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JUNE 2011

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The Russians are coming Stephen Sinclair’s Russian Snark sails home Local docos at Film Fest: Costa Botes Florian Habicht Annie Goldson Plus: Operation 8 Sound feature Industry news


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contents june 2011

4 A private view Onfilm columnist Doug Coutts and cartoonist Barry Linton are looking for a sign. 5


A quick word from editor Steven Shaw; Cartoonist Andy Conlan has a dig at the realities of sound budgets.

14 COVER: Stephen Papps as Holly Hunter’s character from The Piano, in Stephen Sinclair’s Russian Snark. Photo by Nick Monks.

6 Short cuts Philip Wakefield rounds up NZ box office and television news from the NZ screen industry. 12 Kiwi docos at NZ International Film Festival  nfilm previews local documentaries screening at this year’s NZ O International Film Festival, by Costa Botes, Annie Goldson and Florian Habicht.


The Russians are coming

Writer-director Stephen Sinclair, producer Liz DiFiore, and leads Stephen Papps and Elena Stejko discuss the making of Russian Snark, in release this month.






Sound feature: Making tracks

Peter Parnham talks to the sound experts involved in the making of Russian Snark.


Wild Lines

Sound recordist Ande Schurr reveals his technique for capturing clean location sound when working against the odds.

Film review

Helen Martin reviews local documentary Operation 8: Deep in the Forest, which examines the October 2007 police raids that resulted in arrests under the 2002 Terrorism Suppression Act.


Volume 28, Number 5 

Across the ditch

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

27 A legal view Legal expert David McLaughlin looks at the various rights holders that need to be considered for a piece of music to be used in a screen production. 28

Production listings

Est 1983

Editor: Steven Shaw (, 021-905-804 Contributors: Doug Coutts, Peter Parnham, Philip Wakefield Ad Manager: Kelly Lucas ( 0-9-366 0443 Production Manager: Fran Marshall Designer: Cherie Tagaloa New Subscriptions: Subscriptions Enquiries:, 0-9-845 5114 Pre-press and Printers: PMP Print Onfilm is published 11 times a year by Mediaweb Limited, which also publishes The Data Book. Mediaweb Limited, PO Box 5544, Wellesley Street, Auckland 1141 Phone 09-845 5114, Fax 09-845 5116 Website:

The contents of Onfilm are copyright and may not be reproduced without written permission. © 2011: 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”.

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june 2011


w e i v e t a A priv Give us a sign If months can have themes, and for the purposes of this column they really must, by doug coutts then this May just gone was all about signs. The biggest, and perhaps the most heroic failure as well, was the sign given to the nutbar cleric in Florida that the world was going to end on May 21. Many other nutbars took his word as gospel and ran up huge bills on the Visa and didn’t put the recycling out, but May 21 came and went without so much as a huge aftershock in Darfield. The Rev was undeterred, unlike some of his congregation who needed to be disinterred, and claimed that the Holy Trinity had just popped down on the day to take notes on the final passenger list for the real event, to be held in a couple of months’ time. So that’s something to look forward to. In May Wellington became a city divided. On one side was the boss of the airport who was too embarrassed to admit he’d been sold a pup by a smooth-talking marketing graduate in a flashy suit. And on the other side, the rest of the population, who didn’t wanted to be embarrassed by a secondhand joke in 10-metre tall letters. Somewhere in the middle there’s a signwriting company hoping someone’s going to make a decision soon or they’ll be stuck with a couple of giant Ws. And, because Wellington is nothing if not a city full of wags, there

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were all sorts of suggestions, including one for a sign to be placed outside Avalon Studios reading “Deadwood”. Oh, how we all laughed. A sure sign that Avalon’s future is looking gloomy is that the corridors are running chock-a-block with people, props and wardrobe racks. Some of that is due to the regular, and usually only, inhabitant –the Good Morning show, which currently earns many millions of advertising dollars and rates well ahead of its feeder show, Breakfast – both very good reasons to uproot it and completely make it over. Some people have put GM’s stunning success down to its go-ahead producer, enthusiastic production staff and highly skilled studio crew. But those in the know are only too well aware of the outstanding contribution of one of the country’s most experienced floor managers, especially in


JUNE 2011

the making-cups-of-tea area. Modesty forbids me naming him. In an odd twist, no sooner than the official Might Be For Sale sign was stuck to the front gate, Avalon was invaded by a vast throng of freelance film-makers intent on recreating the savagery that was the 1981 Springbok Tour with a smidgen of love interest to soften the blows. Back on the real tour marches, the protesters used toilet rolls and sanitary napkins to soften the blows. I know this for a fact because someone who was there told me. So on any given day there have been scores of determined young people stomping up and down the corridors marshalling extras, carrying clipboards on which are balanced several cups of steaming coffee-like beverage and talking into walkie-talkies. It seems the walkie-talkies are a badge of rank – the fewer you have, the

more important you are. Hence Mr Scott has nary a one while the guys out in the car park have a dozen apiece, although their custom-built holsters are very impressive. I decided many years ago that a career in the film industry was not for me; the long hours and likelihood of being yelled at by cretins who’d managed to bullshit their way up the ladder vastly outweighed the superior catering and de rigueur puffer jacket and Sherpa’s cap. But it’s good to see that there are still some people keen enough to endure the hardship and uncertain employment prospects that go hand in hand with the glamour of working in film. It’s a sign that the film industry is indeed vibrant and healthy. But you don’t really need a sign to tell you that.

Ed’s note

Andy Conlan’s view

You wooden, wood you? I



’m truly relieved that Wellington Airport has backed away once more from the ‘Wellywood’ sign. While a big part of NZ film production takes place in Miramar, the heart of the industry includes many hard-working people – technicians, actors, writers, cinematographers, directors and producers right across the country – whose individual contributions to the craft of film making would be well and truly overshadowed by a sign that makes us look like a cheap franchise. While the intention may have been for tourism to capitalise on the much lauded work that comes out of Wellington, the sign would surely be divisive, a towering reminder that much of the global film industry is about corporations rather than the craft itself. Besides, it’s embarrassing. Commerce may be the truth of the industry – it’s about bums on seats, after all, and the more the merrier – but when it comes to expressing good creative ideas, the NZ film industry has always pulled together and found a way to make good films great. That spirit, of helping out when we can, isn’t just at ground level. Big post production facilities like Park Road Post, Images and Sound and DigiPost are constantly juggling large, expensive projects while nurturing and often subsidising lower budget projects. Stephen Sinclair’s low budget feature Russian Snark is a perfect example of how the industry kicks in to help. Largely self-funded, with contributions from the Screen Production Innovation Fund and in the post stage, the NZ Film Commission, it still took plenty of help from the industry to make the film happen. Russian Snark premiered at last year’s NZ International Film Festival, and since then, like its lead characters who arrived in NZ in a small boat, the film has bobbed its way around the globe, visiting other festivals before arriving back here in time for a cinema release this month. We have a Q&A with Stephen Sinclair, Liz DiFiore and lead actors Stephen Papps and Elena Stejko (see page 14), and in the sound feature by Peter Parnham (page 18) we discover just how many soundies it takes to make an indie feature. Speaking of festivals, it’s nearly time again for the NZ International Film Festival, which kicks off in Auckland in July. On page 12 we preview three excellent locally made documentaries – by Costa Botes, Annie Goldson and Florian Habicht – that have been selected to play at the festival. Until next month, happy viewing.  – Steven Shaw, editor

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JUNE 2011


Short cuts

Pirates of the Caribbean: On Stranger Tides. Copyright Disney Enterprises Inc.

By Philip Wakefield

Pirates shipshape and Bristol fashion Pirates of the Caribbean: On Stranger Tides had the biggest weekend opening of the year, when it grossed $1.476 million on 123 screens in its first four days of release. More than half of the booty – 56%, or $834,420 – was snatched in 3D sessions. The take was 27% bigger than Alice in Wonderland’s opening weekend and Disney’s fourth biggest opening weekend of all time in NZ. However, it didn’t out-gross the opening weekends of the last two instalments in the franchise – Pirates 3 earned $2.02 million and Pirates 2 $1.93 million – but it did outdo the original’s $889,716. The NZ box office for Pirates 4 echoes its worldwide gross, with international receipts contributing US$310.8 million of the US$415 million it clocked up in under a week, which was quicker than any other release this year. It also helped the NZ box office to rise above last year’s record-breaking streak after lagging behind it for most of the year. For the weekend ending May 22, the gross was nearly $2.3 million compared with just over $2 million for the corresponding four days in 2010. Distributors reckon the closure of

key Christchurch cinemas because of the February earthquake has wiped about 5% off the value of the box office. In its second week, Pirates was overtaken by another sequel, The Hangover Part II, which became the first R-rated release to crack the top 50. It grossed just over $1.2 million on 72 screens in its first four days, the third highest opening weekend of the year, and added another $500,000 before the week was out. Its US take was also record-breaking for an R-rated title and it became the fastest comedy to top US$200 million worldwide -- which means the party will be far from over for the franchise (at presstime it was being reported that scribes Craig Mazin and Scott Armstrong had the green light for another sequel). Pirates, meanwhile, dropped a predictable 45.6% with its secondweek swag of $1.01 million. Tracker shocker Kiwi manhunt drama Tracker quickly went belly-up at the box office last month, grossing a mere $61,731 in its first two weeks. Box office takings fell 38.6% after opening to $38,238 on 34 screens. While it expanded to 36 screens

in week two, exhibitors would have scaled back session times sharply because of the dismal opening and merciless reviews. The Dominion Post’s Graeme Tuckett opened his one-and-a-half star appraisal with: “Slipping into the cinemas this week on its way to the video store sale bin, Tracker plays out like something the NZ Film Commission – which invested in this film – is hoping you won’t notice ever existed.� Onfilm’s Helen Martin concurred: “Tracker reminds me of that slew of awful tax break films made here in the 1980s, often with input from overseas production companies. Someone needed to pull the plug on this one way back down the track, they really did.� Whether it was as bad as these reviews argued, or the NZ Herald giving it two and a half stars out of five, or whether it flopped because it was neither mainstream nor art house enough, Tracker seems doomed to gross even less than last year’s Predicament ($155,537) and not much more than The Hopes & Dreams of Gazza Snell ($69,223). The only other movies to have fared worse in the past 12 months will be Matariki ($17,814) and After

the Waterfall ($63,279). Meanwhile, Tracker was one of three NZ features selected for the Panorama section of the 14th Shanghai International Film Festival (June 11-19). The others were Desert, the debut feature film from writer/director Stephen Kang, and Love Birds. TVNZ’s Billy in post TV One has yet to schedule the Billy T James biopic Billy, although this August marks the 20th anniversary of the iconic entertainer’s death. Sony Pictures already has announced it will open the Ian Munedirected feature, Billy T: Te Movie, on August 18 (see page 8). But whereas that Tom ParkinsonRobert Boyd-Bell production is a documentary, Billy is a dramatisation of Matt Elliott’s 2009 biography, The Life and Times of Billy T James. Comedia Pictures’ Tony Holden and Judith Trye produced the Briar Grace-Smith/Dave Armstrong screenplay with NZ On Air Platinum Funding of $2,427,695. Peter Burger (Bloodlines, Until Proven Innocent, Waitangi – What Really Happened) directed, and Tainui Tukiwaho and Morgana O’Reilly star as Billy T James and his wife, Lynn Matthews. Holden, who directed James in his

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mid-80s sketch comedy hit, The Billy T James Show, describes the telefeature as a love story. “Billy died tragically young, he was pretty much penniless and had enormous health problems. Our story is Billy seen through Lynn’s eyes, which lets us get to know more about Billy as a character. That’s our point of view in the film.” Billy was shot on more than 50 locations over five weeks. “We went and found locations and dressed them,” Holden says. “It was more affordable than building sets but extremely challenging logistically.” Although shot in HD using Red cameras, Holden says Billy will have a filmic look to reflect the eras it covers, from the late 1960s to his death in 1991. “We shot it very clean, simple and basic, but obviously in post is where the visual style will come into play.” Will new shows have the X-Factor? Kiwi programming and acquisitions executives were among 1250 from around the globe who gathered in Los Angeles last month for a sneak peek at what the US networks will air in 2011 and 2012. Judging from early reports, TVNZ

looks to have nabbed most of the best prospects through its output deal with Warner Bros International, which had 12 of its pilots picked up for the new season. These ranged from a J.J. Abrams (Lost) thriller set in Alcatraz prison, to a raft of comedies, which could be good news for TV2 given the uncertainty over the future of its biggest WB hit, Two and a Half Men, without Charlie Sheen. TV2 also lost its Desperate Housewives stablemate, Brothers & Sisters, which was among the shows cancelled. Most of the three-dozen pilots on view were comedies, although Sony Pictures, which doesn’t have a formal output deal with any of NZ’s broadcasters, stood out for its reboot of Charlie’s Angels – although TV3’s woes with last year’s sure-fire revival, Hawaii Five-O, show how perilous this strategy can be. Indeed, Advertising Age ranked it among the newcomers that weren’t hot, calling it “soulless and tired”, along with two dramas about fairy tale characters: Once Upon a Time, which TVNZ will acquire through its Disney deal, and Grimm, which MediaWorks will pick up through its NBC Universal alliance.

Advertising Age’s picks were The X Factor (“truly marks the spot this fall”), which TV3 already owns, and a remake of Prime Suspect from ITV Studios Global Entertainment that presumably will be a TVNZ property because of its ITV deal. The trade paper also recommended the TV2-bound WB drama, Suburgatory, saying it “could be another Mean Girls”, and the “intriguing” Sarah Michelle Gellar drama from CBS Studios International, Ringer, which should be a ring-in for MediaWorks. Rating a mention Coming to Sky’s Rialto Channel in August are the NZ TV premieres of up to four local features as well as a premier selection of Kiwi short films from independent producers and the NZ Film Commission. Deals were still being negotiated at press time so titles were unavailable … Stratos TV is running a series on Wednesdays at 8.30pm of subtitled, made-forGerman TV romances shot in NZ by ZDF Enterprises, starring local and international actors. Screening next are Forever New Zealand (June 15), Longing for New Zealand (June 22) and Paradise at the End of the World

(June 29) … Sky soon will upgrade the storage on its My Sky HDi PVRs from 320GB to 1TB, which subscribers will welcome on the eve of the Rugby World Cup and as more HD channels are added. By Christmas, Sky will have 11 HD channels (including TVNZ’s and TV3’s), or nearly three times as many as when it launched My Sky HDi in September 2008 – but it’s still ruling out converting Prime, its free-to-air channel, to HD because its ad revenue doesn’t justify the extra HD transmission costs … Prime’s top-dollar gamble on Downton Abbey is paying big ratings dividends, with last month’s premiere notching up the channel’s biggest audience yet for a drama: 6.8% of 25-54 year-olds, 5.5% of 1849 year-olds and 4.9% of household shoppers with kids. Previously in that slot Top Gear Australia had rated 4.1%, 3.4% and 1.8% respectively. It dipped in these demos in subsequent weeks but after three episodes, was still drawing 5.6% of 25-54, 4.7% of 18-49 and 5.5% of HHS/kids. At press time TV2 warhorse Shortland Street was at a five-year high with 18-39 year-olds, the show’s target audience, and a 10-year high against HHS with kids aged up to 14.

