary Riddell writer Mike Riddell DP Tom Burstyn line prod Maile Daugherty prod acct Naomi Bowden prod assts Jen Wood, Richelle Jackson 1AD Fraser Ross 2AD Steve Khrone 3ADs Henry Jian, Deborah Pope ed Paul Maxwell ed assts Kerri Roggio, Ygnacio Cervio strybd Gair Cook prod des Brent Hargreaves art

Productio n Listings assts Sarah Beale, Lizzie McGowan B cam dir Anton Steel B cam DP Dave Cawley f/puller Sean Loftin cam asst Lisa Moore cost des Chantelle Gerrard w/robe assts Wendy Bradford, Genista Jurgens, Alex Roberson, Lihn Pham grip Todd Nevill gaffer JD Freedman b/boy Paul Abbot 3 elec Paul Waystaff snd Craig Perry boom op Sam McDonald, Simon Morrow script sup Zohra Trinder catering Les Yule catering asst Polly Riddell loc mgr Troy Stanton-Kerr m/up sup Vanessa Hurley m/up asst Skye Clark p/ grphr Violaine Barrois asst p/grphr Steve Powell unit Jonothan Parkes, Robbie Parkes epk/doco dir Magdalene Laas epk/doco cam Angela Gray, Lisa Moore data mgr Sam Genders runners Jarrod Nitschke, Jonathan Newton, Lydia Stott, Stephanie Brauer pub Gareth Higgins post prod Images & Sound mgr Maile Daugherty sup Stephanie Chung snd post prod Steve Finnigan vid Paul Lear cmpsr Neville Copland cast Rawiri Paratene, Sara Wiseman, Ian Mune, Greg Johnson, Don Linden, Ray Woolf, Mick Innes, Bruce Phillips, Grant McFarland, Rob McCully, Sophie Hakaraia, Sarah Valentine, Jimmy Vraniqi, Elliot Yule, Lee Tuson, John Leigh, Andrea Kelland, Laurel Devenie, Matthew Chamberlain, Phil Peleton, Teresa Woodham, Vicky Yiannoutsos, Tim Beveridge, Sophie Fromont, Alice Fromont, Callum Stembridge, Sarah James, Johnny Angel, Sarah Somerville, Andrew Beattie

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

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

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

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

BOX SEAT PREVIEW

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

TE KAUTA 2 15x52min Inter-iwi debate series prod co Mäori TV exec prod Eruera Morgan dir/prod Te Rangitawaea Reedy snr prod mgr Sandra Richmond prod mgr Leichelle Tanoa prod coord Breviss Wolfgramm rsrchr Anahera Vercoe-Rangi

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

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

TE TEPU

BRING YOUR BOOTS OZ

10x60min drama/comedy series prod co SPP (09 839 0999) exec prods John Barnett, Chris Bailey, James Griffin, Rachel Lang prod Simon Bennett line prod Tina Archibald writers James Griffin, Rachel Lang, Tim Balme, Maxine Fleming script ed James Griffin dirs Mark Beesley, Murray Keane prod mgr Jo Tagg prod coord Natalia Perese prod sec Jayna Kesha runner Ant Davies script co Nicki Cookson acct Lee-Ann Hasson asst acct Sheree Silver 1ADs Shane Warren, Gene Keelan 2ADs Kylie McCaw, Sarah Rose 3AD Kate Hargreaves script sups Lisa Cook, Gabrielle Lynch loc mgr Benny Tatton loc asst Rick Waite unit mgr Dominic Stones unit asst Amy Russo DP Marty Smith cam op Oliver Jones A cam asst Anna Steedman B cam asst Alyssa Kath cam asst Jacob Slovak gaffer Antony Waterhouse b/boy Trent Rapana gen op Reuben Morrison lx asst George Huhu key grip Conrad Hoskins asst grip Jonathan Bixley snd rec Myk Farmer boom op Eoin Cox snd asst Steven Harris prod des Clayton Ercolano art dept coord Lia Neilson art dirs Liz Thompson-Nevitt, Matt Cornelius set dress Christiaan Ercolano prop s/bys Sam Evans, Olly Southwell art dept assts Anna Rowsell, Shanti Sibbing construct mgr Brian Robertson set builds Reg Ferguson, Terry Morris, Neil Murray, Peter Carter, Brendan Relf cost des Katrina Hodge cost co Rewa Lewis cost buy Sally-Ann Mullin cost dress Petra Verweij cost s/bys Ylona McGinity, Hannah Woods m/up des Kevin Dufty m/up arts Jacqui Leung, Jo Fountain, Amy McLennan cast dir Annabel Lomas safety Lifeguard & Safety/Karl Koller stunts Mark Harris post prod sup Grant Baker snd post sup Steve Finnigan eds Bryan Shaw, Nicola Smith, Eric de Beus asst ed Anu Webster vfx Peter McCully/Albedo VFX catering Rock Salt pub Tamar Munch pub asst Lucy Ewen stills Jae Frew, Caren Hastings, Matt Klitscher cast Emmett Skilton, Tim Balme, Dean O’Gorman, Jared Turner, Roz Turnbull, Ben Barrington, Keisha Castle-Hughes, Hayden Frost, Fern Sutherland, Alison Bruce, Rachel Nash, Michelle Langstone, Eve Gordon