JUNE 2011


s Short cut

Ian Mune on the set of Billy T: Te Movie. Photo by Geoff Short.

TV3’s Inside NZ made a popular comeback this month, when the premiere, 24 Hours: Police, easily won its hour with household shoppers with kids and rated highly with 18-49 and 25-54 year-olds – for most of the year, TV3 has struggled to be competitive in this slot with US crime fare like SVU and Hawaii Five-0 (although part one of 24 Hours: Police scored a lucky break in airing opposite a Kiwi comedy special on TV2 rather than its usual juggernaut duo of The Big Bang Theory and Cougar Town) … TVNZ Heartland marked its first birthday this month as TVNZ’s first all-local channel – TVNZ sales says the Skyonly channel is reaching 29% of its target audience, 40-64 year-olds, each month … TVNZ sales also was able to crow about TV2’s weekly share this month reaching a 65-week high, attributing its 33.4 share of 18-39 yearolds to mid-season newcomers like Grey’s Anatomy, My House My Castle, $#*! My Dad Says and the unassailable Shortland Street (since the serial’s Winter Season started, its Facebook page has nudged 200,000 fans) … The DVD of This Is Not My Life goes on sale on June 29. TV hours squeezed for NZOA funding NZ On Air expects to commission 11 fewer hours of drama/comedy in 2011/12 but will spend an extra million dollars on the genre. According to the agency’s Statement of Intent, it’s forecasting to fund 105 hours of drama/comedy, for $27.8 million, compared to an estimated 116 hours for $26.8 million for 2010/11. Documentary/factual content also will be cut back, from 109.5 hours this year to 98 – but with about the same level of funding: just above $10 million. Children and young people’s hours also will decline, from 466 to 8

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433, but, like drama/comedy, spending will rise, from $13.5 million to $14.5 million. Arts/culture/identity and minorities content appear to be the biggest casualties of the national television budget, with cuts of more than $2 million. About half of this will be pruned from the arts budget, with $2.4 million being used to make 22.5 hours instead of the $3.4 million allocated for 32 hours in 2010/11. And forecast hours for minorities programming will fall from 130.5 to 109, with the kitty declining from just above $7 million to just under $6 million. Overall, total hours will decline from 875 in 2010/11 to 788.5. Mega Blu-ray bow for LOTR News of The Hobbit’s release dates precedes the Blu-ray box set of The Lord of the Rings extended editions going on sale here.The Hobbit: An Unexpected Journey will open globally on 14 December 2012 and The Hobbit: There and Back Again on 13 December 2013. The Lord of the Rings Trilogy: Extended Edition and Digital Copy will be released here on Blu-ray on June 29, for $140. The 15-disc colossus will include the three, unplugged makingof docos that Costa Botes directed and a new transfer of The Lord of the Rings: The Fellowship of the Ring that was remastered from the original 2K digital files. Billy T: Te Movie to launch new cinema complex The world premiere of Billy T: Te Movie on August 15th will be the opening highlight of Hoyts Cinemas’ new cinema complex in Te Awa at The Base, Hamilton. The flagship investment of Tainui Group Holdings, The Base is a brand new retail centre

Billy T James. Photo by Phil Fogle.

and the multimillion-dollar cinema complex is totally state-of-the-art, with full digital screening capabilities. Andrew Cornwell, general manager of Sony Pictures NZ, the film’s distributor, says he is delighted the film has been selected for this honour. “It is exciting to have this wonderful film for Kiwis of all ages to open Hoyts’ new cinema complex. It’s very appropriate since Billy is of Tainui descent and is buried with his ancestors on nearby Taupiri Mountain.” The premiere will be attended by special guests including business and tribal leaders, celebrities, filmmakers, politicians and Billy’s family, friends and colleagues. Following the premiere, the film will be released in cinemas nationwide on August 18th, to coincide with the 20th anniversary of Billy’s death. Directed by Ian Mune, Billy T: Te Movie celebrates the life of legendary New Zealand entertainer Billy T James. The film tells of Billy’s meteoric rise to national fame and his tragic downfall into ill-health and financial collapse. Featuring digitally re-mastered footage of Billy’s performances and never-seen-before archival images, Billy T’s story is set alongside interviews with his family, friends and colleagues. The film is produced by Tom Parkinson and Robert Boyd-Bell

through their company BTJ Movie. It is financed by the New Zealand Film Commission, NZ On Air and distributor Sony Pictures, with the script by Mune and Phil Gifford (one of the writers of the original Billy T James Show), co-producer Toby Parkinson, research by Dianne Lindesay and Kaitiaki (Maori liaison) is Tearepa Kahi (Taua). Director of photography is Waka Attewell (Starlight Hotel), production designer Rob Gillies (The World’s Fastest Indian), costume designer Gavin McLean (The Maori Merchant of Venice) and editor Margot Francis (Memory & Desire), and the composer is long-time NZ music identity Bernie Allen, with post-production handled by Images & Sound Post. More on Hoyts Cinemas – Te Awa at The Base The new multimillion-dollar cinema complex at The Base, Hamilton, will offer more than 1400 seats, with six digital screens and 3D capability. The Xtremescreen seats 450 and has the largest movie screen in the Waikato, 7.1 digital sound and New Zealand’s first 4k digital projection system. The venue includes an auditorium for large-screen events, conferences, 3D concerts and sporting events including the 2011 Rugby World Cup in 3D.



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s Short cut

Devil’s Rock locks in USA at Cannes market M

ultiple offers for the US rights to The Devil’s Rock reflected the interest “across the board” for NZ films at the Cannes 2011 film market. NZ Film Commission sales and marketing chief James Thompson says The Devil’s Rock premiered to capacity audiences and as well as securing a US sale, is drawing buyers from other key territories. “We also had interest across the board in our slate coming through for 2011/2012 from buyers and every A-list festival.” Thompson says the market was “definitely more upbeat” for NZ films than it has been for a couple of years. “Everyone acknowledged this was a continuation of an upward trend that seemed to really kick off at Sundance this year. Many distributors expressed to me that the quality of projects introduced was unprecedented and there was a lot of acquisition going on compared to any other market in 2010.” Boosting NZ’s profile was production of The Hobbit . “It’s in a different league to independent films, obviously,” Thompson says, “but it helps us across the board in terms of keeping the bigger New Zealand brand visible.” Also boosting NZ’s profile


JUNE 2011

Gina Varela in The Devil’s Rock photo: NZFC.

was the strong turnout by more than 40 NZ filmmakers, and the launch of Andrew Adamson’s Mr Pip, which Focus Features is selling. “So we had a high-profile film from New Zealand with a big budget and major cast attachment (Hugh Laurie) getting attention.” Love Birds (sales: Icon) screened in the market and My Wedding and Other Secrets was introduced but not screened (sales: High Point). Amanda and Caleb Phillips also screened their independently-produced Desired in the market. “You know, I’d love to have a New

Zealand film in the festival proper, which would really hype our New Zealand presence,” Thompson says, “but overall I would say, based on our own experience, New Zealand had a good market this year, all things considered.” He argues there is always consistent interest in NZ’s films, big budgets or not “as buyers want to know when, not if, the next big surprise will turn up”. He says the positive signs for filmmakers were sales being made and competitive interest in quality, independent projects with good cast attachments.

“The NZFC staff as a whole had busy schedules during the key period of the market, which included meeting with a raft of international festivals, film bodies and potential funding partners.” What struck Thompson most about Cannes 2011? “Internationally, budgets for strong scripts with A-list directors and actors are now coming in under the $10 million mark. I have raised this since last year that films either come in very cheaply with excellent execution/ strong marketing concepts or they are around $6-$10 million mark but with very well written scripts and genuinely commercial attachment. We really need to look hard at what we are making films for versus what other countries are doing.” The Hollywood Reporter said bigbudget features, like Pompeii and Ender’s Game, and specialty fare, such as Thanks for Sharing and On the Road were in equal demand at the festival. “After Berlin, where there wasn’t really anything on offer, Cannes has been great,” it quoted head of film and TV at Constantin Film, Martin Moszkowicz. But he added: “I wouldn’t want to call it a trend. Come AFM, it could be there’ll be nothing again.”

Rugby finals in giant 3D The Rugby World Cup 2011 finals will be broadcast live on giant 3D screens at arenas and cinemas throughout NZ and Australia, thanks to Auckland production company 3D Live.


f you think experiencing the finals of this year’s Rugby World Cup is only for the well off, the well-connected or for diehard international fans with overextended credit card limits, think again. Auckland-based 3D technology company 3D Live is the official 3D production partner for RWC 2011 and it is broadcasting the semi-finals, the bronze finals and the grand final on giant 3D screens throughout arenas and cinemas in New Zealand and Australia. With 3D cameras, spectators can see everything in focus, including front line and back line players, and wide angle shots show more of the field at once. The arena screens range from 10 metres wide up to 18 metres wide. “It’s as close as you’ll ever get to being at Eden Park without being there,� says 3D Live director Ronel Schodt, who “had this dream� of bringing sport to viewers in 3D. “Initially we spoke to Sky TV but they said no, it’s not going to fly. I continued because I could see what was happening in the world. We know in the States that Superbowl, NBA and some of the Formula One stuff is being done in 3D. We knew the

Six Nations was going to happen again last year and that sold out within 40 minutes into 40 cinemas. We could see what was happening in the rest of the world and we want to see ourselves as leaders or innovators. So we tackled it, it was a really hard sell but we’re there now and it’s going really well.� 3D Live is working with international 3D broadcast company Inition, which has worked on 3D broadcasts for the Six Nations Championship, the Olympics, and the Socceroos in Australia. “We’re bringing in an outside broadcast van from Australia,� says Schodt, “and covering the last four games, so that will be the semi-finals, third/fourth playoffs and the grand final, with our own commentary team of Keith Quinn, UK commentator Miles Harrison and former All Blacks Justin Marshall and Grant Fox. “The OB van will send two signals,� she says, “one going up to the International Broadcast Centre, for all the broadcasters and worldwide cinemas. And then we have the theatrical rights to go into cinemas and indoor arenas across New Zealand and Australia.� A total of nine advanced 3D cam-

3D Live’s rail cam system, engineered by Harry Harrison.

eras will cover the games and Schodt is excited that their brand new purpose built rail cam – the tracking system that runs a camera right along the pitch line, across 100 metres of track – has passed its testing stage with flying colours. Arenas screening the RWC 2011 in 3D are Vector Arena, Auckland, Claudelands Events Centre in Hamilton and Te Rauparaha Stadium, Porirua. There

are also large scale screenings planned for Wellington Town Hall, Canterbury, Queenstown, and two centres in Dunedin. “And we’re with Hoyts, Event Cinemas and quite a few independent cinemas right across the country,â€? says Schodt. “People from Kerikeri right down to Invercargill will be able to watch those last four games in 3D.â€? • Tickets details are available at


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JUNE 2011


Kiwi docos at NZ International Film Fest Onfilm previews three New Zealand made documentaries that will screen at this year’s NZ International Film Festival, by celebrated local film makers Costa Botes, Annie Goldson and Florian Habicht.

Michael Morrisey in Costa Botes’ Daytime Tiger.


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JUNE 2011

Daytime Tiger by Costa Botes (Forgotten Silver, Saving Grace, Candyman) is a documentary about writer Michael Morrisey and his fight with manic depression. Botes was invited to stay with Michael Morrisey and his wife, and allowed to film some very difficult moments. The film gives you a very good idea of what it’s like to be living in the midst of an episode with a manic depressive artist. “I’ve known Michael for many years,” says Botes, who adapted one of Morrisey’s stories, Stalin’s Sickle, into a half hour film back in 1986. “He stayed in touch with me over the years and sent me stuff, although I hadn’t seen another of his stories that I’d want to make. Flash forward to 2009 and he heard I was coming to Auckland. He called me and insisted that I have lunch with him. He said he had a story that I just couldn’t say no to. He harangued me with this story, he was behaving quite oddly, very red faced and sweaty, he was acting manic. Now I know it for what it is, he was manic. I had no idea, I simply didn’t know him well enough, because I’d only met him on a couple of occasions. “The fact that I was there filming probably brought it on,” he says. “He wasn’t delusional while I was there but it just sped him up. He was very intent on demonstrating the nature of pressured speech but in recreating pressured speech, he slipped into the real thing. “Michael was right, Botes said I’ll pitch you a story you can’t refuse, by the time he’d finished telling me why I should make it, I’d decided yes I should. But the reasons were not so much for do-good reasons, but for far more aesthetic reasons. I looked at his house and thought wow, right in the middle of Avondale is this funky gothic house set in almost a tropical jungle. He kept hammering on about tigers – that word kept coming up.” Botes says he’s interested in characters who strive and sometimes fail, but persist. “It’s a common theme with me from Forgotten Silver right

through. Part of my motivation for doing the film, I guess it’s a fairly common realisation, but there’s a lot of mental illness around. “It’s interesting how a lot of creative people fall prey to this,” he says. “Any creative person, particularly in a country that doesn’t value creative people, has a daily struggle. When I met Michael and realised what was going on, I thought Jesus, I might feel pretty blue some days or pretty good other days but this guy’s on a roller coaster that’s exponentially much greater. He feels the highest highs and the lowest lows. “The struggle I’m trying to dramatise in the film is one that took place over a much longer period, Michael’s belief that he can beat it through willpower. You can clearly see that he’s not beating it, it’s beating him. When I filmed him, he was convinced that he could ‘ride’ these feelings like a surfer rides a wave. For me the big epiphany was, you know what, the meds actually work. And perhaps you’re better off taking them.” Brother Number One by Annie Goldson (Punitive Damage, Georgie Girl) is about the impact of the torture and killing of New Zealander Kerry Hamill by the Khmer Rouge in 1978. The film follows Kerry’s brother, Olympian and trans-Atlantic rowing champion Rob Hamill, on his journey to Cambodia in 2009 where he gave evidence at the trial against members of the Pol Pot regime. Goldson says there are still a lot of issues around human rights in Cambodia, in terms of poverty and in terms of political dissent. “But it’s not like it was under the Khmer Rouge,” she says, “I mean that was unprecedentedly brutal. “I remember going to see the Tuol Sleng prison photos when they were first exhibited in New York, and being really struck and horrified by them. For those of us that remember, it was sort of the aftermath of the Vietnam

The Hamill brothers: Rob (left, pictured in the former Tuol Sleng prison, Phnom Penh) and Kerry (right, aboard charter yacht Foxy Lady before his arrest) from Annie Goldson’s Brother Number One.

War really, and one could say a consequence of the Indo-China policies that all of the super powers were involved with. “So I was aware of Cambodia when I was approached about Rob – I sort of knew Rob, although I’m not particularly a sports watcher – but I found him a very charismatic individual, obviously with a very painful family history and with the courage to go to court. It just seemed like a fairly compelling story.” For Rob Hamill there were some pretty tough moments, says Goldson, which raised the question of how to deal with it as a film maker: “How to deal with it ethically when people are distressed or having to confront some pretty awful things. That’s something as a documentary maker that you certainly have to be empathetic towards, to think not just about the film, but about the person as well.” Florian Habicht (Kaikohe Demolition, Rubbings From a Live Man) describes his new film Love Story as being “like one of those ‘pick a path’ love stories”. Filmed on the streets of New York City, Love Story is not strictly a documentary, rather a funny, playful mix of reality and fiction as people’s true stories and suggestions fuel the very making of the film. After finishing his 2008 film Rubbings From a Live Man, Habicht received a phone call informing him that he’d been selected as the first recipient of New Zealand Art’s Foundation’s Harriet Friedlander

NYC Artist residency. “Every two years they send a young artist to New York, with no expectations, just to get inspired by the city. I ended up stretching it out and lived there for a year and a half.” The whole movie is written on the street, he says. “It came about because I was about to leave New York and I realised I had to make a film before going. So I organised a whole shoot and everything without actually having a script. I had a little bit of a freak out, thinking ‘what am I doing?’ but most of the time I was confident. I took my camera out on the street and the footage I got was really magical and so were the ideas people came up with. And I thought, wow I can make a whole film like this. “Inspired by a New York psychic – New York is full of psychics – the film begins with me meeting a Russian girl on the subway, but I go and ask people in the street for ideas on what should happen in a love story. Then we went and acted out what the people in the street said. “It is high concept,” says Habicht, “but it is a real love story. I’ve found making romantic films really suits my style. That’s something I did back at Elam art school, I made a lot of love stories.”. • New Zealand International Film Festival 2011: Auckland, July 14-31; Wellington, July 29-August 14; Dunedin, August 5-August 21; Christchurch, August 12-August 28. Further regional dates are available online. For more information on screenings visit

Florian Habicht’s Love Story.

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JUNE 2011


Q& A

The Russians are coming Writer-director Stephen Sinclair, producer Liz DiFiore, and lead actors Stephen Papps and Elena Stejko talk about making indie feature Russian Snark, which is released nationwide on 16 June.

Russian Snark writer-director Stephen Sinclair. Photo: Nick Monks.


JUNE 2011

What was the initial inspiration and impetus for making Russian Snark? Liz DiFiore: Stephen and I had been talking about making a film together for quite a while. We made a short film called Ride a number of years ago, and we wanted to follow that up with a feature. Stephen Sinclair: I’d made another short film with Stephen Papps and Elena Stejko, and thought they worked really well together, so I decided to write a feature for them. And it so happened that I’d read about this Russian couple who had sailed all the way from Siberia to New Zealand in this tiny converted lifeboat, having set off without any real destination in mind. It was quite an extraordinary story. I thought it would make a good basis for a film, and a great vehicle for the two actors. LD: I thought the story was incredible as well, so we sort of bandied the idea back and forth, and started working away – Stephen writing the script and me working on budgets and thinking about how we were going to achieve it and what sort of budget range were we going to be able to work within to make a film like this. Because it did have a lot of moderately complicated elements – not particularly complicated but moderately complicated. So at that stage it was a matter of saying, “Oh yeah Stephen, that’s quite possible; but that, on the hand, is really, really impossible, [laughs] so, let’s go back to the drawing board with that idea to see what else we can come up with…”

How was the film funded? SS: We got some money from the Screen Production Innovation Fund – about $25,000 – and once it was accepted into the NZ International Film Festival we got a little money from the NZFC for post. But it was mainly self-funded, by me and Liz. If I’m going to spend all the time and energy to write a script, I like to know it’s going to happen. So I started to write this script with the knowledge that I could make it myself, that I could fund it. And that obviously allowed me to have the confidence that it was going to happen, because I was going to make it happen. [laughs] And it provided an enormous amount of freedom – I didn’t have to kowtow to anyone, I didn’t have to go and talk to committees, I didn’t have to make adjustments to the script… The plot involves a Russian couple – Misha (Stephen Papps) and Nadia (Elena Stejko) – who sail to New Zealand. He’s a filmmaker who’s determined to make a film out here, and the story is mainly about his frustrations in trying to get a film happening and the strain it puts on his relationship. And as his relationship deteriorates, so does his mental state. It’s almost a parable about a very blinkered, self-obsessed artist and how his obsession with his work causes him to be alienated from everyone around him, and how he finally manages to redefine his relationship with other people and the world. As a director, what were your greatest challenges with this project, Stephen? SS: The greatest challenge I faced was placating my wife! [laughs] Spending personal funds on a project that took me away from the family for long periods of time was not conducive to conjugal harmony! However she seems to quite like me now, so I think I can say it was a challenge I – we! – overcame. I’m not the first person to observe that life behind the camera can start to mirror what’s going into the can.

Photo: Nick Monks.

JUNE 2011


Q& A

Russian Snark. Photo: Steve Latty.

What were your challenges as producer, Liz? LD: Working on any film is challenging, and the challenges particular to low budget filmmaking are many and varied. It’s absolutely essential to have the support of the New Zealand filmmaking community at large when you’re making something like this, so I guess the greatest challenge is finding an idea that other people will get excited about. Ultimately, at the end of the day, everyone who wants to work on a low budget picture really does it for their own reasons, so the picture itself has to stimulate and intrigue them to the extent that they say, “Yeah, that’s something I’d like to commit to.” Just because the money is tight doesn’t mean that people try any less hard if they believe in a project. We all have expectations of ourselves and each and every one of us wants to contribute our best. The challenges of having a new director and mostly fairly new crew meant in some ways there were less constraints – in the “no, we can’t do that” area – which freed us up a lot to play with the ideas. Achieving the look and feel of this film was very much dependent on the talents and skills Stephen brought to the table as a writer of some experience, and we were able to take advantage of the background I have in high and low budget drama to maximise our budget’s potential. We had to think of clever ways to use our seriously limited resources to create what we were after. In terms of specific challenges, we were working with water, children and chickens, so we had all the elements that you’re normally advised to steer clear of. [laughs] And, of course, Stephen Papps had also never spoken Russian before. And although when he was writing the film, Stephen S was writing it with Stephen P and Elena in mind, for some reason he didn’t feel it would be a problem for Stephen P to learn Russian. [laughs] Because he has a very good ear, Stephen S felt very confident that he’d be able to pick up it up and run with it. Which, as you can see, he did! Stephen Papps: Well, frankly I don’t know what the hell he was thinking. 16

JUNE 2011

[laughter] But then he produced the script and I was really quite taken with it. I really liked the message behind it, I really liked the character and I really liked the story of what it is to be an artist in real life. Speaking with a Russian accent, I didn’t mind doing that, that’s fine. But it was the language that was obviously the hard part. What I’d do was transpose the sentence, find the meaning of the sentence in an English way, I suppose, and then find out which word was important in the sentence, if you like, or what the emotion of the sentence was, so I hit the right word in Russian, as I would in English. Elena Stejko: I was absolutely smitten by Stephen’s devotion to his part. He started learning the whole language, not just his lines. He went to the classes and he wanted to know exactly how it was written in Russian and phonetically how it is supposed to sound. So in the beginning we spent a lot of time where I would be just speaking and he would be hearing and hearing and hearing and again hearing, until he could produce the similar sound. And then he would go home and practise it. I don’t know how he did it. Actually, by the end he was so good and convincing with the Russian language that between takes I would often forget and speak to him in Russian. [laughs] What did you enjoy most about filming Russian Snark? SP: The fact that I felt like I was part of something good! The character was strong, and I felt strong within myself, in that I knew what I was doing. It made everything so much easier to do. And it’s always a pleasure to work on a good script. Also, Stephen’s very straight up about what works and what doesn’t for him. It’s good to work with someone who knows what he wants. ES: I will always remember the shoot as a beautiful world – challenging and loving. I enjoyed the easiness on set, the supportive and encouraging crew, the stunning locations that take your breath away every time. I never wanted to finish the shoot day… Also, I have enjoyed the challenges that I had to face. The creepy resem-

Russian Snark producer Liz DiFiore. Photo: Kevin Donovan.

blance I felt with my character, my personal boundaries being pushed to the edge, trusting and taking risks… But I loved it all. I loved working with Stephen Papps – my husband on screen – it was a real joy. And I really enjoyed working with Stephen Sinclair. And in many ways it was a healing experience being Russian and playing a Russian so far away from home. SS: I was surprised by how much fun it was. I thought I’d just be overwhelmed or, you know, really challenged by the stresses and all the things you need to think about as a director. So it was a great relief to find it really was a huge blast. Of course, I was lucky with the level of expertise of the crew; they attacked it with a lot of skill, a lot of energy and a lot of good grace. The whole mood was really good throughout the entire thing. People seemed to think I knew what I was doing [laughs], and that reassured me that I did know what I was doing, which helped. Your thoughts on the finished film? ES: For me this film speaks on so many different levels, you can look from so many different viewpoints and get what you want out of it… LD: This film was a stretch for independent filmmaking and I think it raises the bar as to what is possible – or at least holds it up! Unlike many independent projects, the script and the shoot remained more or less in sync and manageable. We shot over several years, which was trickier but did enable us to sculpt a better film. Russian Snark is also unique in that

it’s not North American-centric and has a very European and Slavic feel to it, what with both protagonists being Russian and the film having a strong existential perspective, despite being set in NZ. The fact that we have about 40% Russian language in the film [subtitled in English] also sets it apart – as far as I am aware this is the first NZ feature film to be made in Russian and English, so it’ll definitely stand out in the crowd! SS: In one sense it’s an art movie, and there’s kind of an image system through the whole thing, but there’s quite a strong strain of satire through it as well. Filmmaking is such a bizarre thing – you turn up, for all intents and purposes a sane member of the community [laughs] and get all these people to take their clothes off and writhe around in the mud. [laughs] It’s one of the great things about filmmaking – you just get to do, or make other people do, more to the point, such bizarre and unusual things… I’ve conscientiously tried to have these different tones included within the film. I guess films like this are often made by very serious artistes who feel so strongly about their subject that humour might seem to them to compromise their vision or something. I think that’s bullshit. There’s nothing so serious that it can’t be humorous as well. SP: Yeah, we can become very egotistical and self-obsessed in our endeavours, and the film is about getting over yourself, really. I think there’s something in that for all of us. [laughs]

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JUNE 2011


Making tracks Sound recording, sound design and musical composition are all key elements in Stephen Sinclair’s debut low-budget feature Russian Snark, as Peter Parnham explains.


Photo: Nick Monks.

 

  18

JUNE 2011

roducer Liz DiFiore is clearly not cowed by a challenge. If she was, she wouldn’t be releasing a selfdistributed, self-funded feature film across New Zealand this month. Ask about Russian Snark and DiFiore is quick to say that the selffunding by her and writer/director Stephen Sinclair only goes so far. They also had a lot of support from the film making community, with post houses Images and Sound and Park Road Post pitching in to help, along with small cash donations from the Screen Innovation Fund, the NZFC, and sponsors who donated in kind. “Along the way we also had vital support from crew, actors and all sorts of other people,” says DiFiore. The movie follows Misha (Stephen Papps), a Russian film maker who has fallen on hard times and sailed to New Zealand with his wife Nadia

(Elena Stejko), in search of a filmfriendly country where he can pursue his career. Perhaps it makes sense that Misha would end up in New Zealand, where film friendliness isn’t just about large budget grants and cultivating new Hollywood studio friends, but often involves helping out modest productions with hardly any money. Russian Snark was shot over 2008, 2009 and 2010 in five clusters – DiFiore calls it a process of sculpting the story. During that period much of the film making support was unheralded and literally unseen, as no fewer than the 20 people and two companies that earned sound track credits can testify. Sound recordist Ande Schurr and his boom operators captured the original location sound. Schurr says the shoot had a really good feeling.

Wellington sound designer Tim Prebble. Photo: supplied.