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

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

InbeTWEEN

Television

Mere McLean, Rahia Timutimu, Rau Kapa, Numia Ponika-Rangi, Kereama Wright, Mataia Keepa, Jasmyn Pearson, Taroi Black prod mgr Sharmaine Moke dept asst Ripeka Timutimu subtitles Eva Mahara, Tepara Koti, rsrchr/pres Stephanie Martin pres Piripi Taylor, Amomai Pihama

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

MEGASTRUCTURES: DUBAI RACECOURSE

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

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

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

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

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

TE KAEA 30min weekday, 20min weekend Mäori language news prod co Mäori TV gm Te Anga Nathan hod Wena Harawira exec prod Lynette Amoroa asso prod Kororia Taumaunu assign ed Taiha Molyneaux dir assts Anne Abraham, Pene Bush studio dir Jason Rameka reporters Semi Holland, Rereata Makiha, Dean Nathan, Tamati Tiananga, Rewa Harriman,

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

THE ALMIGHTY JOHNSONS

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

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

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

POST PRODUCTION JURASSIC CSI 6x60min doco prod co NHNZ commission for NGC US & Intl exec prod Andrew Waterworth series prod Pip Gilmour writer Steven Zorn prod mgr Lisa Chatfield prod coord Nikki Stirling field prod Sally Williams rsrch Kate Bradbury scientist Dr Phil Manning post prod/dir Craig Gaudion, Ian McGee, John Ruthven, David Huntley, Sally Williams eds Chris Tegg, Marilyn Copland, Carol Slatkin, Karen Jackson, Sandy Pantall vfx arts Pixel Dust Studios mus Lenny Williams, Chris Biondo snd post Merv Aitchison, Stacey Hertnon vid post Stu Moffatt, Frank Lodge narr Paterson Joseph

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

SECRETS OF THE GHOST ARMY 1x60min HD doco prod co NHNZ co pro NGCI, WNET exec prod Andrew Waterworth prod/dir Steve Talley China prod Lauren Wang, Felix Feng cam Scott Preston snd Brent Nazaroff asst prod/rsrchr Katie Brockie ed Glen Molesworth mus Bruno Barrett-Garnier prod mgr Suzanne Lloyd

STRIKE FORCE 3x60mins HD doco prod co NHNZ co pro Digital Dimensions Australasia, NG Wild exec prod John Hyde sup prod Leo Faber prod asst Gavin Walburgh field dir Max Quinn rsrchr Adam Barnett prod mgr Suzanne Lloyd prod coord Nikki Stirling cam Bo Dreisig u/water cam asst Chris Sammut dive eng Jaap Barendrecht u/water cam Richard Fitzpatrick pres Richard Fitzpatrick, Jamie Seymour

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

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september 2010

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HIGHER DEFINITIONx3 As our family grows, so do the possibilities of filmmaking. The KODAK VISION3 Film family has raised the bar for high-definition capture — with unrivaled highlight latitude, reduced grain in shadows, flexibility in post, and of course, proven archival stability. Now with the addition of KODAK VISION3 200T Color Negative Film 5213/7213, we’ve developed a film that performs superbly in both controlled interiors and in challenging high-contrast exteriors. It’s time to look forward to the future with more options and no compromise.

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