“It was Stephen’s first feature film and because of his success as a writer and a playwright I felt a sense of adventure,” he says. His aim was to get as much original sound as possible into the movie’s final soundtrack. “I think it is something that all sound recordists feel passionately about,” he says. “But there is a real understanding too, that sometimes it is so much cheaper and efficient to do ADR.” Depending who you talk to, ADR stands for automated dialogue replacement or additional dialogue recording. In the old days it was called looping or post-synching, as the actors repeated their lines in synch with the previously shot pictures up on a screen in the recording studio. Loops of film flew around and around in the projector until a good take was recorded and used to replace the original on-location dialogue recording. Compared to that laborious process, the drudgery has been automated by computers and video screens, but the basic process is still the same. But there are costs involved with hiring a studio and calling the actors back in to

do ADR, so it is something you only do when wind, background noise or other problems have prevented clear location sound from being recorded. That’s the challenge for the sound recordist, whose skill in recording may help reduce the amount of ADR required, although on some scenes it is simply unavoidable. Schurr gives the example of pickups in the interiors of the boat, shot in a boat park on Tamaki drive. “They were close ups and there were trucks going through dialogue,” he says. “It was obvious at that stage that it would need ADR.” ADR shots or not, at the end of the day Schurr hands over a DVD or compact flash drive of audio files to the editor or the editorial department. “Often they hover around the set, which is really nice because then you can have immediate discussions. In this case we worked with Images and Sound. I popped in there most evenings and downloaded the footage and had a chat to make sure I was on the right track,” he says. At Auckland post house Images and Sound, sound supervisor and

Sound in film exists to help tell the story. Our ability to do so much more, for example working with hundreds of tracks of audio, needs to be motivated by the story rather than the – Tim Prebble technology. ADR specialist Steve Finnigan says it is heartening when lower budget jobs that needed support end up doing well. On Russian Snark the company provided offline facilities, ADR recording, and an editing suite for freelance editor Paul Maxwell and earlier editor Wayne Cook. “It’s about supporting the industry,” says Finnigan. “If we have the equipment available, we put up a hand to help, particularly where we are helping an existing client. Most post facilities

will do the same thing. “In this case it was slightly complicated. It was always going to end up being mixed at Park Road Post because of Stephen Sinclair’s relationships.” Finnigan says that normally, the multi-track audio file from the sound recordist’s hard disk recorder is synched up by the assistant editor on a daily basis using time code, and then the audio is left alone until the film is edited. “The only instance we would

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JUNE 2011


Sound recordist Ande Schurr at work with actor Stephen Papps. Photo: Liz DiFiore.

normally start looking at the project before it is locked off is if you have an actor going overseas who may be hard to get hold of,” says Finnigan. “Then they might want to scan through all the material and see if they want any ADR done. “On this occasion I sat down with Stephen and we went through the entire film over the period of about a day. We made calls together. I’d say, ‘that’s a scratchy lapel mic’, and he’d go, ‘yes let’s do it’ or ‘look I really like the performance, can we fix it?’, or he might say ‘I never liked that line, or we have to change the dialogue’. So together you make technical and creative decisions on what may need replacement.” When it comes to the recording and mixing the ADR, Finnigan says there is a skill in seamlessly matching the ADR sound with the location sound. “Where possible you try to use the same microphone. Here, we typically record a lapel mic and a boom mic, so you end up with two options because a lapel mic sounds quite different from a boom mic. “The most important thing is to match the performance, the second thing is correct lip synch, the third thing is matching the environment. There are ways of doing that with equalisation, and these days we have convolution reverb, which is a way of sampling an environment of existing

material and recreating that in reverberation software. You can match spaces pretty closely now.” There is no rule of thumb, says Finnigan, for how much ADR will be needed from project to project. “It is very variable and some people who have not made films before struggle with budgeting for it, but others just have a healthy contingency for it. They know what the actors’ daily rates are, what the call outs would be, and that is the major cost. “On Russian Snark we did maybe 15 hours of ADR – about one and a half days. For a low budget New Zealand film that might be typical.” He says a film with unlimited budget would still not use ADR for all the dialogue. “In Hollywood films there is a great amount of ADR done but directors get very attached to performances, and it is really hard to recreate and recapture the magic of the day. Most people I know think that ADR should be avoided unless it is necessary.” Once the edit was locked off and the ADR was done, the audio files were electronically handed over to Wellington sound designer Tim Prebble. He was responsible for taking the sound that was edited in synch with the picture, the original sound, the ADR tracks, the music, and creating the final mixed sound track complete with dialogue, EFX and music. “Usually I am hired before a film

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is shot as the collaboration between production sound, picture editor and sound post is critical,” says Prebble. “It also means we can help identify and pre-empt any sound specific issues and it provides more development time for thinking and research. However, because Russian Snark was shot over a very long period, my first contact was not until after the cut had been locked off,” he says. His interest was piqued by the phone call from DiFiore. “Liz called and asked if I was interested in considering the project, and sent me a copy of the cut on DVD. I had worked on a couple of films by Harry Sinclair [The Price of Milk and Toy Love] and always enjoyed his sensibilities and approach, so as soon as I heard it was his brother Stephen Sinclair I figured it had to be at least interesting – and it was,” says Prebble. “We started off by having a spotting session with Stephen, where we talked about ideas for the film as well as specifically scene by scene. Then it was a process of evolution; of us working for a week or two and then getting Stephen back to have a listen and discuss the work in progress.” Prebble says the funding wasn’t enough to support the normal post schedule for a feature film. “All of the sound editors watched the cut and felt it was a project that they personally wanted to support and invest

in. So rather than my usual schedule of working for eight weeks in sound editorial, I split my role and only did three weeks, alternating with sound effects editor Matt Lambourn.” Chris Todd also split his schedule for dialogue/ADR editing with Emile De la Rey. “This meant we could complete the film to a high standard without any one of us being overcommitted,” says Prebble. “Chris and I then attended the mixing at Park Road Post.” According to Prebble the film was also unique because the composer usually works to the same schedule as sound editorial, but in this case composers Stephen Gallagher and David Long had already completed the score. “They gave us a guide mix of the final score to work to from day one,” he says. “This meant we could develop elements that worked tightly with the score and also meant we could audition our work for the director in context.” Prebble says he enjoyed the job. “Apart from the normal realistic practical sound effects and ambiences, the film-within-a-film elements were interesting to interpret, with plenty of scope to be evocative and non-literal,” he says. The scope of what can be done with sound design has been extended, thanks to new technology, but Prebble says that technology has not changed

Boom operator Jeremy Lawry with Ande Schurr. Photo: Liz DiFiore.

the essence of the job. “Sound in film exists to help tell the story. Our ability to do so much more, for example working with hundreds of tracks of audio, needs to be motivated by the story rather than the technology,” he says. “It’s funny. I get emails from kids

asking me what plug-ins they need to ‘do sound design’ and I probably sound like an old grump when I inevitably end up lecturing them that it is what happens in front of the mic that matters. Interesting sound design starts with interesting sound supporting an interesting story.”

JUNE 2011


Wild lines 100% location sound – is it possible? Sound recordist Ande Schurr discusses the challenges involved in recording on location.

Russian Snark, the low budget feature by Stephen Sinclair, is an example of a film that did not rush hurriedly to the market but took the time it needed. In doing so, it has attracted screenings and even best picture wins at festivals around the world en route to a cinema release in New Zealand. When I sat down with producer Liz DiFiore and writer-director Stephen Sinclair to talk about the strategy for the location sound, we realised that there were some things that we just had to accept. The “out at sea” closeups at the boat park in Tamaki Drive, with traffic noise from cars and trucks whizzing past, was the main one. Capturing 100% clean location sound is the ideal for many filmmakers, especially those shooting lower budget films. When I recorded sound on the second unit of the UK/NZ mini-series Ice, the director didn’t give a second thought to saying the words “ADR” when a noisy snow machine was needed, and he was still very considerate with allowing time to do my job on scenes that I could get clean sound from. With millions in the budget, ADR is easy to schedule in. However for many indie film makers, Film Commission Escalator films and TV series, getting location sound saves time, money and effort and the actors don’t have to try to recreate their performance in a sterile sound booth many months later. The trick for 95% useable sound on location is to record “wild lines” immediately after the scene has been shot, in the same location as the filming. I am currently working on one of the four Film Commission funded Escalator films in Auckland Film Studios.

It’s called Timeslow, directed by Sally Tran and produced by Owen Hughes. There are 33 shots in the entire film, which incorporate several scenes into one steady-cam or dolly shot – often for over five minutes. We have 14 moving sets in total and often there are several costume changes during the actual shoot which means that it is simply not possible to capture all the sound clean because the sound of castor wheels on the floor of the studio is heard over dialogue. To the art department’s credit, they have perfected the timings so that only a small portion of dialogue is overlapped. But still, wild lines are needed. We conduct these immediately after the shot. We run through the scene once with the same movements on set. Then we single out lines and fx and record those separately. This small touch at the end will save them a lot of time redoing these lines with the actors later on. The hope is that the actors will say their lines in the same way, rhythm and stress as the take that the director liked best, and thus map perfectly over their on-screen dialogue. It’s the hope of course, and the continuity person helps enormously in this process to ensure their words and mannerisms are the same. However, if heavy rain sets in, the sound it will make on our tin-roofed studio will be completely unacceptable. In that situation we have arranged to take over the quietest room in the building complex to do our wild lines. It is not ideal but we have to deal with the reality. We Continued on page 24


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Timing is everything Jazz musician Joel Haines has turned his art into a career as composer for TV and film.


oming from a musical family steeped in the jazz tradition, Joel Haines began his career as a guitarist, performing with his father, bassist Kevin Haines and his brother, saxophonist/flautist Nathan Haines. “Pretty much even when I was at school I was doing six nights a week, plus recording sessions,” he says. “I’m still playing a wee bit, but not as much as I used to. It’s now become good fun going on tours, whereas it used to be a necessity of life.” Composing music for TV and film is a world away from bars, clubs and concert halls, but since his first big job 10 years ago on Mercy Peak, Haines has established himself as a fulltime screen composer, scoring many local TV productions. “Mercy Peak was my big breakthrough, it basically put me on the map,” he says. “The hardest part of this job is trying to get in and get some decent work. I demoed for the theme song for the series and was asked to do the whole series. It was huge for me.” Haines says he felt “pigeonholed” as a composer of “just acoustic music” for a wee while after Mercy Peak. Eventually he landed more work, on season two of Outrageous Fortune. “John Laing, who was a producer on Mercy Peak, was on the second season of Outrageous Fortune and he got me on board. John’s a muso as well; his son [Toby Laing] is the trumpet player in Fat Freddy’s Drop. We got on like a house on fire and became good mates. “All I know about timing and placement is from John Laing. He’s a master at that. He’ll wait for the moment, the waiting game is extremely important. In this country we’re not scoring for a Hollywood movie where we’re telling everybody what’s going to happen; we just hold back, maybe use a tiny noise or suggestive element. Timing is very important.” Haines also worked on music for TVNZ’s Diplomatic Immunity (“basically the whole score was on ukulele”), Stolen: The Baby Kahu Story (“a cross between score and sound design, with a lot of freaky noises and weird stuff going on”) and the documentary feature This Way of Life (“a great project, back to where I started from, with acoustic guitars and stuff”). Over the past year he’s worked on some pretty big TV commercials, starting with the Air New Zealand “Rico” campaign. “It started with the soundtrack for him late last year, then onto some Mazda commercials. We’re about to start a documentary, we’re doing all sorts. “The whole purpose of scoring for pictures,” he says, “is you have to fit in. If you’ve noticed it, then I’ve probably done too much.”

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will simply walk the cast to the other location, accompanied by an AD and the director, and record the lines of dialogue while camera and lighting prepare for the next setup. The other five percent of useable sound that we are trying to attain requires an organised understanding by the director, producer and 1st AD. We often just need a few seconds to let a train, traffic or planes pass by. Lawnmowers and weed eaters need personal attention and negotiation – but that too can usually be resolved immediately. Car alarms need patience, lighting buzzes can be muffled and insulated a little as soon as they become apparent when the setup noise has quietened, while accidental noises during the take can be eliminated when crew are reminded to keep still. It is obviously the location sound mixer’s prerogative to eliminate all the noises in their control. Clothing noises on the lapel mics is the main one, radio interference is another which brings me to the most important thing, equal to the skill of the recordist: their gear must be impeccable. The recordist must have enough radio mics for the main actors. Two radios just don’t do justice to our films today. They must be capable of long distances so there is zero chance of radio interference over a 30-50 metre distance and sometimes up to 100 metres if necessary for the scene. The sound recordist must have a range of sizes and colours of lapel mics to suit various costumes along with a variety of tapes and methods of application. They must have a multitrack hard drive recorder, with ideally 8+ channels, so the boom and radio mics can be captured on separate tracks along with a digital slate to make synching the sound easy during the edit. Then there is the guide track sent to the camera (if it’s a non-film camera) such as the Alexa, RED or a DSLR – this will help the editor enormously. As my career progresses I have noticed two changes in my approach to dealing with location sound on movies. The first is that I will try unconventional lapel rigs to capture the best sound and will keep trying until I have clean sound. I am determined to


JUNE 2011

take any costume arrangement, any action and get clean sound from it. It is my personal satisfaction to start off sometimes not knowing how I will approach a scene and then observing rehearsals and testing until I know what I will do. The expansive lighting environment on the set of my current film, and the costume of one of the lead characters, is such that my boom operator was not able to get close enough to her, so the responsibility fell on good radio mic placement. Specifically, a hair rig was the only possible place to hide the mic. However her neck was exposed so we couldn’t have a wire dangling down her neck – even though it was the colour of skin and very thin cable. With the help of the makeup department we hid my small radio mic transmitter in her hair along with the lapel mic. It worked perfectly and the actress didn’t have to worry about it on her clothing. The other change in my approach is that I accept more gracefully that there are some things that I simply cannot do anything about. My personal goal is to have 100% useable sound from the location recordings. However there are many more important things that may override my, and often the director’s wish to have no ADR, and that comes in the form of pressure to keep shooting and maintain the schedule rather than wait those few extra minutes. Ultimately there is a greater responsibility to finish the picture on time, on budget. Thus, I believe that 100% of clean location sound is possible with meticulous monitoring by the sound recordist and amply supported by the 1st AD and director. Indeed, I will always strive for this result. However, if it is at the expense of the other departments, where mistakes are not as easily remedied in post production, a little ADR must be accepted as part and parcel of the contemporary film. • Ande Schurr is a production sound mixer specialising in TV commercials and feature films along with documentaries and TV dramas. Ande’s blog and CV are found at www.  and his sound rental company is

Radiate Sound founder and owner David Liversidge.

Oktobor Group managing director Bruce Everett.

Radiate Sound New HD audio post studio launches in Auckland.


adiate Sound has launched a new full HD audio post production studio, based in the Oktobor building in Freemans Bay, Auckland. Founder and owner David Liversidge says Radiate Sound has been set up with creativity in mind. “We have purposely designed the studio to be a fun, friendly place where people will want to hang out and make sound magic happen,” he says. Liversidge has 12 years’ experience in post-production sound engineering. During the last five years he has been a senior sound engineer at Liquid Studios in Auckland, and prior to that, he worked at Auckland Audio, where he managed its Sale Street facility. Before shifting to New Zealand, Liversidge was based in London where he produced hundreds of Sony award-winning BBC Radio programmes for the likes of Pete Tong, Roger Sanchez and Boy George. He also produced ads, worked on the Brit Awards, and mixed and mastered top 20 selling albums. Liversidge says the move to Oktobor will enable him to offer a more complete package to clients by utilising Oktobor’s infrastructure. “Being located in the Oktobor building brings with it the opportunity to collaborate, learn and get new ideas from others. I want to expand people’s horizons with what is possible in audio. Put simply I can offer clients more for their money and it’s very much a win-win situation all round.” Radiate offers a full range of HD audio services, from composition and sound design to post production for all media. “We also provide a great visual experience,” says Liversidge, “because I know there is nothing worse for clients then trying to get final sign-off for an ad on crappy TV monitors. We’re delighted with the new HD studio and are very much looking forward to working on cutting-edge audio projects.” While being heavily involved in the audio post production side for the advertising sector, Radiate’s recent work includes the sound design, foley and mix for Yukfoo’s animated short film Preferably Blue, voiced by UK comedian Harry Enfield. Oktobor Group managing director Bruce Everett says there is growing interest from a number of companies to work alongside Oktobor. “Radiate is a great example of how Oktobor can support small media production boutiques by sharing our resources and great location in Freemans Bay,” he says. The Oktobor building in Sale Street, Auckland also houses Dubsat AAV and Oktobor Animation, Oktobor’s CGI animation business, which services Nickelodeon Studios and creates The Penguins of Madagascar and other animated TV shows.

Operation 8: Deep in the Forest NZ 2011 producer Errol Wright dirs/eds Errol Wright, Abi King-Jones camera Errol Wright sound Errol Wright, Matt Stutter consultants Alister Barry, Gaylene Preston website, 110 minutes DigiBeta.


here are shocks galore in this outstanding political documentary. For me the most startling was hearing Ross Meurant, former detective, sometime National Party MP and the face of the much-hated Red Squad during the 1981 Springbok Tour, give frank insider insight into the mind of the New Zealand Police establishment. According to Meurant, the world of law-enforcement-think is “a forest” where “the further you go into the forest, the more paranoid you become”. This paranoia, Meurant says, leads to detachment from how things actually are and a consequently distorted notion of reality. And while this is not news to those of us outside the institution, it’s amazing hearing it coming from one who was once so committed to it. Another shock – Prime Minister Helen Clark, always keen to oil trou-

bled waters with the voice of reason and calm, justifies the outrageous 15 October 2007 police raids on a number of New Zealand’s political activists on the grounds that these people were planning terrorist attacks, posing a serious terrorist threat to the country’s security. From the first scenes the tone is set for a down-home Orwellian nightmare, as black-clad, balaclava-wearing police smash their way into the homes of Ruatoki’s Tuhoe and of activists in other parts of the country in a series of early morning raids. Victims of the raids, including children, describe how the police, among other things, held guns to their heads and held them for hours with no food, water or toilet access. Several animal rights campaigners were among those targeted in the raids. A huge strength of this meticulously constructed documentary is its scope. The 15 October events are carefully outlined – the arrests of several people under the 2002 Terrorism Suppression Act, the refusal of the solicitor general David Collins to give consent to the charges being brought, the subsequent

charging of 18 people in February 2008 (charges include ‘participation in an organised criminal group’ and ‘possession of weapons under the Arms Act’) and the strict bail conditions forcing many defendants to regularly travel the many miles to Auckland. While local in focus, the issues raised in Operation 8 are global. Alongside the narration of events the film patiently provides a voice for a great number of protagonists – defendants, lawyers, Ruatoki locals, academics, former undercover cops and others – as it unpicks the historical, political and social contexts of those events: the Suppression Act looking for an outing; police abuse of power; media demonisation of Tuhoe, in particular poster bad boy Tame Iti, capitalising on good ratings opportunities and to hell with the truth; government denial of Tuhoe’s claims for ownership of Te Urewera; the crude face of unabashed racism and class division in this country; and the insidious surveillance culture in which we are all now deeply embedded. With a massive amount of footage to wrangle, filmmakers Errol Wright and

Abi King-Jones (Caretakers of the Land, The Last Resort), with support from veteran documentary makers Gaylene Preston and Alister Barry, spent over three years making Operation 8. Their dedication and commitment is to be applauded.

– Reviewed by Helen Martin

JUNE 2011


h c t i D e h t Across Our expat spy provides his idiosyncratic take on the Aussie film and television industry.


ast month we mourned the passing of Bill Hunter, renowned Australian actor, by JAMES BONDI raconteur, larrikin and legend. Even Prime Minister Julia Gillard paid tribute, saying “Mr Hunter played a key role as an acclaimed actor in helping to define Australian culture over five decades on screen and on stage. He told us Australian stories in an Australian voice at a time when we were debating and developing our sense of national identity.” While Bill’s roles in such films as Gallipoli, Newsfront, Muriel’s Wedding, The Adventures of Priscilla, Queen of the Desert and Strictly Ballroom are etched in our consciousness, his off screen antics are equally famous. Very fond of a drink, (and who isn’t? As Richard Burton once said, “Beware the man that doesn’t drink.”) stories of Bill’s escapades abound, some true, some urban myth or wishful thinking. Here’s one of my favourites… while working in Adelaide he got on the grog with a visiting football team from Western Australia. The next day he didn’t turn up on set but woke up in a different hotel room than his own. Not sure what was going on, not even sure what

day it was, and with a distinctly fuzzy head he went down to the hotel reception and asked a young staffer “How long have I been in Adelaide love?” The bemused receptionist replied, “You’re in Perth Mr Hunter.” Only 2000-plus kilometres away! *** They love us! They really love us! A new report from Screen Australia shows that Australian films are watched by millions. Too often the media fixates on low box office figures and would have the public believe that the Australian industry is a failure. The report, called Beyond the Box Office: Understanding Audiences in a Multi-screen World, shows that the 100 Aussie feature films released between 2007 and 2009 have so far reached an audience of over 100 million viewings. This figure adds to box office figures the additional audiences from DVD, Blu-ray, online video and TV screenings. Even films with below average grosses perform far better on television than their theatrical release might have suggested. Screen Australia CEO Ruth Harley is arranging forums with industry leaders to discuss these findings.

This “long tail” of interest, and income, would suggest that the local film industry is not the waste of space that some of our nastier bottom feeder film critics want to portray it as. But flapping over all this good news is the skull and crossbones flag of movie piracy, the single biggest threat to the worldwide industry. Illegal downloads of current release movies are at frightening levels. I wonder how many people would think twice about buying a pirated movie online if they knew they were giving their credit card details to international organised crime? The Australian Federation against Copyright Theft estimates that movie piracy is now a bigger earner than the illegal drug trade. It’s a pity the cops don’t pursue the sellers of this illegal product with the same enthusiasm they show when setting dogs to sniff out pot smokers on the streets of Sydney! *** There must be something in the South Australian water, because Adelaide is Australia’s undisputed serial killer capital. From “The Family Murders” in the 1970s and 1980s where an alleged conspiracy of high society paedophiles kidnapped,

tortured and murdered teenage boys, to the “Bodies in the Barrels” murders of more recent times, the garden city, also known as the City of Churches, is a proven playground for loopies with a murderous bent. A new local flick, Snowtown, is based on the Bodies in the Barrels case, where the dismembered remains of 12 people were found dissolving in barrels of acid in a vacant bank building in the quiet country village of Snowtown. Selfstyled moral crusader John Bunting and his henchmen had been on a rampage, torturing and murdering suspected paedophiles and gays from the poorer suburbs. The movie is getting international acclaim but is seriously disturbing. I found myself not really wanting to be watching, and feeling maybe some stories are best left alone. Well for this wuss, anyway! But that is not to take away from the obvious skills of first time feature director Justin Kurzel. He has put together a very accomplished psychological drama that is disturbing audiences across the globe. Perhaps the success of the film is its ability to have such an effect. The audience I observed appeared to be completely cured of any murderous tendencies as we stumbled out into the clean, fresh daylight.

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A legal vie w

Music 101

Music is undeniably a key part of any screen production. But as David McLaughlin explains, the use of music can also be one of the most legally complex areas to navigate.


he right song or the right musical score goes a long way towards influencing the overall impact that a film, documentary or television production will have. However, unless all the various legal rights required to use a particular song or piece of music are appropriately addressed, then that big song can very quickly become your biggest nightmare. So why is the use of music so problematic when it comes to the screen industry? The simple answer to this is that music, and in particular songs, have a surprising number of separate legal rights. This situation is further complicated by the fact that in many cases these rights are controlled by a diverse range of individuals, companies and industry organisations. What this means is that in clearing music for use in a screen production, a larger number of potential rights holders have to be considered than with most other elements that rights are acquired for, in relation to a production. A single three and a half minute song included in a film can easily have a greater number of rights holders whose rights need to be cleared than the combined number of rights holders in the source material for the film, any original treatment for the film and

any number of screenplays on which the film is based. What this means is that with such a potentially vast and diverse range of rights holders needing to be covered off, it is easy to inadvertently miss obtaining even just a single one of these required clearances. And as we all know, for an industry as obsessed with the legal “chain of title” as the screen industry, uncleared rights can mean big problems. In trying to come to grips with the parties that need to be approached to clear music for use in a screen production, it’s vital to understand from a legal perspective what rights are seen to exist in a song. First, it’s important to differentiate between a song and just music. A song is generally deemed to be a piece of music accompanied in whole or part by lyrics of some description. Just music on the other hand is obviously just a musical composition devoid of lyrics. And it is here that we start to see the first legal complexities arise. At law there is not actually copyright as such in a “song”. Rather, copyright can exist in a musical work and separately in the specific lyrics associated with that particular piece of music. When we start to look at clearing rights to use a song it is entirely possible that the music and the lyrics could have been

created and are still owned by two very separate individuals. Although the increasing trend of recent times has been for bands and musical artists who write their own songs to work on both the music and lyrical components together, this has not always been the case. For example, Elton John has relied on collaboration with lyricist Bernie Taupin for the lyrics for many of his songs. This fact that an artist may not be the one who actually owns the material they have performed and become famously associated with just creates another potential issue that needs to be checked off when looking to clear rights to use music. Now add to this the fact that musicians, and particularly successful musicians, tend to assign or license the rights in the songs and music they create to third party music publishers to control and exploit on their behalf. This means that once again, even if you have identified a performer who has composed their own material and whose song you may want to license for use in your production, there is still no guarantee that solely their permission will be enough to actually clear such song for use in your production. As if the various rights existing in songs were not complicated enough, remember that it is not just


the song itself that you will need to get permission to use. If you want to use a particular recording of a well known song then you will also need to search out and obtain approval from the person or record company controlling the rights in that particular recorded version. So when it comes to music and songs, you are looking at potentially separate rights in the music and lyrics of the underlying song and separate unique rights again in the different recorded versions. The fact that more than just one person may have been initially responsible for creating the underlying material only adds to the issues you need to consider. • David McLaughlin (david@mclaughlinlaw. is the principal of McLaughlin Law ( • 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 (

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My Wedding and Other Secrets. Copyright South Pacific Pictures.

Weddings and other Love Birds N

ext month two Kiwi rom-coms, Love Birds and My Wedding and Other Secrets, will debut on DVD within a week of each other. Icon’s Love Birds will be distributed on DVD and Blu-ray through Warner Bros Video from July 13, and South Pacific Pictures’ My Wedding and Other Secrets will be released on DVD only through Sony Pictures Home Entertainment from July 20. Both were completing their theatrical runs at press time, with Sony hopeful that Wedding might reach $700,000 (it had grossed about $690,000 by late May). “It’s ended up about where we expected,” Sony’s Andrew Cornwell says. “We were looking at $600,000$700,000.” He says word-of-mouth was instrumental to its success after a soft opening amid box office fallout from the February earthquake in Christchurch, which is estimated to have impacted on takings by around

20% nationally. “NotonlydidwelosetheChristchurch market but most of New Zealand was tuned into the TV watching the news, which prevented them from going to the cinema on our opening weekend and subsequent weeks,” Hoyts’ Elizabeth Trotman says of Love Birds’ $587,000-plus run. She was “reasonably happy” with the result “all things considered”, but said it was “not ideal”. As to what filmmakers can heed from Love Birds’ release: “Beware of Mother Nature.” “When you can legitimately do so, include the word ‘Wedding’ in your title.” “Know that no matter how prepared you are for the release of a film, there is only so much you can control.” “Distributors don’t make as much money as film makers think we do and New Zealand pictures require a lot of time, dedication and love, so be appreciative of their efforts.”

Fox appoints new NZ DVD distributor From August, all of 20th Century Fox Home Entertainment releases will be distributed through Universal Pictures NZ, including one of the year’s biggest Blu-ray releases, Star Wars: The Complete Saga, on September 13. The three-year deal comes after years of Roadshow Home Entertainment distributing Fox product. The new partnership builds upon Universal’s growing clout in this territory, having picked up Paramount Pictures’ catalogue in 2009. “We have had a wonderful relationship with Roadshow NZ and appreciate all that they have done for our business over many years,” Steven Leighton, Fox’s senior vice president of Northern Europe and Asia Pacific, said in a statement. “Our decision to align with Universal is consistent with our business challenges of maximising our revenue streams both locally and internationally.” 28

JUNE 2011

The realignment means Roadshow no longer will be handling any product from the major US studios, a far cry from when it dominated home video distribution in this market. Reasons for Fox and Paramount’s exits could range from international forces at play – territories often are horse-traded – to sharper deals being offered, to Roadshow at one point having so much product that some of its labels may have wondered if their profile was high enough. Now the key players – Universal, Roadshow, Sony Pictures Home Entertainment (which also has Disney and Lionsgate) – will be roughly equal in market share, as Roadshow still boasts two of the biggest brands: BBC and TVNZ. Moreover, it’s possible that the operations of the smallest of the majors, Warner Bros Video, which also distributes Icon titles like Love Birds, may be folded into Roadshow.

– Philip Wakefield

Janine Randerson, “Cascade” (2010), Waikato Museum of Art, media installation with 12 round screens. Photo: Jason Johnston

NZ film artists in brief – a series Janine Randerson


ver the past decade Auckland artist Janine Randerson has produced a series of film, video and installation works reflecting a widespread movement towards intermedia – mixed media works that are neither purely cinematic nor sculptural. Intermedia artists may employ looped (rather than edited) moving images, digital effects and image manipulation, multiple projections and split screens, or projection surfaces dispersed throughout an art environment. Randerson, who creates experiential installation works, has worked with a variety of time-based media including 16mm film, digital audio and video. Her work often speaks of an ambivalence about our human relationship with technology and includes “Viewing Floor” (2001), an installation in which a surveillance style camera pans across an urban landscape; “Skyviews” (2001), an electronic image loop shot from Auckland’s Skytower; and “Endless Column” (2003), in which a machine seems to come to life, goes out of control and

threatens our very existence. Since 2005, Randerson has been working with scientific collaborators, projecting images on hemispheric perspex screens that hover above the viewer. She employs macroscopic and microscopic scientific images as markers of how technology may alter and enhance our everyday perception. In 2009, Randerson exhibited “Rethink” in Denmark at an exhibition that accompanied the UN International Convention on Climate Change. “Cascade” (2010) focuses on the ‘cascade’ of effects of migratory birds that travel between the northern and southern hemispheres. “Topologies” (2010) continues her series of works dealing with climate and meteorology. Randerson is currently engaged in collaborative work with scientists at the Bureau of Meteorology in Melbourne and the School of Environmental Science at the University of Auckland. These collaborations will result in “Neighbourhood Air”, which will premiere in 2012 at Screenspace in Melbourne.  – Martin Rumsby

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


Feature prod co SPP (09 839 0999) prods John Barnett, Paul Davis dir Simon Bennett writers James Griffin, Oscar Kightley line prod Janet McIver prod cos Michelle Leaity, Linda Fenwick cast coord Kate Olive extras coord Sarah Banasiak prod sec Sarah Jane Hough prod run Jeremy Blackwood acct Susie Butler asst acct Stephanie Dahlberg prod des Tracey Collins art dept coords Janelle Hope, Jenny Mogan art dir Milton Candish on set art dir Matt Cornelius s/by props Olly Southwell props buy Jim Anderson set dec Kiri Rainey set dec asst Aileen Kemp art asst Leah Mizrahi swing set dress Setu Liu construct mgr Nik Novis carps Marc Larsen, Merv Lambarth, Jason Johnson scenic art Paul Ny car wrangler Justin Cardon 1AD Shane Warren 2AD Katrien Lemmens 3ADs Shadon Meredith, Ant Davies, Shadon Meredith, Louise Tu’u DP Marty Smith 1 cam asst Bradley Willemse 2 cam asst Meg Perrott cam trainee/vid split Isaac Collins DIT wrangler Sam Matthews steadicam Dana Little casting dir Christina Asher catering Luscious Catering cmpsr Don McGlashan cost des Kirsty Cameron cost sup Sian Evans cost asst Abigail Greenwood cost s/by Anna Reid cost dress Emma Ransley cost s/by asst Natalie Keane ed Bryan Shaw asst ed Gwen Norcliffe key grip Terry Joosten asst grips Dean Maxted, Tim Watson gaffer Thad Lawrence b/boys Tony Slack, Stephen Renwick gen op Merlin Wilford lx asst Ashley Bartlett lx trainee Paul Abbott loc mgr Harry Harrison loc asst Damion Nathan loc PA Christaan Head m/ up sup Kevin Dufty key m/up/hair Linda Hal Couper m/up/hair Michelle Barber safety Will Heatley, Danny Tenheuvel script sup Melissa Lawrence snd rec Myk Farmer boom swing Nikora Edwards stunt coord Mark Harris stunt play/precision driver Gareth Courtney stunt play Patrick Morrison unit mgr Pete Morenhout unit asst Al Dunn pub Tamar Munch stills Jae Frew cast Robbie Magasiva, Oscar Kightley, Shimpal Lelisi, Iaheto Ah Hi, Dave Fane, Pua Magasiva, Teuila Blakely, Madeleine Sami, Cilla Brown, Mario Gaoa


16mm Short prod co  The Film School  prod  John Reid  line  prod  Alison Langdon  exec prod  Tommy Honey  dir  Emma Painter  1AD/prod des  Charlee Collins  prod mgr  Ness Simons  prod runner  Sarah West on set art dir/props Tala Suailua w/robe Johnny Peteru DP Kaylen Hadley cam op Michael Lindsay 1st cam asst Isla Borrell 2nd cam asst Malcolm Weekes vid splt Phoenix Jung cont Sebastian Hurrell gaffer Tom McCarthy b/boy Gulliver Greig key grip Tristan Maxwell snd mix Matthew Christophers boom op  Joe Whitby m/ up arts  Tiffany Te Moananui making of  Alastair Mckenzie  safety coord  Katie Frost  unit mgr  Amber Cadaver  caterers  Blue Carrot Catering  cast  John Smyth, Anthony Young, Connor Moloney-Slattery, Vanessa Cullen, Acushla Tara-Sutton, Ella Frederica Hope-Higginson, Vivien Bell


16mm Short prod co  The Film School  prod  John Reid  line  prod  Alison Langdon  exec prod  Tommy Honey  dir  Sebastian Hurrell  1AD  Ness Simons  prod mgr Katie Frost prod runner Pikihuia Little prod des/ on set art dir/props Charlee Collins w/robe Amber Cadaver DP Tristan Maxwell cam op Tala Suailua 1st cam asst Alastair Mckenzie 2nd cam asst Emma Painter vid splt Kaylen Hadley cont Phoenix Jung gaffer Isla Borrell b/boy Matthew Christophers key grip Gulliver Greig snd mix Malcolm Weekes boom op Tom McCarthy m/up arts Tiffany Te Moananui making of Sarah West safety coord Michael Lindsay unit mgr Johnny Peteru caterers Blue Carrot Catering cast Emma Fenton, Alison Walls, Jamie McCaskill, Paul Mclaughlin, Craig Geenty, Ron Kerkmeester, Mickey Denham


13min short (RED) prod co idiotvision writer/dir/ prod Alan D. Parr DP Daniel Wagner art dept hd Brent Hargreaves 1AD Gabrielle Luxton prod mgr Jesse Hilford scrnply ed Alan Brash m/up/hair Celeste Strewe cam op Ben Montgomery f/puller John Whiteside Leyland 3AD Rosemary Abel 2nd asst cam Tegan Good snd recs Nikora Edwards, Brendan Zwaan, Josiah Toclo boom op Arthur Gay gaffer James Dudley b/boy Matt Wilshere lx assts Leigh Elford, Tom Neunzerling, Kelly

Chen, Britta Lauritzen, Cody Armstrong-Paul, Debbie Du Preez, Maria Pogodina art dept assts Chris Stratton, Ruby Reihana-Wilson, Ryan Mansfield assts James Watson, Maiken Bryant, Lucy Campagnolo, Jonathan Paul, Alex Cairns snd post eng Jason Fox snd post prod Samantha Jukes asst ed Carsten Kudra art Andrew Long prps/mkr Big Al Parr pre vfx Jared Baigent sfx prps/byr Jacqui Baigent p/grphr Kelly Newland Photography dir asst Francesca Dodd-Parr ed Yaser Naser cast Simon Ward, Mia Pistorius, Katie Scott, Toby Sharpe


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


Super16mm short NZFC prod co Tinopai Film writer/ dir Mark Ruka prods Fred Renata, Sheri O’Neill DP Fred Renata prod mgr/1AD Rina Patel cam ops Ben Rowsell, Dominic Fryer snd rec Dick Reade stills/digi op Amarbir Singh art dir Adam Lynch m/up/hair Amy Collins prod asst Anna Henare cont Aimee Renata catering John & Marleina Ruka ed Stuart Page cam BeastEquip, Panavision lx Dennis Cullen lab fac FilmLab digi trans Toybox colourist Andrew Brown snd des Reade Audio cmpsr/ score Pauly Fuemana cast Tiki Taane, Amber Curreen, Santos Fuemana, Ethanuel Renata, Mark Ruka, Rina Patel, Sheri O’Neill, Angelo Fuemana, Caesar Fuemana, Eva Fuemana, Salvador Fuemana, Imogene Fuemana, Akoya Chant, Samari McCall


90min feature prod co BTJ Movie prods Tom Parkinson, Robert Boyd-Bell dir Ian Mune writers Ian Mune, Phil Gifford prod mgr Liz DiFiore prod asst Rachel Choy prod runner Bronwyn Davey 1AD Neil James add AD Leighton Cardno prtcpnt coords Sarah Banasiak, Angela da Silva kaitiaki Tearepa Kahi rsrchr Dianne Lindesay pub Sue May snd rec Dick Reade, Colleen Brennan snd asst Will Reece prod des Rob Gillies props Paul Dulieu DP Waka Attewell 1st AC Mike Knudsen 2nd Ac/vid splt Kim Thomas vid splt/data wrangler Oliver Cross gaffer/ grip Mathew Harte lx/grip assts Roko Babich, Jeremy Garland, Christian Dunn, Ewan Hall, Paul Eversden, Sean Loftin lx/grip interns Richard Schofield, Josh Finnigan rigging/dolly grip Jim Rowe dolly grip Kevin Donovan greens Robbie Penny greens asst Josh Penny cost des Gavin McLean casting Christina Asher loc/unit Ronnie Hape, Nicki Tremaine unit asst Rachael Bristow continuity Madeline Cooper key m/up Susie Glass m/u asst Tamara Eyre safety Karl Koller, Jeff Hale, Chris Griggs acct Len Tenorio stills Geoff Short epk cam op/ed Cristobal Araus Lobos cmpsr Bernie Allen post prod Images & Sound ed Margot Francis asst ed Nicki Dryer post prod sups Grant Baker, Toby Parkinson


Short NZFC & CNZ prod cos AKA Film, Curious Film dir Stephen Kang prod Tara Riddell writer Stephen Kang co prods Matt Noonan, Leanne Saunders prod mgrs Anna Walsh-Wrightson, Brendan Allan prod coord Teone Taare Te Tuakana runners Nichole Thompson, Eileen Gallagher DP Virginia Loane add cin Marc Swadel f/ pullers Alex McDonald, John Renata, Julia Green vid assts Nigel Burton, Liam Wilkinson ed Luke Haigh grip Pez Zee gaffers Spencer Locke Bonne, Jerry Mauger lx assts Tom Davis, Henry St John Davis snd recs Ben Vanderpoel, Malcolm Cromie 1ADs Gene Keelan, Rob Grieve art consult Neville Edwards art dir Ross McGarva props stby Rose Worley art asst Lisa Fothergill constr Darren Wilcox w/robe Jasmine Edgar, Hannah Barrett m/up Natalie Perks casual m/up Katie Rogers loc mgr Johnny Edgar p/grphr Eundo Jang ped controls Jackie McGraw, Barbara Rocha safety Curtis Akitt flame art Leon Woods mus Joost Langeveld, Chris Van Der Geer, Mike Newport foley Andy Morton snd mix Chris Burt, Andy Morton film rec fac Weta Digital film rec mgr Pete Williams film rec sup Nick Booth film rec tech Daniel Ashton lab service Park Road fac mgr Nina Kurzmann snd facs Bigpop Music, Inside Track post prod fac Curious Film cam rental sup Metro Film sales NZFilm cast Hanna Lee, Gary Young, Tuyet Nguyen, Yip Yi Hoa, Willie Ying, Niamh Perren, Leo Chalmers, Barry Suffield, Shaun Fullard, Nichole Thompson, Meagan Borcher, Melanie Borcher, James Crow

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


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


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


Feature NZFC 16mm prod co RFTW, Antipodean Film dist Metropolis Film prod Maile Daugherty dir Simon Pattison writer Bob Moore script con Nick Ward line prod Judith Trye prod acct Naomi Bowden ed Paul Maxwell asst ed Kerri Roggio vfx post sup Zane Holmes vfx Eklektik post prod Images & Sound snd des Ray Beentjes snd mix Park Road Post film out Weta Digital  pub Sue May epk Alistor Crombie cast Tony Barry, John Bach, Teresa Woodham, Irene Wood, Ilona Rodgers, Elizabeth McRae, Ken Blackburn, Bruce Allpress, Elisabeth Easther, Stephanie Tauevihi, Ian Mune, Helen Moulder, Sara Wiseman


Feature WWII Horror prod co The Devil’s Rock Ltd dir Paul Campion prod Leanne Saunders writer Paul Finch, Paul Campion, Brett Ihaka asso prod Richard Matthews script consult Kathryn Burnett Mäori consult Tainui Stephens kaumatua Rangimoana Taylor line prod Melissa Dodds prod coord Tom Kelly prod asst Bonny Crayford post-prod asst Teone Taare Te Tuakana prod acct Lyndsay Wilcox legal/bus affairs Matt Emery, Emery Legal casting dir Mike Dwyer, Barefoot Casting DP Rob Marsh cam op Ulric Raymond 1AC camA Phil Smith 2AC camA Joe Michael 1AC camB Angus Ward, Matt Tuffin 2AC camB Martin Lang, Kim Thomas cam trainee Jared O’Neale 1AD sched Dave Norris 1AD Richard Matthews 2AD Kendall Finlayson 3AD Jonny Eagle casual AD Jules Lovelock prod des Mary Pike art dir Zoe Wilson constr mgr Colin Davidson constr Paul McInnes constr assts Adam Crighton, Joseph Auslander, Bruce Campbell stndby prps Richard Thurston ld prps maker Ben Price prps maker Alex Falkner lead set dec Laki Laban set dec Nathan Gray set paintrs Dordi Moen, Shari Finn paint hand Fraser Anderson art dept assts Lindsey Crummett, Taipua

Adams gfx des Pete Wellington illustr Les Edwards title/end cred des Krystian Morgan art dept asst Lyndsay Crummet kayak constr Peter Notman arm Hamish Bruce cost sup Tristan McCallum cost stby Paul Hambleton, Coco Miles UK cost consult Josie Thomas m/up des Davina Lamont m/up art Deb Watson Dara Wakely m/up asst Hayley Ness m/up sfx Sean Foot on set prosth techs Dordi Moen, Jade Jollie prosth tech Don Brooker, Brian Stendebach weta wkshp des & fx sup Richard Taylor weta wkshp prosth tech Jason Docherty, Frances Hawker weta wkshp sculpt Sean Foot, Gary Hunt weta wkshp prosth painter Dordi Moen weta wkshp prod coord Danielle Prestidge weta wkshp sup Rob Gillies script sup Pete Wellington snd rec Nic McGowan boom op Joel Anscombe Smith snd trainee Nick Tapp gaffer Adrian ‘Wookie’ Hebron key grip Byron Sparrow lx asst Chris Murphy casual lx asst Andy Ayrton, Simon Oliver, Mark Newnham, Ben Thurston, Hayden Rowe gripB Maurice “Moose” Kapua add grip Graeme Tuckett gene op Hansel Verkerk stunt coord Augie Davis safety coord Andy Buckley safety off Richard Thurston add safety Conrad Hawkins vfx Ohu FX lead comp Frank Reuter, Jake Lee comp Scott Chambers Storm Gezentsvey, Melissa Goddard, Juan Pablo Lampe matte paint Felicity Moore, Yvonne Muinde matte paint Mattepainting UK matte paint sup Max Dennison 3d model/text paint Richard Chasemore add 3d models Malcolm Tween, Rob Farnworth loc mgr Peter Tonks unit mgr Gabe Page unit asst Hamish McDonald-Bates AD/unit assts Kura Scott, Claire Watson, Brendan Schenk catering Billionaires Catering security sup Kevin Magill add security Recon Security, Mark Matchett, Kevin Armstrong, Avele “Val” Moreli stills Gareth Moon add stills Matt Mueller, Roger Wong add stills “demon” Steve Unwin ed Jeff Hurrell ed asst Wes Thorpe, Hunter Abbey digital intermediate Park Road Post Production hd digital intermediate David Hollingsworth post-prod Tracey Brown online ed Rob Gordon colourist Matthew Wear red extraction Anthony Pratt mastering deliverables Nina Kurzmann taperoom sup Victoria Chu projectionist Paul Harris epk Mike Roseingrave epk add Jed Soane, Mark Tantrum epk ed Hunter Abbey snd des James West, Lloyd Young post-prod snd trainee Jordan Muzio comp Andrea Posse ed facility Martin Square lab facility Park Road Post cam Rubber Monkey Rocket Rentals lx Gunmetal insurnc Crombie Lockwood int sales NZFilm NZ distrib Vendetta cast Craig Hall, Matt Sunderland, Gina Varela, Karlos Drinkwater, Luke Hawker, Jess Smith, Nick Dunbar, Hayden Green, Geraldine Brophy, Jonathan King


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


Feature CNZ prod cos Severe Features, Curious Film dir Stephen Kang prods Leanne Saunders, Matt Noonan writer Stephen Kang DP Marc Swadel ed Simon Price snd des Dick Reade snd rec Romina Vateri prod asst Jeong Seol asst cam Ciaran Riddell stills Eundo Jang add stills Greta Anderson digi assets mgr Alec Steel gfx des Richard Shaw CFO Sarah Noonan prod acc Vivienne Earnshaw w/robe consults Kirsty Cameron performance consults Stuart Turner, Sima Urale unit mgr Russell Mace prod sec Chelsea Francis prod asst Hannah Jones, Isobel Dryburgh safety Scene Safe coord Robert Gibson diver Mitchell Johnson stunt coord Ike Hamon translator Genna Nam legal Dominion Law insurance Crombie Lockwood post prod fac mgr Luke Haigh flame arts Melissa Goddard, Nigel Mortimer, Ian Quigley flame asst Nick Mulder tracklay/snd mix Dick Reade post snd fac Outback Studios pic post fac Curious Film cam rental supps Swad Aiga, Seed Cine Hire mus Timmy Schumacher, Jae Kim sales NZFilm cast Jane Kim, Andrew Han, Marek Sumich

june 2011


n Productio Listings HOOK, LINE AND SINKER

Feature prod cos Torchlight Films, Community Media Trust dirs/writers Andrea Bosshard, Shane Loader prods Andrea Bosshard, Shane Loader, Jeremy Macey asso prod Rangimoana Taylor DP Deane Cronin prod mgr Rebecca (Bex) Moore prod/cost des Trixie Woodill s/prps Bex Moore 1AD Jeremy Macey 3ADs Rosalind Croad, Erin Woolhouse cam assts Rachel Manley, Isaac Heron, Michael Johns lx asst Kyo Won (Alex) Lee snd Nic McGowan, Joel Anscombe-Smith boom ops Joel Anscombe-Smith, Bernard Blackburn w/robe asst Roch Travers cont Mark Dunick caterer Steph Prowse ed Annie Collins asst ed Leonardo Guerchmann prod assts Mary Hebberd, Jack Nicol, Keryn Johns, Kerem Blumberg, Nicole Case gfx Geoff Aickin, Sebastian Sloan snd post prods Nic McGowan, Joel Anscombe-Smith, Laurie Wright pic post prod Allan Honey cmpsrs David Donaldson, Steve Roche, Janet Roddick (Plan 9), Mark Austin cast Carmel McGlone, Rangimoana Taylor, Geraldine Brophy, KC Kelly, Matthew Chamberlain, Elizabeth McMenamin, Alan Palmer, Eli Kent, Kate Harcourt


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


6x30min reality prod co TVNZ prod unit TVNZ n/ work exec Tony Manson exec prod Tina McLaren prod Gavin Wood prod mgr Terri MacFarlane prod coord Nicola Smith


prod co 3DLive prod Ronel Schodt tech dir Karl Schodt 3D partners Inition UK & Australia OBC Cutting Edge Australia dir Rhys Edwards ad partner Revolution Advertising

Alistair Johns backgrnd stby Amethyst Parker cost byr Sara Beale wkrm sup Marion Olsen jeweller Emma Shakes key art finish Steven Starkey key cost props Natalie McAndrews, Sally Maingay cost runner Crystel Tottenham m/up/hair des Jane O’Kane m/up/hair sup Vinnie Smith onset m/up /hair sup Susie Glass, Claire Wolburg, Lauren Steward, Natasha Lees m/up /hair art Kath Rayner, Hayley Atherton, Aly Williams, Rachel Beedell, Natalie Vincetich, Pilar Alegre m/up pros art Shay Lawrence m/up /hair dept coord Jasmine Papprill m/up /hair asst Tamara Eyre bkgrnd m/up /hair Kyra Dawkins, Carmen Te Moananui m/up /hair asst Vee Guliver, Kendall Ferguson strybd Ed Butler script sups Di Moffatt, Monique Knight, Guy Strachan gaffers Tony Blackwood, John Enright b/boys lx Tane Kingan, Luke Macready gene op Kimberly Porter, Aidan Sanders lx assts Vanessa Cotterill, Marcus Upton, John Paul McDonnell key grip Gareth Robinson dolly grips Kayne Asher, Carl Venimore rig grip Jared Edley b/boy grips Peter Cleveland, Andy South crane op Daimon Wright grip assts Te Ra Tehei, Aaron Lewis snd mix Dave Madigan, Fred Enholmer boom op Chris O’Shea snd utility Sandy Wakefield key stunt coord Stuart Thorp stunt coord Clints Elvy, Shane Dawson asst stunt coord Ryan Carey stunt dept coord Erika Takacs sfx sup Brendon Durey sfx snr techs Sven Harens, Steve Yardley sfx tech Brin Compton sfx asst Rowan Tweed safety Willy Heatley, Nick Fryer, Jeff Hales studio mgr Karl Smith unit mgr Jason Sietu trans cap Aaron Gibson craft svce mgr Abby Jones craft svce b/ boy Steve Brown bts arcvst Monique Kelly stills Matt Klitscher co prod Charles Knight post prod sup Kylie Harris post prod coords Margaux Peach, Alex Hammond post runner Toby Hutton eds Gary Hunt, Allanah Milne, Tom Eagles, Eric de Beus vfx sup Charlie McClellan vfx prod Ramola Lang vfx art dir Peter Baustaedter vfx concept art John Walters vfx onset sups Ben Colenso, Tim Capper


26x26min fishing/lifestyle b/caster Mäori TV prod co AKA Productions prod/dir Aroha Shelford pres Pio Terei cam op Richard Curtis u/w cam Dean Savage snd Colleen Brennan te reo Mäori Tumamao Harawira ed John Fraser aud post Reade Audio mus Reo Dunn, Woodcut gfx Lettica Shelford prod acct Lee Ann Hasson prod mgr Karen Sidney prod asst Lettica Shelford n/ wrk execs Reikura Kahi, Melissa Wikaire



10x60min graphic action-drama US prod cos Starz Media NZ, Pacific Renaissance exec prods Rob Tapert, Sam Raimi, Josh Donen, Steven S. DeKnight prod Chloe Smith line prod Keith Mackenzie prod dir Michael Hurst asso prods Paul Grinder, Moira Grant prod mgr Mel Turner prod coords Helen Urban, Tim Judson asst prod coord Amber Lynch prod sec Meredith Black prod asst Alan Drum-Garcia prod asst Tom Furniss prod runners Chris Drake, Andy Brown prod acct Sherie Wikaira estimator Ruben Ferguson asst accts Lissa-Mia Smith, Bren Mackenzie p/roll acct Alicia Lee acct assts Annie Baines, Lewis Whaitiri cast coord Honor Byrne asst cast coord Amber McAllister cast dirs Annabel Lomas, Faith Martin cast drivers Andrew Burfield, Julie Gunson extras cast Anita Corcoran extras cast coord Danielle White extras cast asst Desiree Rose-Cheer dir ep1 Michael Hurst dir ep2 Jesse Warn dir ep3 Brendan Maher dir ep4 Mark Beesley DPs Aaron Morton, John Cavill, Dave Garbett cam ops Peter McCaffrey, Ulric Raymond, Todd Bilton 1ACs Roger Feenstra, Henry West, Blair Ihaka, Jonny Yarrell 2ACs Alex Glucina, Dave Hammond cam trnee Neal Wagstaff digi ops Chris Lucas, Ashley Thomas 1ADs Axel Paton, Hamish Gough, Luke Robinson 2ADs Rachael Boggs, Katie Tate, Patrick O’Connor 2nd 2AD Aimee Robertson 3AD Ngaire Woods, Stuart Morrice, Lynn Hargreaves, Tref Turner, Elaine Te prod des Iain Aitken sup art dirs Nick Bassett, Mark Grenfell, George Hamilton, Mike Becroft set des Helen Strevens, Neil Kirkland constr mgr Murray Sweetman lead hnd Graham Harris hd scnic art Paul Radford scnic painter Laurie Meleisea hd plasterer Zane Grey art dept coord Anna Graves prps master Rob Bavin set dec Daniel Birt set drssrs Eliza Meldrum, Tane Jarrett lead fab Hamish Wain lead text Sarah Bailey Harper text Patricia Dennis prps/byr Tasha Lang sec dec fab Neil Laffoley stby prps Tom Holden, Simon Hall stby prps asst Taya Polkinghorne art runner Phil Moore art asst Holly McIvor horse master Wayne McCormack prps/pros des Roger Murray cost des Barbara Darragh cost sup Alice Baker asst cost des Olivia Dobson key stbys Barbara Pinn, Joan Wilson stby Naomi Campbell, Aleisha Hall key backgrnd stby

3x3hrs, 1x6hrs, 42x26min NZ Kapa Haka National comp prod co Mäori TV exec prod Carol Hirschfeld prod/event dir Derek Wooster field dir Ngatapa Black highlight dir Brendon Butt prod mgr Pam Cain snr prod mgr Sandra Richmond


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


5x60min doco prod cos NHNZ & Beach House Pictures co pro 3net (Discovery, Sony & IMAX) with MDA exec prod Craig Meade series post prod Ian McGee prod mgr Christine Drew NHNZ DPs Max Quinn, Alex Hubert stgrphr Karl Schodt loc asst Lindsey Davidson rsrchr Brant Backlund eds Jason Lindsey, Chris Tegg, Jason Horner snd Alan Gerrie, Errol Samuelson strscpc online & grade Black Magic Singapore mus Audio Network


10x60min doco prod co NHNZ co prod 3net (Discovery, Sony & IMAX) with CICC exec prod Craig Meade DP/ strgrphr Mike Single series post prod Ian McGee prod mgr Christine Drew rsrchr Jane Adcroft loc fixers Felix Feng, Lauren Wang CCIC fixer Li Pei eds Jason Lindsey, Chris Tegg, Jason Horner snd Alan Gerrie, Errol Samuelson strscpc online & grade Park Post Road mus Audio Network


5x60min doco prod cos NHNZ & Beach House Pictures co pro 3net (Discovery, Sony & IMAX) with MDA exec prod Craig Meade series post prod Ian McGee prod Jocelyn Little post prod BHP Janine Campbell prod mgrs Christine Drew, Sandra Chia, NHNZ DP Max Quinn

BHP DP Brad Dillon strgrphr Mike Single dir Kenny Png cam asst Lau Hon Meng eds Jason Lindsey, Joel Tan, Sean Ashley snd Stacey Hertnon, Errol Samuelson strscpc online & grade Black Magic Singapore mus Audio Network


prod co Mäori TV exec prod Carol Hirschfeld prod Pirihira Hollings rsrchr Pania Papa, Puka Maeau pres Pania Papa dirs Te Rangitawaea Reedy, Greg Mayor prod mgr Trudy Steele snr prod mgr Sandra Richmond


HD doco prod co NHNZ ( exec prod Judith Curran dir/prod/snd op Max Quinn prod mgr Nikki Stirling

ANZAC 2010

1x17hrs coverage of Anzac Day prod co Mäori TV exec prod Ross Jennings prods Carmel Jennings, Te Rangitawaea Reedy prod mgr Leichelle Tanoa snr prod mgr Sandra Richmond


40x29min prod co Asia Vision prod Chris Wright asso prod Glenna Casalme prod mgr Elaine Parker prod asst Nathalie Chang reporters Bharat Jamnadas, Milda Emza, Kadambari Gladding, Stephen Chu reporter Geraldine Ramirez cam op Dave Flynn ed Jeff Avery audio post Envy Studios


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


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

Curry, Alan Henderson, Mark Owers dir asst Christina Dolman prod mgr Dawn Aronie prod asst Samantha Fisher spcl projs Marcus Hamilton rsrchr Andrew Wood, Georgia Stephens, Simon Ragoonanan, Lucy Johnston, Sally Page, Pirimia Burger, Gabrielle Paringatai-Lemisio rsrchr asst Liana McPherson sponsorship mgr Merril Thompson adv prod Amber Smith adv prod mgr Donah Bowers-Fleming adv dir Rachael Hennessey adv prod asst Julia Lynch


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


11x26mins & 2x52mins hairdressing & make up reality competition for a scholarship prod co Mäori TV prod Jeni-Leigh Walker dir Wayne Leonard pres Matai Smith prod mgr Pamela Cain


13x30min current affairs prod co TVNZ prod unit TVNZ n/work exec Philippa Mossman exec prod Tina McLaren prod/pres Damian Christie ed Brian Mead prod mgr Stewart Jones res Nix Jaques


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


prod co Greenstone Pictures exec prod Cass Avery prod Sam Blackley prod mgr Laura Peters prod coord Elea Huston fund TVNZ


20x90min Heats, 2x90min Semi-finals, 1x2hr Grand Final. Live, interactive, karaoke prod Erina Tamepo pres Matai Smith asso prods Piripi Menary, Michele Bristow dir Greg Mayor prod mgr Shirley Allan set des Coylehall net exec Carol Hirschfeld snr prod mgr Sandra Richmond


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

90min feature prod cos Making Movies, Gebrueder Beetz prods James Heyward, Andy Salek line prod Liz DiFiore writers James Heyward, Leanne Pooley dir Leanne Pooley dir asst Kelly Krieg prods pa Katie Bolt 1AD Hamish Gough 2AD Katie Tate prod assts Ellie Callahan, Rachel Choy prod intern Lisa Brown prod runners Jasmine Rogers-Scott, Emma Behrns, Nathaniel Sihamu prod des Roger Guise on set art dir Geoff Ellis propmster Paul Dulieu props mker Phil Gregory art assts Clarke Gregory, Jim Anderson constr mgr William Schmidt DP Simon Baumfield 1st cam assts Graham MacFarlane, Roger Feenstra 2nd cam asst Kim Thomas vid splt/data intern Leigh Elford 2nd unit DP John Cavill 2nd unit ac George Hennah 2nd unit 2nd ac Meg Perrot cont Rachel Choy gaffer Thad Lawrence b/boy Tony Slack lx assts Merlin Wilford, Gilly Lawrence, Steven Renwick, Ben Corlette, Sam Jellie key grip Kevin Donovan b/boy grip Chris Rawiri grip assts Winnie Harris, Chris Tait grip trainee Sam Donovan spfx Film Effects Company Ltd spfx sup Jason Durey spfx office co-ord Tanya Bidois spfx snr tech Mike Cahill spfx techs Graham Nixon, Rowan Tweed, John McLaren, Eliot Naime, Michael Lawton spfx runner Gavin Ravlich cost des Suzanne Sturrock w/robe stdby Cathy Pope w/robe asst Charlotte Turner m/up des Davina Lamont m/up arts Michele Barber, Tash Lees, Hayley Oliver safety coords Scene Safe Chris Griggs, Sam Armitage nautical adv Kevin Donovan unit mgr Sam Shelton unit asst David Shope caterers Bonifant & Saxby epk/stills Cristobal Araus Lobos, Andy Salek cams Panavision prod acc Kylie Strain ed Tim Woodhouse cmpsr John Gibson post prod sup Grant Baker vfx prod Cris Casares vfx sup Brenton Cumberpatch vfx arts Brenton Cumberpatch, Richard Borg, Dale Pretorius, Carlos Purcell vfx interns Richard Neal, Brendon Chan, Josh O’Donnell cast Craig Parker, Charles Pierard, Hugh Barnard




prod co Greenstone Pictures ho prod Andrea Lamb prod John Bates prod mgr Hebe Van Schagen prod coord Clare Parsons fund TVNZ


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


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


10x28min cutting edge science & technology brdcst TVNZ 7 prod co Buto Productions exec prod Glenn Elliott n/work exec Philipa Mossman asso prod Karen Bunting prod mgr Jenna Steel prod cam ops Richard Harling, Greg Parker dirs Andrew Whiteside, Dave Hay rsrch Rachael Hennessey asst rsrch Simon Zhou prod assts Tim Carr, Nichole Lee Mell, Rachel Jury snd Cam Lenart eds Niki Hiini, Jack Woon


prod co TVNZ Prod Unit exec prod Tina McLaren prod Sally-Anne Kerr line up prod Melanie Phipps script eds Mary-Lou Harris, Simon Ragoonanan dirs Jim

10x60min HD doco prod co NHNZ (03 479 9799) for A&E TV Networks exec ic prod Michael Stedman series prod Alan Hall prod mgr Dayle Spavins rsrch Marina De

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e w 30

JUNE 2011

Because of space constraints in this month’s magazine, some listings that have previously run in the same category have been cut. The comprehensive Production Listings pdf can be downloaded from

Lima, Stephanie Antosca, Bridget Baylin, Alissa Collins Latensa, Amy Kagelmacher, Jacqui Morice Crawford, Peter Holmes dir Sally Howell DP Kris Denton prod coord Dwayne Fowler post dirs Jacqui Morice Crawford, Quinn Berentson, Janice Finn offline eds Christopher Tegg, Karen Jackson, Thomas Gleeson


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


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


30mins indigenous current affairs prod co Mäori TV pres Lynette Amoroa exec prod Te Anga Nathan asso prod Kelvin MacDonald prod Patagaw Talimalaw prod mgr Sharmaine Moke prod coord Ripeka Timutimu


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


40x26min brdcst Maori TV prod co Buto Productions exec prod Glenn Elliott n/work exec Melissa Wikaire asso prod Karen Bunting prod mgrs Kara Rickard, Jenna Steel prod cam ops Greg Parker, Jake Mokomoko, Riki Reinfeld, Ollie Logan dir Rangi Rangitukunoa snd Tom Dreaver prod assts Nichole Lee Mell, Tim Carr, Rachel Jury presenters Tumamao Harawira, Patara Berryman IPW Crew Nathan Fenwick, Daniel Burnell eds Calkin Rameka, Janice Mulligan Te Reo cons Scott Morrison


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


11hrs Waka Ama racing prod co Mäori TV Wayne Leonard Highlight prod Andy McGarth pres Hoturoa Kerr, David Jones prod mgr Sue Killian snr prod mgr Sandra Richmond


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


prod co Greenstone Pictures ho prod Andrea Lamb exec prod Sophie Dungate asst prod Kathryn McMillan dir Lee Baker rsrchr Katrina Inkster prod mgr Rebecca Plaistow prod asst Rochelle Leef fund TVNZ


13x60min drama/comedy prod co SPP (09 839 0999) exec prods John Barnett, Rachel Lang, Gavin Strawhan prods Chris Bailey, Britta Johnstone line prod Tina Archibald writers Gavin Strawhan, Rachel Lang, Kate McDermott, Nick Ward head of devt Tim Balme dirs Mark Beesley, Murray Keane, John Laing, Peter Salmon prod mgr Jo Tagg prod co Natalia Perese prod sec Laura Thavat script co Rachael McMahon prod run Tim Burnell acct Elisha Calvert asst acct Sheree Silver 1ADs Gene Keelan, Mark Harlen 2ADs Sophie Calver, Kylie McCaw 3AD Kate Hargreaves script sups Gabrielle Lynch, Lisa Cook loc mgr Benny Tatton loc asst Rick Waite unit mgr Amy Russo unit asst Josh Dun DPs Dave Garbett,

Rewa Harre, Dave Cameron cam op Oliver Jones 1st cam asst Jymi Best, Lee Allison 2nd cam asst Fiona Young cam trainee Toby Conway gaffer Nare Mato b/ boy Trent Rapana gen op Jason Kerekere lx asst Eruera Sutherland key grip Gary Illingworth asst grip Conrad Hoskins grip trainee Trent Hall snd recs Myk Farmer, Richard Flynn boom op Matt Cuirc snd asst C J Withey, Adnan Taumoepeau 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 Jo Fountain m/up arts Jacqui Leung, Shannon Sinton, Tracy Nelson prod des Gary MacKay art dept co Jacinta Gibson set dec Angeline Loo art dirs Emily Harris, Paul Murphy set dec asst Rose Worley s/by assts AJ Thompson, James Rennie s/by props Owen Ashton, Craig Wilson prop buy Jo Larkin construct mgr Chris Halligan catering Rock Salt Catering cast dir Annabel Lomas safety Lifeguard & Safety eds Allanah Milne, Jochen Fitzherbert, Paul Maxwell gx Savannah MacIntosh post prod sup Grant Baker pub Tamar Munch pub asst Lucy Ewen stills Jae Frew, Matt Kltscher cast Blair Strang, Tandi Wright, Debbie Newby-Ward, Shane Cortese, Nicole Whippy


3x45min doco prod co Gibson Group prod Alex Clark exec prod Gary Scott dir Dan Henry prod mgr Inga Boyd rsrch Sarah Boddy DP Jacob Bryant n/wrk exec Jude Callen n/wrk TVNZ


1x60min HD doco prod co NHNZ co prod National Geographic Channel & Nat Geo Wild exec prod John Hyde host James Currie prod/dir/cam Giles Pike cam Max Quinn prod mgr Christina Gerrie rsrchrs Marcus Turner, Michael Henriquez


40x30min wkly prod co Showdown Productions exec prod Kirsty Cooper prod Tracy Mika line prod Emma Slade dirs Jerome Cvitanovich, Kirsty Cooper asso prod Liz Kruse prod mgr Rosie Smith prod coord Barbie Nodwell prod asst Andrea de Klerk DP Richard Williams rsrchrs Richard Bentley, Jerome Cvitanovich, Hugh Stringleman, Marie Taylor ed Christine Jordan pres Roger Bourne


5x30min weekly prod co SPP exec prods John Barnett, Simon Bennett prod Steven Zanoski line prod Liz Adams dirs Geoff Cawthorn, Jonathan Alver, Katherine McRae, Richard Barr, Wayne Tourell, Laurence Wilson script prod Paul Sonne s/liner/story ed Paul Hagan s/liners Kirsty McKenzie, Alistair Boroughs, Caley Martin, Joanna Smith, Aimee Beatson med adv Sally Geary, Sarah Nevitt script eds Lynette CrawfordWilliams, Karen Curtis script eds asst Nina Vlahovic prod coord Mariya Nakova prod sec Kylie Newman script typ Casey Whelan prod acct Diane Boddy acct asst Stephanie Dahlberg loc mgr Bryce Wood 1ADs Michele Priest-Edmondson, Moe Hobbs, Flora Woods, Jimmy Scott 2ADs Francis Koon, Katie Dallimore 3AD Cat Henshall prod runner Aaron Levi dir assts Kathe Calis, Sarah Brinsdon, Laurel Urban tech prod George Platt tech coord Bryn Collins vis mix Fran Hodgson lx asst Chris Watkins loc DP Drew Sturge loc gaffer Drew Wright cam ops Sheree Swale, Nigel Roberts, Rayner Cook, Nick Hayward cam asst Daniel Lacy snd rec Greg Moon boom ops Andrew Revell, Andrew Lusk prod des Ana Miskell art dirs Sophie Guthrie, Ross Goffin, Andy Currie art dept mgr Sophie Elworthy stby prps Natalie Tsuchiya, Scott McDowall art dept assts Brooke Darlison, Logan Childs gfx coords Alex Kriechbaum, Sarah Dunn cost des Nicola Newman asst cost des Rebecca Jennings cost standbys Katie Jones, Joss Henry, Genista Jergens cost asst Rowena Smith laundry asst Jan Beacham hair/m/up sup Rebecca Elliott m/up Toni Anne Arbon, Katie Fell, Sophie Beddoes ed Anna Marshall-Inman asst ed/ digitiser Matthew Allison online ed Dylan Reeve snd mix Neil Newcombe snd eds Margaret Newcombe, Ora Simpson cast dirs Andrea Kelland post prod sup Sara Knight pub Rachael Keereweer pub asst Chris Henry dialogue coach Shirley Duke, Linda Cartwright asst chaperone Renee Lyons comp Graham Bollard p/ grphr Jae Frew caterer Rock Salt cast Michael Galvin, Angela Bloomfield, Amanda Billing, Robbie Magasiva, Benjamin Mitchell, Peter Mochrie, Lee Donoghue, Kiel McNaughton, Matt Chamberlain, Sarah Thomson, Beth Allen, Sally Martin, Jacqueline Nairn, Ido Drent, Pearl McGlashan, Natalie Medlock, Geordie Holibar, Frankie Adams, Virginie Le Brun, Tyler Read, Amelia Reid


13x26mins Auckland War Memorial Museum tells stories of 13 Taonga prod co Mäori TV exec prod Eruera Morgan prod Mechele Harron dir Tihini Grant prod mgr Trudy Steele snr prod mgr Sandra Richmond


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


30min wkly Mäori language current affairs prod co Mäori TV exec prod Te Anga Nathan studio dir Mark Robinson prod/pres Waihoroi Shortland prod co Ripeka Timutimu


44min prod co TVNZ Production Unit exec prod Tina McLaren prod Dana Youngman prod mgr/prod acct Deb Cope dir Dean Cornish sen rsrchr Sue Donald rschr Sue Killian


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


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


prod co Mäori TV exec prod Matai Smith prod Jade Robson snr prod mgr Sandra Richmond


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

Errol Shand, Joel Tobeck, Gary Young, Edith Poor, Richard Knowles, Damien Avery, Andrew Laing, Will Hall, Aaron Ward, Mark Warren, Scott Wills, Olivia Tennet, Colin Moy, Rachael Blampied, Peter Tait, Katherine Kennard, Melissa Reeve, Sophia Huybens, Esther Stephens, Sophie Henderson, Anna Jullienne, Milan Borich, Jason Hoyte, Johnny Barker, Calvin Tuteao, Tahl Kennedy, Ranald Hendriks


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


Family community prod co TVNZ prod unit TVNZ n/ work exec Philippa Mossman exec prod Tina McLaren prod/dir Julia Leonard prod mgr Jan-Marie Nicolai ed Chris Anderton pres Jim Mora, Julia Bloore


120min weekly live kids show pres Charlie Panapa, Gem Knight, Johnson Raela eds Michelle Bradford, Stuart Waterhouse, Tyler King audio post Whitebait Facilities, Vahid Qualls, Dave Cooper props Warren Best, Scott Chapman w/robe Wilma Van Hellemond stylist Lee Hogsden prod asst Rebecca Myers prod coord Joshua Pollard field dir Sam Gill gfx des Harold Kho, Yosef Selim, Aaron Dekker rsrch Rebecca Browning writers Andrew Gunn, Jeff Clark dirs asst Jenny Murray post prod dir Bronwyn Williams prod mgr Sharyn Mattison studio dir Kerry Du Pont creative prod Jason Gunn asso prod Josh Wolfe prod Reuben Davidson exec prod Janine Morrell-Gunn n/work exec Kathryn Graham


5x60min doco series prod co SPP (09 839 0999) exec prods John Barnett, Chris Bailey prods Nicola van der Meijden, Raewyn Mackenzie dirs Dan Salmon, Michelle Bracey, Karen MacKenzie, Chas Toogood line prod Loretta Jacobs pres Craig Potton rsrchrs Rachel Stace, Jane Dowell cams Drew Sturge, Chris Terpstra snd Matt Heine cam/prod assts Arno Gasteiger, Mike Potton


prod co Greenstone Pictures ho prod Andrea Lamb prod John Bates prod mgr Hebe Van Schagen prod coord Carita De Jong fund TVNZ


Telemovie NZOA/TVNZ Red Camera prod co Comedia Pictures prods Tony Holden, Judith Trye dir Peter Burger writers Briar Grace-Smith, Dave Armstrong prod acct Esther Schmidt ed Eric de Beus asst eds Adam Page, Sean Rooney vfx Peter McCully post prod VTR snd des Neil Newcombe snd mix Suite 16 cast Tainui Tukiwaho, Morgana O’Reilly, William Davis, Vicky Haughton, Kelson Henderson, Celia Nicholson, Luciane Buchanan, Jarod Rawiri, Owen Black


1x52min doco prod co Notable Pictures prod Julia Parnell dir Ihakara Wilson writer Dane Giraud cam op Richard Harling snd op Cameron Lenart ed Tim Grocott line prod Anne O’Brien


20x4min family wildlife series prod co TVNZ prod unit TVNZ n/work exec Philippa Mossman exec prod Tina McLaren prod mgr Stewart Jones pres James Reardon, Lesley Judd


10x30min children’s factual entertainment prod co Gibson Group exec prod Dave Gibson prod Bevin Linkhorn dirs Dan Henry, Michael Huddleston edit Ben Powdrell gfx Tim Gibson online ed/colourist Adam Sondej cmpsr Stephen Gallagher snd post prod Phil Burton n/wrk exec Kathryn Graham n/wrk TVNZ Because of space constraints in this month’s magazine, some listings that have previously run in the same category have been cut. The comprehensive Production Listings pdf can be downloaded from

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

june 2011


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ONFILM June 2011  

Screen production, NZ film, Digital filmmaking, NZ TV, NZ television

ONFILM June 2011  

Screen production, NZ film, Digital filmmaking, NZ TV, NZ television